Why Should a Screenwriter Gamble on Film School?
There are numerous ways to pursue a screenwriting career. It really doesn't matter how one goes about it . . . whether through generating heat via a screenwriting competition . . . lucking into an agent . . . or enrolling in a screenwriting program at a film school.
Whatever the route, the goal is the same. A screenwriter has to receive a thumbs-up validation, i.e., a writer needs that all-important first big break. And sometimes it takes a combination of events to jump-start a career.
Therein, there seems to be no "sure way" when it comes to getting in the door. Screenwriting is a highly competitive profession. The odds are stacked against the newcomers. One must accept the probability of failure, knowing that only a limited number of new screenwriters will garner a professional validation each year.
So here's some advice.
Play the odds.
In other words, crunch the probabilities of gaining access per the standard avenues into the business. And don't personalize the rejection. Getting an endless series of no-thank-you letters is par for the course.
Remember: "It's just business; it's not personal." Instead of whining, you should establish a game plan and seek to understand which avenues have proven track records for opening the doors to a career.
Here's an example of "learning how to play the game."
Say a national screenwriting competition gets 4000 entries. Okay, applying a rough rule of thumb . . . optimistically . . . let's assume that at a minimum, ten of the top scripts proceed forward to generate enough heat to grab agency representation . . . and therein . . . eventually precipitate the inking of a development deal or an outright buy at some point in the future.
Now, of course, this is a .25% success ratio for that particular contest's participants, i.e., out of those 4000 wannabes, only less than a quarter of one percent will generate enough heat to get in the door.
Hey, did you know that the odds in Vegas are much better than this?
Yes, indeed. Placing casino chips on a roulette table . . . picking red or black . . . this mode of gambling will give you much better odds than entering one of the top screenwriting competitions.
So, okay. What about querying agents? What are the odds?
Again, better in Vegas. Agents want pre-validation. They want a contest to say a screenwriter has written one of the best scripts that their judges have ever read. The tip about agents is . . . if you have strong credentials via a contest . . . or via a referral from someone the agent knows . . . or via a film school degree . . . or via a combination of all three . . . then there is the possibility that a WGA agent will at least consider reading your script.
But, y'know, it's a long shot. A Catch-22. The best agents want to represent proven talent before they're willing to invest their valuable time in helping a wannabe through the Hollywood maze.
Okay, then what about working one's way up the ladder?
Actually, this is an effective way in the door for "filmmakers." Many award-winning directors have established their worth vis-a-vis demonstrating their talent per small projects. There's a long list of such filmmakers, e.g., Spielberg, Lucas, Howard, Rodriguez, etc.
But this route is rarely a vehicle for the average screenwriter since a vast majority of writers today don't even attempt small projects, i.e., everyone assumes that the best way in the door is to write a feature-length spec script. (Although this is beginning to change per streaming videos on the Net.)
Conversely, if a screenwriter did attempt this modus operandi, the odds of success would still be extremely tough due to the fact that if a short film is a hit at a festival, then the film's director usually reaps the most attention (i.e., budding directors tend to wanna grab co-writing credit on "their" projects).
So, writing a short script is a viable means into the Hollywood system, albeit still a huge gamble for the lowly screenwriter.
Thus, we come to the last option. Applying to one of the top film schools . . . gambling on an MFA degree in screenwriting from UCLA, USC, NYU, or Columbia.
Here's the scoop.
There are no "sure things" . . . but when one does the math (per the limited number of slots at the top schools) the probabilities of success are incrementally increased for the wannabe screenwriter. In other words, when a screenwriter is willing to place a bet on the long haul, when a film scribe is willing to invest the time to pursue an MFA degree . . . the percentages increase incrementally as compared to the other avenues available to wannabes.
Now, again -- what's being offered here isn't hard facts. But there was a screenwriting professor at UCLA film school who used to tell his students that 30% of UCLA's graduates (those coming out of its MFA screenwriting program) landed jobs "in the business."
And true, this doesn't mean that this 30% figure referenced full-time screenwriting careers . . . but certainly a 30% ratio demonstrates the validation factor of an MFA degree from one of the top schools.
Okay, here's another reference point. In the MFA screenwriting class that this writer entered in '89 at UCLA . . . of the roughly 23 students who were accepted that year into the program . . . extrapolating the career factor these many years later . . . the success stories are actually beating the professor's 30% estimate, i.e., it's possibly something like 40% or better for the graduates who stayed in the program and who eventually got their feet in the door.
