Be That One in a Hundred: 99 of 100 Aspiring Screenwriters Fail. But You Can Be That One...

This is the first and only screenwriting guidebook of its kind. Based on hard, factual research -- interviews and surveys -- it tells how to avoid the "mistakes" (that is, mistakes in the views of the industry) many aspiring screenwriters make, as told by movie and TV producers, agents, and other in [...]
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This is the first and only screenwriting guidebook of its kind. Based on hard, factual research -- interviews and surveys -- it tells how to avoid the "mistakes" (that is, mistakes in the views of the industry) many aspiring screenwriters make, as told by movie and TV producers, agents, and other industry insiders.

It reveals what they see as the worst and most common errors aspiring screenwriters make, which can impair and even destroy an aspiring screenwriter's career.

In this book, industry insiders tell why many aspiring screenwriters, even major contest winners, fail to make it past the movie and TV industry's gatekeepers, and why some others fail miserably soon afterward. It offers insider secrets on how to stand out and succeed in the highly competitive business of screenwriting.

The author also surveyed aspiring screenwriters for their beliefs and views, and shows how self-defeating many of these views are, in light of how the industry reacts to them. It offers aspiring screenwriters a different - difficult to accept, but more realistic - way of seeing one's place as a newcomer trying to break in.

It will answer these and many other questions, as told by movie and TV industry insiders:
"They have people to fix spelling and grammar mistakes, right?
"Is querying a complete waste of time? If not, how do I..."
"I placed well in a contest, but nobody called me. Why? And more important, now what?"
"Are screenwriting contests just a money-making ripoff?"
"Are pitchfests just a money-making ripoff?"
"They agreed to read my script, and then I heard nothing back. What is that all about? And what do I do now?"
"My feature screenplay is finished. Now, how do I get an agent?"
"How can I make an independent producer pay me for rewrites?"
"Why are producers looking for nothing but big-budget fluff, franchises, and movies based on comic strips?"
"Why don't they reach out to my (age group, gender, ethnic group)?"
"I don't dare copyright my screenplay because then, it will be public and anyone can steal it, right?"
"I have the greatest blockbuster screenplay ever written. Hollywood will soon come crawling to me, so I don't need your book, right?"
"I don't want so many details. Is there one single, most important tip in the book in one sentence?" (In the author's view, the most important single tip is at the bottom of chapter 5.)