Lately the balance between life and art has been a cross between not getting pulverized by oncoming traffic and screaming into an empty canyon. Yeah, that’s what’s it has been. Life life has been a constant assessment/reassessment of everything I thought I knew and proved to be wrong about. Pushing myself everyday and testing every nerve just to keep my boy happy and healthy. That’s a good thing.

The career, not so much. In order: no word from that producer I told you about. Project is cold and stiff as far as I’m concerned unless someone wants to tell me otherwise. Nicholl, dead. No surprise there. Sundance Lab, they told me to fuck off too. Austin is still up in the air. The funny thing about all of it is, I don’t think I’ve even skipped a beat. Maybe it’s age or just a thicker skin. I read the e-mails and I moved on which is what everyone should do.

All I want to do is watch Mad Men. I just watched the second season and was truly inspired. It goes without saying that it is one of the best shows on now or ever imho. Very rich in theme and character. My cup of coffee. That brought me to a fine little gem of a site after I Googled “Mad Men Scripts.” It’s called Writing The TV Spec Script run by “Colm” from Galway I gather. It gives some great insight into doing just that. I’ve played around with the idea of writing for TV. Chops need to be strong, really strong. Something to think about. It might be worth investigating. There’s a link to seven Mad Men scripts including the pilot available as PDFs for download. Check ‘em out.

So this is what’s on the agenda for this month. Continue working on the second draft of a previous screenplay I started a while ago. Then maybe spec out a Mad Men script. From there? Stay alive long enough to maybe see some of this come to fruition.

Oh yeah, what do you think of the sites new look? I added a Television section of links on the sidebar.

Since I spoke of my brush with producer X I have gotten a full rewrite of Dyre Avenue out to his agent at CAA. It actually went out to that producer and a production company that is the shingle of a pretty well established and admired director. With that new draft I also got my screenplay into the Nicholl Fellowship, The Sundance Screenwriters Lab and the Austin Screenplay Competition. Crap shoots, all of ‘em but ya gotta be in it to win it, right?

So now we wait. Not really. We write and make stuff. That’s what I’m trying to do. As far as the site goes I don’t anticipate much unless there’s some incredible, mind-blowing news that I think you all need to know about. The spare time I have just isn’t what it used to be so I need to figure out where that leaves us, you and I. Until then the site will sit right where it is and might actually shut down for a period of time until I figure out what exactly I want to do with it. I’m thinking of updating it and making it some sort of hub. Until then, read the archives, go nuts. And thanks for hanging in there.

It was tough to hear this story because I know it is so common for so many — to try and because the planets didn’t align have a hard earned accomplishment like finishing a screenplay you’re proud of fall short of a deserved destination. I guess the more obvious insult to injury was that this writer won the Fellowship — basically saying “We the Academy aka The Industry, deem this work exceptional and worthy of such accolades.”

Is the Nicholl just the SAT for the film industry or is it the ticket for a screenwriter’s career? Can be. Truth is, and as the numbers¹ serve me, most winners don’t go on to have their screenplays produced but it is definitely a jumping off point.² It’s a chance to meet the industry and probably get representation. What you do with all of that is really up to you. More so, what this really illustrates is there is absolutely no logic or stock answer to how to get a pass into the club. It just makes you question the whole process. Maybe the real question to ask is — other than the money rewarded³, is a Nicholl Fellowship screenplay relevant in today’s Hollywood? Probably just as relevant as any other well-written, producible screenplay — you just jump to the head of the line.

Before we went our separate ways this writer told me an unrelated story of a well known and proven producer who was responsible for some significant achievements in filmmaking. He said “Back then we weren’t interested in how commercial a film was, we just set out to make the best film we could possibly make.” Well, maybe not so unrelated.

A final note, the writer I’m speaking of submitted his screenplay three times to the Academy before the Nicholl Fellowship was awarded.

[...]

As a coda to this entry I would like to add my personal take on contests and fellowships for screenwriting and/or filmmaking; take them all with a grain of salt. Your career shouldn’t rest on the outcome of a committee regardless of who they are. Sure, a big fat check and a little attention would be nice but the odds are against you. Should you bother? Absolutely. If you feel your work is ready to go out there and compete (let’s not fool ourselves, it is a competition) with others for that golden ticket then do it. I entered Dyre Avenue in the Nicholl, the BlueCat Screenplay Competition and the Sundance Lab last year and got an overwhelming “no” across the board. This year I reentered BlueCat with a new draft and got in the upper 10%, still waiting on Sundance Lab. None of this is stopping me from my mission of turning my current screenplay into my first feature.

Be selective with your choices. Make sure the competitions are legit and they can actually advance your career in some way otherwise what’s the point? Be proactive. Keep writing and pursuing your goals.

1. Of the 96 scripts that have earned their writers Fellowships from 1986-2006, 13 have been produced
2. Many Fellows have used the award to launch rewarding careers.
3. Up to five $30,000 Fellowships are awarded each year