Now, again, this is a guesstimate and includes screenwriters paying their bills with income from writing assignments and from other sources of income.
But, in any event, the ratios are clear. If you're looking for a way to increase your probabilities of jump-starting a screenwriting career, then you should seriously consider pursuing an MFA degree. And even though there are no guarantees -- in that some of the screenwriters who exit such programs become bitter and disillusioned when their careers do not instantly take off like rockets -- at least the probabilities of success are better than the other available options of entree into Hollywood.
Therein, considering the alternatives, one can assume that an MFA in screenwriting from a top film school is at least a way to hedge the uncertainty . . . when facing such astronomical odds.
Y'know, these days . . . the competition is so intense . . . that a wannabe should at least attempt three of the above methods into the system. That's a given. And if one truly has a knock-'em-dead script, there's always the possibility that such a script will make its way through the warren of "in baskets" . . . get a nod from an overworked reader . . . impress the right judge . . . and generate that much-sought-after/positive-buzz momentum.
So, if a writer does get labeled a finalist or semifinalist in a major contest . . . then this validation makes the next phase (a query letter to a WGA agent) a lot more appealing to the agent's assistant. To be sure, the odds are long in the handful of contests which can, in fact, zap a writer's career, but every year there are a number of "oh-wow" success stories.
One final tip. If you wanna improve your odds . . . and if you're willing to place a huge bet on your future . . . try sending an application to a film school. If you get accepted, let that be a barometer as to your chances of eventually generating career heat.
But heed this warning. The odds are better in Vegas. There are no "sure things" for wannabe screenwriters, i.e., there are only strategies to hedge the bets . . . to improve the odds . . . per the above info.
Yeah, it's one hell-of-a crapshoot. And ya gotta be willing to lose a long series of bets . . . knowing that a payday may never come.
So, y'know, go forward with your eyes wide open.
-- Aubrey M. Horton received his MFA in screenwriting from UCLA film school in 1992. He's consulted on projects for Warner Bros., Paramount, and HBO. His first screenplay garnered him a $5000 fellowship. He's doctored screenplays which have won national competitions . . . and a number of the doctored writers are now working as professional screenwriters in Hollywood. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Click on -> "MFA Method."
Whatever the route, the goal is the same. A screenwriter has to receive a thumbs-up validation, i.e., a writer needs that all-important first big break. And sometimes it takes a combination of events to jump-start a career.
Therein, there seems to be no "sure way" when it comes to getting in the door. Screenwriting is a highly competitive profession. The odds are stacked against the newcomers. One must accept the probability of failure, knowing that only a limited number of new screenwriters will garner a professional validation each year.
So here's some advice.
Play the odds.
In other words, crunch the probabilities of gaining access per the standard avenues into the business. And don't personalize the rejection. Getting an endless series of no-thank-you letters is par for the course.
Remember: "It's just business; it's not personal." Instead of whining, you should establish a game plan and seek to understand which avenues have proven track records for opening the doors to a career.
Here's an example of "learning how to play the game."
Say a national screenwriting competition gets 4000 entries. Okay, applying a rough rule of thumb . . . optimistically . . . let's assume that at a minimum, ten of the top scripts proceed forward to generate enough heat to grab agency representation . . . and therein . . . eventually precipitate the inking of a development deal or an outright buy at some point in the future.
Now, of course, this is a .25% success ratio for that particular contest's participants, i.e., out of those 4000 wannabes, only less than a quarter of one percent will generate enough heat to get in the door.
Hey, did you know that the odds in Vegas are much better than this?
Yes, indeed. Placing casino chips on a roulette table . . . picking red or black . . . this mode of gambling will give you much better odds than entering one of the top screenwriting competitions.
So, okay. What about querying agents? What are the odds?
Again, better in Vegas. Agents want pre-validation. They want a contest to say a screenwriter has written one of the best scripts that their judges have ever read. The tip about agents is . . . if you have strong credentials via a contest . . . or via a referral from someone the agent knows . . . or via a film school degree . . . or via a combination of all three . . . then there is the possibility that a WGA agent will at least consider reading your script.
But, y'know, it's a long shot. A Catch-22. The best agents want to represent proven talent before they're willing to invest their valuable time in helping a wannabe through the Hollywood maze.
