Stop Querying the Wrong Way

I don’t like to bad mouth other companies or services too much – at least not in a public forum – but there is a not-so-new type of service out there that has grown in popularity and I’d like to stop all of your from being duped into wasting your money on it.

It’s the automated query letter services that promise to help you “BREAK IN” by sending your query letter to THOUSANDS of execs, agents and managers and getting your script read. They want to open up their Hollywood rolodex to YOU… 

What a load of complete and utter bullshit!!  These services – who are usually anonymous and do not tell you who even RUNS the company – are complete RIPOFFS! All they have done is re-typed the Hollywood Creative Directory or IMDB Pro into an email database full of email addresses that look like INFO@RANDOMCOMPANY.COM and they charge you anywhere from $50-$300 to “fix” your query letter and blanket the town with it.

And even for those companies who have their own more specific list of email addresses of real execs, I promise you – those companies and execs and agents are not waiting by the fax machine for the newest random query letter from these companies. You know why – because no one uses a fucking fax machine anymore. 

The letters they send are not personalized (to your project or to the specific company), they are not referrals, they are not recommendations, and they generally DO NOT GET READ! They are a constant annoyance to executives who go through hundreds of REAL query letters sent by referrals, reputable companies and writers every month.

These companies – and there are plenty out there including Scriptblaster, Sellingyourscreenplay.com, Equerydirect, Screenplay Writers Connection, etc – are based solely on the fact that you’re a lazy fucking idiot and incredibly desperate.

They are betting on the fact that you’re too clueless and stupid to figure out how to get in contact with anyone in Hollywood and they have convinced you that they have connections. They don’t. And if they did, they no longer do because those contacts are pissed that they have to deal with a constant onslaught of UNSOLICITED queries from these companies. That’s right, the letters they send out – are UNSOLICITED.

I was talking about this with my friend Zac Sanford from Suntaur Entertainment (and Scriptchat) the other day and he told me he had “unsubscribed” from at least two of these services, yet he keeps getting these query letters – which go right in the trash! That’s $50 you’re literally throwing out.

There are so many problems with using these services, the biggest of which may be that there is no quality control. They will send ANYONE’S letter out no matter how stupid, shitty, poorly written or just plain retarded your idea, story, writing, or letter is. Which means even if your query letter and project is FANTASTIC, the execs won’t read it because they’ve gotten SO much shit from that e-blast company already that they know the odds of it being good are slim to none. 

These services are NOT referrals. They are just leaches trying to take your desperate-writer money and making a promise to you that is impossible to keep. Now, is it possible that out of the 500 companies they send your query letter to, that 1 or 2 will actually request the script? Sure. Perhaps an intern got bored or an assistant was in a good mood that day. But the other 498 companies now think you’re a stupid, desperate amateur.

Now, there are sites that are different than these query letter blast sites that actually can be worthwhile. Sites like InkTip and Virtual Pitchfest for example are not query letter BLAST sites. These are sites that execs have actually signed up for and have agreed to read your query letter on (or synopsis on InkTip). They are not unsolicited or random query emails or faxes.

Through my No Bull Hollywood Connection Program, any script that gets a “recommend” from me has its logline and query letter sent out to over 40 companies (not 4,000) that have AGREED to read them. And it’s a personalized email from ME to one of my actual contacts that I know personally. And, I can count on two hands how many recommends I’ve given, so execs are not being bombarded every week with dozens of emails. Oh right – and it’s FREE!!

There are other consultants and companies out there that do similar services, some charge and some don’t, but at least they are making personalized direct contact with someone they actually know. Someone that might actually do something with your script. These query blast sites – are not.

You know what using these bullshit query letter services tell executives – that you’re lazy and you don’t know anything about Hollywood. It says you’re so far removed from Hollywood, that you don’t even know when you’re getting screwed by Hollywood. 

Breaking in and getting read isn’t easy and it’s not free either. But there’s no shortcut to getting read by 1,000 companies. These e-blast script marketing companies are just taking advantage of you, your project, and your wallet. Don’t be fooled by any company that says they can market your screenplay and get it in the hands of 500 companies at once. They can’t. They can only get their emails deleted by 500 companies at once – and then cash your check.

100 Day Challenge – Fave Video of the Week

By Danny Manus

This blog is especially for my 100 Day Challenge Program participants, but also applies to everyone else as well.

