Screenwriting : Why Hollywood Can't Accept Unsolicited Material from Screenwriters by Leonardo Ramirez

Thanks for sharing the article, Leonardo Ramirez! I know about the No Unsolicited Material well, but I didn't know a lot of the history behind it. I snail mailed a query letter to Paramount back when I was like 19 or 20, and they sent me a rejection letter. I don't cold query anymore. I get script requests and jobs by networking and pitching scripts/myself through script leads and job listings.

You're very welcome Maurice Vaughan. It was an interesting read, for sure, especially on the history of it all. When I was focused on being an author, things weren't that much different. I have a file drawer full of rejection letters from various agents and publishers. I think it works the same there.

I have an email box full of rejection letters, Leonardo Ramirez. Haha I've been thinking about entering contests, like the article mentions. I haven't entered a feature script contest in a long time. I might enter Stage 32's Period Piece contest. I need to write a Period Piece script first though. Haha Or just change some things in one of my scripts to make it a Period Piece.

I have heard of this, but is there a way around this? Or a loophole?

Kevin Hager As the article suggests, the key is in networking and building relationships and others along the way.

Hollywood owns and controls WGA and their stable of writers produce material based on what Hollywood wants. This is why the industry is desperate for new material and why the indie market is competing on an international level now. There's an old cliche' "So you've never won the London Film Awards, Is that a reason to stop writing?" I won the London Film Awards and many contests will not allow mention of awards on the title page - it might intimidate the reader, usually a minimum wage student whose panties could be twisted in a knot to judge a script that won the fucking London Film Awards. Catch 22 - Producers will not read non-WGA scripts and the WGA will not accept unproduced writers. Get it?

You mean the Writer's Guild of America? Is there a fee to join them?

very informative article

I wrote a killer Bobs Burgers spec script years ago and it still haunts me that no one will ever see it because of this.

Good backstory for the reasons to follow in the article. It makes sense on both sides and between the lines I read part of the problem was the submission of less than stellar spec scripts (up to 95% of submissions), so it would seem if we started submitting top shelf specs, that will help everyone.

One way around not mentioned in the article: some coverage services will pitch your material to their contact list if it the coverage read scores high enough.

It's similar to Stage 32 Matthew Kelcourse where they'll place your project in their lookbook if a double-recommend is earned. I know what you mean Trevor Chittick. I never wrote it out because it's not my IP but I'd love to write a spec for a sequel to the Iron Giant.

The folder of rejection letters I have Maurice Vaughan is a physical one. At the end of it is my contract with a publisher for a graphic novel. I showed it to Mackenzy (my daughter) once as an illustration to never give up.

Thanks Hakim Kisakye! It's a good read that may sound negative in the headline but encouraging if read all the way through.

That's a fantastic idea, Leonardo Ramirez!

Now all I need is an OWA for it, Maurice Vaughan LOL.

Hopefully an OWA comes up in the Writers' Room for that kinda project, Leonardo Ramirez.

Kevin, it is not free to join the WGA. The fee is about $2500. Even if you have the money you must first be produced, that means you must sell a script that makes it to the screen.

Hi Leonardo Ramirez - and a word to the others - I learned a double recommend means the producer not only recommends the writer but will also recommend the project to the company they represent. One of the 32 producers loved a project of mine but didn't recommend it because they work with comedy/dramedies. Makes sense to me but just know who you are submitting to. In my situation, I loved the feedback and flew with it!

Jamie Sutliff thats false; writers dont need produced credits to join WGA; they just need to be employed by Signatory Employers. The membership fee covers health insurance, residual book keeping, lawyer help, awards dinner ;)

You can also be gilded straight into the WGA/DGA/PGA/SAG, if you know the right people.

The backstory in the article is well put together, but to jump straight to competitions as a solution kinda undermines it.

There's also the rather cynical reality that people are just busy triaging what's already there. They don't want yet another couple of hours of their time or company time wasted, and they don't want to have to come up with a nice sounding excuse as to why.

Basically you have two channels, of which you can use both. You can try and go through gatekeepers and/or you can network your way in. The latter shows a lot more commitment.

Thanks for the heads up, CJ. If a writer is gilded into WGA by the "right people" it means their work is of high value to producers and studios. who use only WGA writers.