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Screenwriters Should Aim Lower to Reach for the Stars

by Ken Miyamoto on February 20, 2018

Screenwriters are told to have big dreams, write big scripts, and shoot for the stars — both figuratively and literally — but the hard truth is that in order to succeed, screenwriters should be aiming just a bit lower than the stars. But how do you do that?

It goes against everything you've been taught, in regards to chasing a dream. You're supposed to be thinking big. You're supposed to be marketing your scripts to the power players within the industry — those that can get things done. You're supposed to be writing content that will draw the sharks (agents and managers) in with blood (high concept scripts) in the water.

Have you ever seen a feeding frenzy with sharks? It's the perfect analogy to what goes on in Hollywood. But in the Hollywood version, the fish (screenwriters) want to be caught by the sharks.

With tens of thousands of screenwriters and screenplays aiming high to draw the attention of those select big agents and managers, only a small percentage will ever be chosen. And only a small percentage of those chosen will ever see a paid option, paid acquisition, or produced script.

The key to better rates of success is to focus on those smaller sharks that linger below the frenzy.

When You Aim High, You Fall Far

Make no mistake, we're not saying you shouldn't take those shots in the dark — you should. But when you spend all of your waking energy and will aiming for the stars each and every time, the fall of rejection is even more damaging.

Whenever you pursue a major player with an email, an elevator pitch at Austin or Sundance, or by exhausting that six degrees of separation you may have with a major Hollywood player, you're investing your heart, mind, and imagination into that slim possibility. You begin to imagine what would happen if they say yes, instead of remembering that it's more likely than not that the answer will be no — or even worse, silence. And when you've aimed so high so many times, it can be soul crushing. Most don't last.

To save yourself from that burn out, reserve those shots in the dark towards the stars to a few and far between list as you focus on setting initial goals that are a little more attainable.

And it's not about aiming low — it's about aiming lower. What are those "aim lower" goals?

Mid-Level Representation

It's a common thing to see novice screenwriters pursuing the big agencies like CAA, APA, Gersh, ICM, Paradigm, UTA, and WME. First and foremost, most of them won't read unsolicited scripts and emails. There's too much risk on their end from a legality perspective.

You have to aim a little lower if you want to even see someone take your call, your email, or your film festival elevator pitch.

Read ScreenCraft's How to Network & Pitch at Pitch Fests, Film Festivals, and Industry Events!

How do you go about doing this?

You need to be an astute observer and researcher of the film and television industries. Read the trades every single day and pay attention to recent announcements of new agents and managers. Study the annual reports from the Scott Myers Definitive Spec Script Deals List, which details what scripts have been picked up throughout the years and what agents and managers were involved with each and every deal.

In your networking, find those assistants at major management companies and agencies that are moving their way up the ladder. Find those mid-level reps that are handling lower tier screenwriters who are writing more mid-level films.

The major names in representation already have star clients. They don't want anybody that's not already making lots of money or drawing lots of buzz for the potential to make lots of money.

However, those mid-level reps are hungry. They're looking to break into the big leagues and become major names themselves. The only way that they can do that is by catching a new big fish — you.

B-List instead of A-List

If you're trying to package your script with name actors and directors, it's tempting to go to the top of your wish list.

Sure, those major A-list actors and directors often have production companies that you can go through to pitch, but such companies usually exist for tax and liability purposes only — along with a place to staff a small support group of assistants and producing partners. Those companies that are in active development, usually only handle submissions from major representation.

Consider trying to approach lower tier actors and directors. Those that have some credits to their names and offer — in the case of actors — a familiar face for audiences, but aren't making the big movies and aren't starring in the big television series.

You may still have to approach them through more creative ways — film festivals, degrees of separation, contacting their representation, seeking out their production companies — but you'll often find that they are much more accessible and approachable.

This branch of marketing your scripts by trying to attract talent is difficult because all-too-often such talent has no clout to get a project financed and greenlit, but it opens up networking channels that could possibly go somewhere. It's an opportunity to get someone with more contacts — someone that has made a name for themselves within the industry — behind your script to open more doors for you.

Mid-Level Production Companies and Distributors

This is the greatest opportunity that screenwriters can take hold of. You can't go directly to WB, Universal, Sony, Paramount, Disney, or Fox. You can't go directly to Dreamworks, Amblin, Imagine, Lucasfilm, and other major production companies.

But what you have to realize is that there are hundreds of mid-level production companies and distributors making great films that are eventually sold to studios or are picked up for distribution by the studios. And even those that are self-distributed manage to gain steam within the festival circuit, as well as the home entertainment and streaming market as well.

Next time you watch a film — even those distributed by major studios — pay particular attention to those opening company logos before the opening film credits start. You've likely noticed that there are often three or more company logos that appear. Make note of them and then after the movie, get onto your computer or device and go to IMDBPro to see what movies they've made and who they work with.

Those are the companies that you'll have a more likely chance of getting through to. You'll often even be able to find direct contacts for the development executives and assistants within.

Indie Filmmakers and Indie Producers

Most are too quick to throw the naive line "just go make it yourself" at screenwriters. It's naive because making a film is difficult — and making a film that's actually great is a whole new level of difficulty. And great films cost a great deal of money to produce.

Indie filmmakers and indie producers come in all different shapes and sizes. Since the 1990s, the term "indie" is used rather loosely, because the indie market has grown into the second tier of Hollywood, second only to the major studios.

So you can't even aim too high in the indie market. But there is a play that you can make to get screenwriting assignments — and even to get your own screenplays produced.

Seek out peers that are talented filmmakers but haven't been discovered yet.

You have to choose very wisely because you need to pair yourself with individuals that have the necessary talent, drive, and determination to actually do the work and get the project financed, produced, and released. It does you no good if you can't attach yourself to something that has a presence within IMDB, film festivals, streaming channels, and the best case scenario of theaters.

Produced credits matter. They elevate you above the competition and give future prospects a reason to take a chance on you — because they've seen proof of screenwriting life.

The indie market is a more direct way to get your writing produced — whether it's an original script of yours or one that you were assigned to. The money isn't as great (try your best to not work for free), but having something real to point to beyond aspirations is key in getting noticed.


Aiming lower and getting noticed through mid-level representation, B-List instead of A-List talent, mid-level production companies, mid-level distributors, indie filmmakers, and indie producers may seem far-fetched to the cynical eye, but each and every one of these points proved to be viable options for many — including yours truly. They've been tested with varying degrees of success.

Always be bold and take those higher aimed shots in the dark, because you never know. But understand that aiming lower can often lead to the opportunity of catching those types of people and companies on their upswing to bigger and better things. There's nothing wrong with jumping onto their bandwagon. And the great thing is, you can prove to be their bandwagon to jump on with the right script. It's mutually beneficial. Aim just a bit lower to reach those stars you've been gazing upon.


Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner. Follow Ken on Twitter @KenMovies

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