My favorite video of the week and one of my favorites from the whole series thus far, is not just about YOU but also your CHARACTER. And it’s the video about Comebacks, Second Acts and Redemption.

This is what your character arcs are all about. Characters that fall from grace in some way that must fight their way back. The themes that cause our real-life comebacks, obstacles and redemptions, are the same universal themes that can (and should) be worked into your story to make your character more relatable and your story more universal – meaning sellable overseas.

The 7 steps laid out in the video to stage a comeback are incredibly relevant to what your characters should be doing. And quite frankly, what YOU should be doing personally as you try to break in and work in this business.

1. Refuse to Die – this is the attitude your characters must have, that inner motivation that no matter what happens – they will not die. It’s what makes them a hero. They accept disaster and then go from there. You need to have this attitude in your own life as well!
2. Decide to fight – it’s the acceptance of the adventure we talked about and managing their (and your) fears through the adventure. Regroup and plot and plot again. This is what your character should be doing – and also what you need to do every time you get a rejection letter.
3. Get Mad – this is one of the parts of the 5 stages of grief your character experiences that we talked about a few weeks ago. Use the emotion as fuel for your story and character.
4. Get Creative. Duh! Hello! This means don’t JUST have your character do what’s expected – get creative with it. Stay natural to your story, but find creative and visual ways for your character to do what they need to. And, get creative in how you’re breaking in and forging new relationships and promoting yourself and your work.
5. Focus on Results – know the character’s motivation and what the ultimate physical and emotional result for your character is. But also for you writers yourselves – know what YOUR end goal is. Is it to sell your script, is it to break in, is it to get hired for other work, is it just to finish a script and say you did it? Is it to make this a career or just to have a creative outlet?   Know your goal and focus on your results. Because if you focus on your process, it’s probably going to be very hard to see the end goal and succeed.
6. Take a chance. Take a risk. This goes for your characters too. Your characters are taking a path they may not know.
7. Enjoy the ride. Not only should your character enjoy the journey, or at least how they get out of it, but the audience must enjoy the ride. And while the journey of breaking into Hollywood is not always fun or enjoyable, if you don’t find the business an enjoyable ride – then you won’t be in it for very long.

And as the video says, look at every obstacle, setback, rejection, and constraint as an opportunity to show your character’s true colors, make a connection between them and the audience, show emotion, flesh out their arc, and really make a compelling character and story.

And for you as real live people, the same should apply. Look at all the setbacks and rejections you get and wear them as badges of honor, because you can’t get rejected unless you’re in the game. So as long as you’re getting rejections, you’re still IN it. Maybe not in the way or to the degree that you’d like yet – but much like your characters and their goals, you’re working towards it.  Good luck and keep writing!!

Is Hollywood Racist? A Frustrating Chat with Screenwriter/Litigant Justin Samuels

About a month ago, I wrote an article about a screenwriter who is suing CAA/WME for their racist practices which were preventing him from breaking in as a screenwriter. The writer’s name is Justin Samuels and he found my article and wrote me about it, and we proceeded to have quite a back and forth about the topic. Below, in its entirety, is our email exchange. I know it’s long, but please read the whole thing and judge for yourself who you think is right and please leave a comment….

JUSTIN:

You claim the education system is what diminished the pool of non white screenwriters, but I have a degree from an Ivy League School.

So then, surely it’s not a matter of education.  A high school dropout could make a career as a screenwriter, IF he had the right connections (he’d have to read some book, do some workshops, etc but it could be done).

If you read what I said, the major agencies do not accept any unsolicited submissions including QUERIES.  If you read what I said, I was told I needed an industry referral to be read by the top talent agencies.   But how likely am I to get such an industry referral unless I have a relative in the business?   The prominent people in the industry, with a few exceptions are white, and unless you’re related to them or grew up with them, you just aren’t that likely to be close enough to get such a valued connection.

And for the record, I’m more than happy to bring attention to this issue.  It’s a basic issue of fairness.

As for the diversity programs, don’t make me laugh.   What diversity programs?   Has anyone ever launched a career from a diversity program.  I think not.  And I would be the first to say diversity programs would be completely unnecessary if the major agencies would deal with unsolicited submissions! 