Okay, then what about working one's way up the ladder?
Actually, this is an effective way in the door for "filmmakers." Many award-winning directors have established their worth vis-a-vis demonstrating their talent per small projects. There's a long list of such filmmakers, e.g., Spielberg, Lucas, Howard, Rodriguez, etc.
But this route is rarely a vehicle for the average screenwriter since a vast majority of writers today don't even attempt small projects, i.e., everyone assumes that the best way in the door is to write a feature-length spec script. (Although this is beginning to change per streaming videos on the Net.)
Conversely, if a screenwriter did attempt this modus operandi, the odds of success would still be extremely tough due to the fact that if a short film is a hit at a festival, then the film's director usually reaps the most attention (i.e., budding directors tend to wanna grab co-writing credit on "their" projects).
So, writing a short script is a viable means into the Hollywood system, albeit still a huge gamble for the lowly screenwriter.
Thus, we come to the last option. Applying to one of the top film schools . . . gambling on an MFA degree in screenwriting from UCLA, USC, NYU, or Columbia.
Here's the scoop.
There are no "sure things" . . . but when one does the math (per the limited number of slots at the top schools) the probabilities of success are incrementally increased for the wannabe screenwriter. In other words, when a screenwriter is willing to place a bet on the long haul, when a film scribe is willing to invest the time to pursue an MFA degree . . . the percentages increase incrementally as compared to the other avenues available to wannabes.
Now, again -- what's being offered here isn't hard facts. But there was a screenwriting professor at UCLA film school who used to tell his students that 30% of UCLA's graduates (those coming out of its MFA screenwriting program) landed jobs "in the business."
And true, this doesn't mean that this 30% figure referenced full-time screenwriting careers . . . but certainly a 30% ratio demonstrates the validation factor of an MFA degree from one of the top schools.
Okay, here's another reference point. In the MFA screenwriting class that this writer entered in '89 at UCLA . . . of the roughly 23 students who were accepted that year into the program . . . extrapolating the career factor these many years later . . . the success stories are actually beating the professor's 30% estimate, i.e., it's possibly something like 40% or better for the graduates who stayed in the program and who eventually got their feet in the door.
Now, again, this is a guesstimate and includes screenwriters paying their bills with income from writing assignments and from other sources of income.
But, in any event, the ratios are clear. If you're looking for a way to increase your probabilities of jump-starting a screenwriting career, then you should seriously consider pursuing an MFA degree. And even though there are no guarantees -- in that some of the screenwriters who exit such programs become bitter and disillusioned when their careers do not instantly take off like rockets -- at least the probabilities of success are better than the other available options of entree into Hollywood.
Therein, considering the alternatives, one can assume that an MFA in screenwriting from a top film school is at least a way to hedge the uncertainty . . . when facing such astronomical odds.
Y'know, these days . . . the competition is so intense . . . that a wannabe should at least attempt three of the above methods into the system. That's a given. And if one truly has a knock-'em-dead script, there's always the possibility that such a script will make its way through the warren of "in baskets" . . . get a nod from an overworked reader . . . impress the right judge . . . and generate that much-sought-after/positive-buzz momentum.
So, if a writer does get labeled a finalist or semifinalist in a major contest . . . then this validation makes the next phase (a query letter to a WGA agent) a lot more appealing to the agent's assistant. To be sure, the odds are long in the handful of contests which can, in fact, zap a writer's career, but every year there are a number of "oh-wow" success stories.
One final tip. If you wanna improve your odds . . . and if you're willing to place a huge bet on your future . . . try sending an application to a film school. If you get accepted, let that be a barometer as to your chances of eventually generating career heat.
But heed this warning. The odds are better in Vegas. There are no "sure things" for wannabe screenwriters, i.e., there are only strategies to hedge the bets . . . to improve the odds . . . per the above info.
Yeah, it's one hell-of-a crapshoot. And ya gotta be willing to lose a long series of bets . . . knowing that a payday may never come.
So, y'know, go forward with your eyes wide open.
-- Aubrey M. Horton received his MFA in screenwriting from UCLA film school in 1992. He's consulted on projects for Warner Bros., Paramount, and HBO. His first screenplay garnered him a $5000 fellowship. He's doctored screenplays which have won national competitions . . . and a number of the doctored writers are now working as professional screenwriters in Hollywood. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Click on -> "MFA Method."
