Hollywood -- it's not who you know, it's how you no.

I don't buy either of the standard excuses, "they don't want to piss you off" or "everybody in Hollywood is really busy". First of all, it *does* piss people off. Second, if a publisher rejects your novel, they tell you. If a newspaper or magazine editor rejects your article, they tell you. These people are actually much busier than movie producers, since they put out a lot more material. Why does the movie business do this, when no other business that hires writers does? Because the movie business attracts immature and slimy people. It's as simple as that. Book publishing and journalism aren't sexy or exciting, so they tend to attract mature, sober, honest people who care about their responsibilities, which includes saying "no" even though it's no fun. Movies, on the other hand, are sexy, flashy and cool, so they tend to attract starry-eyed, glad-handing, spineless weasels who would rather lie to your face than treat you with simple respect, simply because they think that their job should be all-fun-all-the-time. It's disgusting. This is why almost every screenwriter I know is leaving the business behind and working on that first novel.

Scott, do you think if they were more honest, more quickly, that it would churn more QUALITY work? I mean, if I was told point-blank by an executive that my script was simply not good enough, it would force me to go back to the drawing board until it was. (Or is that your agent/manager's job to be honest?) If you're falsely complimented to spare feelings, then you'll just keep putting out crap, ESPECIALLY if you're not savvy enough to know that you have to "decode" everything that's being said ... Frustrating. But obviously not a process that's going away soon ... you just gotta learn how to play the game, I guess.

[...] Via Scott Meyers and Go Into The Story [...]

nice

That's a sad thought for aspiring screenwriters who think in scenes rather than prose...

Methinks it has to do with all the egos they constantly stroke. It's BS really. I'd much rather have the straight and dirty than the dance-around-the-bush party.

Me, too, Despina. Me, too.

In my book, THE STARTER SCREENPLAY, I have a subchapter called "A PASS BY ANY OTHER NAME". Here are some ways executives pass and what they mean: “Not for us at this time” is meaningless. Unless you’re operating on the assumption that time travel devices are on the horizon. “Our slate is full” is just bullshit—there’s no such thing as a production company with too many projects. The company hires more vice presidents when that happens.   The “similar project at our company” or “around town” claim is an easy out, as sometimes it’s true. But if the executive thinks there is ANY chance of your script selling, they’ll email it to agents and managers to gain favors. The exec may also discuss your other ideas or pitch you ideas to write for them on spec. "This project isn't commercial" can be true. But if they think you’re the next Charlie Kaufman, they’ll refer your material to an agent or manager. It’s a complete blow off when a company tells you to come back with a talent attachment. Does it need to be said that they’d reconsider if Tom Cruise wants to star in your project? This response may be honest if a studio executive calls an agent and lists specific actors or actresses they need to move the project forward. But when a producer says this to an unrepresented writer, it’s a surefire “PASS!”

Matt--Since you use the word "disgusting" to refer to what you consider to be disingenuous, would you apply that to your friends as well? Because no screenwriter who is making too much money leaves the business to write books because Hollywood execs aren't honest. They do that because they're not making enough money screenwriting. (And good for them, writers should write in any medium that pays well!)

[...] Scott Meyers wrote a fantastic blog post any screenwriter should check out. [...]

I remember forwarding Ms. Palmer's post around a few weeks ago. I think it's great she straight up translated all the various "no's", but her best point was at the end, where she says - look, if they aren't on the phone with you, inking a deal asap, with money - it's a no, period. So you got a "no." Maybe a bunch of them. Everyone does. It took Platoon 7 years to get made. Don't blame the business - make your work the best it can be, and find the right home, the right fit. You only need one yes, and it's normal in any industry to weather a lot of no's to get it. Best to plan for that.