DANNY:

Dear Justin,

I’m really glad that my article somehow made its way to you and I respect that you emailed me about it. But I have to tell you – I categorically disagree with your argument. And I’d love to discuss with you why…. (I know it’s a bit long, but please read this whole email)

First, an Ivy League education doesn’t guarantee anyone anything in this town – unless you went to Harvard. And it especially doesn’t guarantee that graduates know how to behave in the real world.  You went to Cornell I see. I went to Ithaca College – and I know many Cornelians, a couple of my best friends went to Cornell. So I know they have a great list of alumni – a wonderful resource for referrals and connections in the industry… But let’s put aside the education factor.

You’re absolutely right – a huge portion (not all, but much) of this business is about WHO you know. And you’re right, the major agencies do not accept unsolicited queries. But – they don’t JUST not accept them from minorities – they don’t accept them from ANYONE. It’s as colorblind a process as could possibly be.

And let’s examine WHY they don’t accept unsolicited material. Since I’m sure you have never worked at an agency, management company, or production company, you probably don’t know that a BOUTIQUE Agency gets about 100-400 queries per month.  So, any idea how many the large agencies receive? About 5,000 – a MONTH! From people just like you – writers too lazy to break in the hard way and instead demand the easy pass route to fame and fortune. Well, let me tell you – there isn’t one.  And if agencies DID accept unsolicited queries, the wheels of Hollywood would cease to grind because it would take too much time to go through them all and nothing else would get done.

Plus, the number of ridiculous lawsuits that would result would SKYROCKET and end Hollywood completely because litigious, desperate screenwriters would think – “Hey, I sent an unsolicited query letter about robots to an agent four years ago, so Transformers 17 must be MY idea that the agent stole and gave to his client.”  It’s not worth it – there are plenty of good ideas out there that the agencies don’t need the unsolicited ones.

The system is in place to keep people who aren’t made for this business, out. It is NOT in place to keep minorities out. Just ask the 4,500 WHITE writers a month who don’t get their queries read.

Of course, there are probably 40 OTHER agencies that DO accept unsolicited queries – have you looked into them? They are all listed on the WGA website. Of course, none of them will work with you now that you have sued the big agencies. But they would have. And since you know the business so well, I’m sure you know that the major agencies – ESPECIALLY CAA and WME -do NOT work with first time writers. They do not give people careers – they make people who already HAVE careers, into STARS! They do not work with baby writers and they do not take on people without any credits to their name. So, even if you DID get a referral to one of those agencies – it would do you absolutely no good. Instead of this lawsuit, why aren’t you spending your time working on your craft and trying to make connections at OTHER companies?

Speaking of which – ok – this industry is based on referrals. So – why don’t you have any? It’s not that hard to make them. And it is absolutely RIDICULOUS to think that everyone who has gotten a referral is RELATED to someone in this business. Bullshit. VERY few people actually get in through nepotism on the business side (actors, granted, are different). I certainly didn’t have any family in the business and neither did ANY of my friends who are all very successful in what they do in entertainment whether it be as an agent, writer, producer, etc.  To ask how one could have connections in any other way than familial relation just proves how little you know about this business.

It’s called NETWORKING, sir. It’s what this business is built on – and you clearly don’t do it, perhaps because you have told yourself that since you’re Black, no one will help you. Total bullshit.  You build your connections and relationships over time – through meeting and conversing – not through suing!

And there are plenty of minority executives and managers and agents by the way, not to mention African-American actors and directors who have their own companies and executives and are ALWAYS looking for new minority talent to work with and mentor. (Will Smith’s Company, Denzel’s Company, Tyler Perry’s Company, Spike Lee’s Company, Lee Daniels’ Company, Queen Latifah’s Company, Jewerl Ross, etc.)

And by the way, out of ALL the Disney Fellowship Winners last year- there was ONE white male. And he is one of my close friends – from Ithaca. Nickelodeon Fellowship winners last year? ONE white male. So, don’t tell me Hollywood is racist and there are no diversity programs.  PLENTY of people have launched careers from diversity programs in this town – and some of them – weren’t very talented.

And I’m willing to work with you – but first, I’d like you to answer the following questions I have:

1.      Do you live in Los Angeles?  (If yes, continue on. If no, then you have no right to complain because you’re not serious enough about the business)

2.      How many years have you been trying to break in?

3.      How many fully finished, polished scripts have you written?

4.      How many Cornell Alumni have you contacted and met with to develop those relationships?

5.      Have you looked at the WGA website for companies that WILL accept unsolicited queries and have you sent them your query letters?

6.      How many and which pitchfests have you attended? How many pitches have you given at these events?

7.      How many and what contests and fellowships have you entered? What contests have you been a finalist or winner of?

