Handling Dissapointment

The title of this post may seem a little strange. After all, screenwriting is a rejection-oriented business. Writers will get turned down 99% of the time. Even if an option on a script is secured, the odds of the film getting produced are low. So how does one handle the constant disappointment of projects that don't work out? There's no easy answer, but one must keep one's head up and keep going.

The Sages have written about our period, epic screenplay about the 19th century Irish revolutionary Thomas Francis Meagher. We have been working with an LA-based management company on the script for the past year. We were introduced to these managers about two years ago after a trip to LA. Over the the first year, they read some of our material and concluded that a large, epic script with commercial appeal would be something we should pursue. The story of Meagher is akin to "Braveheart" and something we had long had interest in so off we went to do research and write a treatment. Over the last year, The Sages, working with the managers, wrote three drafts of the script--each one getting better and tighter. The managers were consistent in that they told us it would be a tough sell and hooking a big name actor would be the key to getting the project sold.

The climate for spec scripts is very tough right now. And even tougher for period pieces. So our eyes were wide open going into this, but after a year working with the managers on this script we thought they'd be a little more game to get it out there. Alas, a call with them last week revealed they were not willing to take it out to studios and actors. Too tough a climate they said.

It was difficult to hear. A year's worth of work and an unenthusiastic response. There are disappoinments and then there are blows to the stomach. This was perhaps in between. How do we handle it? How do we move on?

The small silver lining was that the management team said we should do legwork and feel free to use them if we need submissions to high level producers or studios. This may come in handy, and it has been great working with these managers. We got what we believe is a strong script and a great contact in this management team. Still, it feels like small solace.

But we can't feel sorry for ourselves. We must do what we've always done, aggressively market ourselves, make new contacts, expand our network, and keep writing. Five years ago, we would not have had the opportunity to work with a management team such as this. The screenwriting game is, more often than not, a long slow climb up a steep hill.

Where are we on the hill? Always climbing and always hoping to reach the top. If there's one thing a screenwriter must learn --and learn well-- it's how to handle disappoinment and keep going despite it...