8.      How many classes and networking events in LA have you attended at places like Writers Store, Writers Junction, etc? How many WGA or Creative Screenwriting Mag or Script Mag events have you gone to?

9.      What screenwriting group are you apart of?

10.     How many and what internships have you had in the industry? How many agencies/ managers/production companies did you apply to work at as an assistant? Have you ever worked at any?

11.     What professional script consultants with Hollywood Outreach programs have you used to help work on your projects and query letters to make sure they are ready and professional?

If you can honestly answer all of these questions for me, I will make you a deal – I’ll read your script – for free – and IF it is good, I will pass it along to some of MY extensive connections at agencies and production companies (of course you’ll have to use a pseudonym because your lawsuit has probably gotten you blacklisted from most major agencies and studios). But if it’s really good – I will help you get to them. I don’t have a dog in this fight, and as you can see from my article and my website (www.nobullscript.net), I am honest and blunt – so if it’s good, I’ll be the first to say so! But…if your script is truly AWFUL – if it truly sucks and the talent just isn’t there at a professional level – you drop the lawsuit.

Deal?  I look forward to hearing from you.

JUSTIN:

Daniel,

Yes, the major agencies don’t accept query letters from anyone they don’t know.  However, the impact disproportionately affects non whites, since those who know major players in the industry are most likely going to be white.  According to the Guild, by 2011 only 5% of film writers were non white.  A low percentage compared to the general population.

In terms of there being many blacks who have their own companies in the industry, the most lucrative parts of the industry are summer blockbusters/actions films.  I can see only two black actors who have had significant roles in those genres in recent years, Will Smith and Halle Berry.  Queen Latifah, Tyler Perry, etc have yet to work on a film with top ticket sales like Pirates of the Caribbean, Harry Potter, Iron Man, etc.  Basically, they are on the fringe of the industry.  A number of black actors, including Miss Oscar Winning Halle Berry, have said they were turned down for certain roles because of their race.

In terms of answering your questions, and letting you read my best script, and agreeing to drop the suit based on whether you think my work is good or not, the answer is no.   Because this isn’t about just about me.   This is about a process which has a disproportionate effect on non whites.   This needs to continue through the courts, and they will ultimately decide either in my favor or against me, or perhaps the agencies will settle.  But I simply cannot settle with you.

And I would never send my work out with a fake name.  I always use my real name out of principle.

For the record, I do not currently live in Los Angeles, but I have. Didn’t meet any people powerful enough to do an industry referral.  I did work, and even had a few marginal entertainment jobs, but again, nowhere near one powerful enough to do a referral. So I’m happy living in New York.

Would I live in Los Angeles again?  Sure, if I had a good job lined up.  Los Angeles is an expensive city (high cost of living, plus one must drive) Not joining the other wannabes downtown in skid row.  LOL

DANNY:

Justin,

While not surprised, your response not only disappoints me, but it tells me what was obvious from the lawsuit in the first place- you don’t take writing or this business seriously enough and you are only in it for a quick pay off. You really have absolutely no idea how this industry works and instead of LEARNING it and working hard like everyone else – you just crossed your arms, and said “It doesn’t matter – I’m Black.”

I think the people who would take the MOST offense to your lawsuit ARE the minorities working in Hollywood because you’re right- they probably had to work a little bit harder than everyone else. But they DID it – and now they reap the rewards. And you won’t.

It’s fine if you don’t want to take my deal, but I would love for you to answer ANY of the other questions I posed. Any contests? Any pitchfests? Any alumni? Any script consultants? Any screenwriting groups? Any networking events at ALL? If not, then you’re just not doing YOUR job as a writer and therefore, you don’t deserve to get read or have a career. And if you didn’t notice, I gave you 10 steps – 10 critical things to do to break in. And I’m willing to bet good money you have not done more than 2 things on that list.

If you lived in LA (or even NY) and you couldn’t/didn’t meet ANYONE – then either you’re just the type of person no one wants to be around, Or you’re just clueless about how to deal with people. Because it’s IMPOSSIBLE not to meet someone out here. There are 10 writers at any starbucks at any given time you could talk to in this city. You don’t have to meet SPIELBERG to break in – you just have to meet SOMEONE.

Who cares if only 5% of writers are non-white? Do you think the white people in this industry won’t talk to you because you’re black? If so, then you are just another self-defeating racist yourself and you don’t DESERVE to be in this industry.

Tyler Perry is hardly on the FRINGE of Hollywood – he’s one of the highest paid producers/ directors in town and his movies (even though they suck) have made a TON of money. And maybe you’ve heard of Oprah? Owns her own network? You’re only seeing what you WANT to see- instead of the truth of the situation. There are SO many people out there who would have been willing to help you, but you didn’t ASK for help – you wanted fame and fortune at the highest levels or nothing at all. Well, now you have nothing. And I can guarantee – the agencies won’t settle with you. So, the ONLY thing you have done is RUINED your reputation and made yourself a Pariah in this industry whom no one will touch. And your lawsuit will RUIN chances for equal opportunity for minorities.

And by the way…Morgan Freeman, Samuel L. Jackson, Taraji P Henson, Denzel Washington, Chris Rock, Eddie Murphy, The Rock, Vin Diesel, Ice Cube, Jamie Foxx, Martin Lawrence, Tyrese Gibson, etc have ALLLL been in huge blockbuster/tentpole movies. So, your argument holds no water. You are just uneducated about this business.  Yes, they are turned down for certain roles – but so is EVERY actor – it’s part of the business.

Eventually, you’re going to realize all have you done with this lawsuit is destroyed any chance you had at a career, and set back the movement of non-whites in Hollywood 10 years. If you can live with that, great. But realize this – a white person working IN the industry who has great contacts and reputation OFFERED to help you, offered to read your script and get it into the right hands, and you turned it down because of your “principles.”  So just MAYBE we’re not ALL bad, and it should make you think about what your principles really are.

JUSTIN:

Dude, when I was in Los Angeles I was working 10 hours a day, at times, and commuting 3 hours a day.

I had bills, including rent to pay.   Maybe because I had a job I didn’t have that much time to lounge around starbucks?   Yes, if you’re a rich white heiress like Paris Hilton who doesn’t have to work, I suppose you can go to the most expensive clubs, party all night, and meet all sorts of people in the business between gigs.  I wasn’t in that category, and didn’t have that opportunity.

DANNY:

Justin,

You’re not getting it – EVERYONE works 10 hours a day. It’s industry standard. We ALL have bills to pay! It’s those who work HARDER than that who make it. It’s those who work 10 hrs a day and then go home and read 2 scripts a night or write for 3 hrs a day that break thru. And I never said anything about clubs or partying – do I look like a hot, rich heiress to you?? Do you really think that’s all white people do? You went to Cornell – you should know better!

Please, let me post our correspondence – let’s open up the discussion you say is so needed! What do you say?

JUSTIN:

I never said all whites party all the time.  You were the one bringing up the networking, the meeting people, and living the fabulous life in Los Angeles.  You were saying I didn’t do those things, that I’m not a social person, and that’s why I didn’t meet anyone important.  So, from what you were saying, you seemed to have unlimited time to just meet people.

Some of us, after working 10 hours a day and commuting 3 hours, need SLEEP. Also, I didn’t have a job that deal with scripts, so why would I read two scripts a night?   I don’t know what you’re talking about.

DANNY:

Exactly, you dont. Listen, because I really am trying to help you – If you want to be a writer, you should be reading scripts constantly and writing as much as you can – that’s how you learn. Doesn’t matter if your job dealt with scripts or not. I never said anything about living the fab LA life – I certainly don’t. I’m talking about going to Business events where there are networking opportunities. Pitchfests, screenwriting groups, classes, screenings, etc. Some are even free or on the weekend. Networking doesn’t equal partying – that’s not how you meet people and forge relationships and maybe that’s where the misconception is. Of course we need sleep – I love my sleep. But when I moved here and got my first job, after working my producers assistant job from 830am-7pm, I then went to “drinks” with other assistants and execs and got to know them to build my contacts. And then I got home at 830 or so and would read 1-2 scripts a night. And that is what people do. There is no shortcut.

I’m sure commuting was a bitch – but this is LA – commuting sucks. You deal or you move closer to work. I’m saying, it seems like you have a very skewed idea of what Hollywood is and how it works and never really tried hard enough through proper ways before reverting to suing.

JUSTIN:

I have read scripts, produced scripts of films, I was an office pa for a film so I read that script.  I’ve read books on screenplays and done screenwriting workshops.  And I have participated in peer review exchanges of scripts, on triggerstreet, zoetrope, and on Amazon Studios.

You can read reviews of my scripts, my posted scripts, and other scripts on those forums.  My works went through different stages, so some things posted are early drafts, others are much later drafts in response to what feedback I got.

And yes, you can post our correspondence.

The Age Old/Old Age Question

I was recently asked by one of the writers in my seminar – “Am I too old to be writing screenplays and trying to break in to the business? Am I too old to get hired?” And my short quick answer was NO! However, the longer answer is a bit more involved and not quite as inspiring.

Of course you are never too old to write – even if you’re too old to hold a pen, you can still write. And there is no age limit on creativity. A writer can be prolific at any age and if you’ve been writing for 30 years, you’re probably a lot better then you were when you started. But writing isn’t the same thing as breaking into the film industry. There is no question that Hollywood is an ageist industry. If you START writing screenplays when you’re 60, you’re going to have a harder time than those trying to break in at 22 or 25 years old. This business is run by billionaires over 60 and executives under 35.  In most industries, the older you are, the wiser and more experienced people think you are. In Hollywood, the older you are, the more detached from the prime demographic you are thought to be.

There are a few reasons why being older makes it harder to break in (though definitely not impossible).  First, as you get older, chances are your connection to what’s “hip” and what can sell gets that much more removed. Do you know the hottest TV shows, movies, books, music, actors, internet sites, words, phrases, lingo, etc.? Probably not.

Writers write what they know or what they would like to go see themselves. The problem with this is that if you’re over 50 or so, chances are what you like to see isn’t the same as the prime 18-49 demographic. Most writers over 60 that pitch to me have either written a period piece, an autobiography or story about something that happened to them, or a family drama that suspiciously sounds like their own family. And these aren’t what sell. You know how when you go over to Grandma’s house, sometimes she wants to whip out the old home movies…well…if your grandkids don’t want to watch them, why would kids all over the country? It’s just about connecting with what sells (see my previous articles on the period piece and autobiography for more on this).

Second, because executives are usually 25-35 years old, sometimes it’s hard for them to give notes to their grandparents. And speaking from experience, the older one is, often the more “stuck in their ways” they can become and to succeed in Hollywood, you have to be incredibly collaborative, malleable and willing to completely change everything. In other words, don’t be that old curmudgeon on the porch who screams and rants about “those crazy kids.”

Lastly, and this is going to sound harsh, but if you’re first breaking in at age 65, then an agent or manager has to look at how many productive and creative years they have left to work with you. Most agents look for clients that they can have a long, productive and profitable relationship with. And five or ten years isn’t that long if you’re still working on only your second script.

Something I’ve discovered is that everyone wants to leave a legacy. Everyone wants to leave their stamp on the world in some way (other than just having children) and screenwriting is a great way to do that. I think this is why so many people, upon retiring from their different chosen profession, choose to start writing. The day job is over and now they can write and tell their story, express themselves, etc. It’s the legacy they want to leave. If you get a movie made, your name is forever and always on that project in the history of Hollywood (for better or worse). And this is completely understandable and commendable. However, I will point out that Jay Leno had a chance to be remembered as one of the great late night personalities of all time, and now he will be remembered as the person who not only killed NBC, but perhaps killed primetime.

Now before all you AARP members throw your Final Draft CD away and come after me with pitchforks and torches, I want to give you the upside. Companies are so hungry for new, original, well-written material that they don’t care who or where it comes from. A couple years ago, I was queried on virtualpitchfest.com and I asked to read the script. It was a young, female-skewed romantic comedy. I loved it, my boss loved it and we optioned the script. Six months later, the writer, who lived in the Midwest, made a trip to LA and we finally met – and he was a tall, older man – easily in his 60s with pants higher than my grandfather’s. Ya know what? It didn’t matter. His script was great. I connected him with a manager, who got him an agent and he has gone on to write numerous projects for Hallmark Channel and is now writing full time.

Screenwriting contests and query websites are completely anonymous. No one knows how old you are or where you’re from. They only know if you can write and tell a good story. If you are a finalist in the Nicholls or Disney Fellowship or some other prestigious contest, you’re going to get representation and meetings no matter how old you are. So, at the end of the day, while it is harder, you can absolutely still break in at an older age. You may just need to go about it a different way and you need to pay attention to the marketplace and pop culture even more than your younger competition so that no one can say that you’re out of touch. Now let’s go grab that early bird special and get to work!