Once again I want to be fair and say not every writer needs to write five or ten screenplays to see their first one produced. Though that is more the norm the exception. Of course, the current jackpot winner of first scripts produced is Diablo Cody who wrote Juno which won an Oscar. More recently, Mark Boal was nominated for an Oscar for his first script, The Hurt Locker. So it happens. But I should also point out that both Cody and Boal were well-educated in writing and both had over a decade of regular writing behind them in other forms before they turned to screenwriting.
And I just learned of a 37-year-old writer who is more known as a game designer and video games journalist who had his first script attract the attention of the Hughes Brothers and Denzel Washington. The result, The Book of Eli is currently in theaters.
“In the case of (The Book of) Eli, the fact that it was a very simple plot and that the characters in my mind made it come together very quickly. Like I said, I was writing probably like sixteen or eighteen hours a day. I was just so into the idea that I couldn’t stop writing it and that’s why the first draft came together in six days.”
Gary Whitta
The Film Stage
No matter how you do the math, either the first time screenwriter or the person who wrote 10 or 15 scripts before they broke through, there are a lot of years and a lot of pages behind them.
Screenwriting from Iowa 
[…] Once again I want to be fair and say not every writer needs to write five or ten screenplays to see their first one produced. Though that is more the norm the exception. Of course, the current jackpot winner of first scripts produced is Diablo Cody who wrote Juno which won an Oscar. More recently, […] Original Source… […]
Absolutely agree, wholeheartedly. If I may be so presumptuous as to elaborate autobiographically, in December 2009 I reached a screenwriting milestone of signing my first option/purchase, and it was my first feature-length script written. However, I’ve been writing, unsuccessfully, long and short fiction for the better part of two decades and only recently transitioned to screenplays. This is why this post rings so true; it’s the struggle that defines your journey and gives success a sweet flavor. You can’t be afraid to pay your dues, to struggle with failure, to PERSEVERE, to achieve your dreams.
If you look at the seemingly-overnight wonders like Diablo Cody and Gary Witta, what you’ll find is a common thread between them and all successful people in all walks of life. Said many different ways (I’ll just use my favorite two), that common thread is the Three P’s: Passion, Patience, Perseverance. The other way, the Three F’s: Faith, Focus, Finish. First script or thirtieth, if you cling to this common thread, not just wish you were successfull but WILL YOURSELF to be successful, you’ll get there.
As Always, Keep Writing
Thanks Justin–and congrats on the sale. Let us know when it gets made.
Scott–I love your website. I found it via Googling the words “Jimmy Buffett work ethic”. I read an article several years ago where he talked about how he could have rested on the laurels of his first hit song & never done much more, or really bust his butt and make himself highly successful in his career field. It finally dawned on me that he obviously wasn’t actually living the lifestyle he was singing about, otherwise he would be a bum. To put out the magnitude of songs, albums, tours, etc., he was obviously out there selling his butt off! Heck, you can’t even find a picture of him performing without that huge smile on his face. It can’t make him THAT happy to sing Come Monday for the 10 millionith time! He’s delivering a finely crafted art. I actually admire his work ethic more than his music.
By the way, I live in Iowa City for 3 years. My 2nd son was born there. Wonderful people in Iowa…best I’ve ever seen anywhere. No kidding. (wish I could say the same about your winters!)
Justin–got a quick question for you. I’ve been working on a screenplay idea for nearly 3 years. After almost completing it, I’ve decided to scrap a big piece of it and restart. It’s a great story, but I’m trying to force fit into into a formula. I have a great, great story….but it’s taking me forever to develop an appropriate conflict to move it along. I’m trying to peg my story into one of Tobias’ 20 Master Plots, but it’s not working for me. Do you have any good resources that you learned from that you could recommend?
Found me seaching for Jimmy Buffett? That’s great. I’ll know I’ve really arrived when Buffett himself contacts me. Thanks for your kind words about my blog.
If you want to do something hard try tossing blogging daily into the mix of the things you normally do.
I hope Justin gets back to you, but here’s my two cents. Forget about formulas. They are basically a trap designed to explain the mysterious. I’m all for structure and basic plot points, but most formulas I’ve seen are silly.
Learn as much as you can about screenwriting and then lock it away when you start writing. A good book to give you some guide posts is Blake Snyder’s “Save the Cat.” But formulas? (And some would say that includes Snyder.) Avoid them and just write.
“Art is work.” Milton Galser
BTW–Part of the secret to enduring Iowa’s winters…is more Buffett music. It’s snowing as I type this and it’s time for me to play “Floridays” one more time.
Scott,
Thanks for reply. I definitely agree with your comments, however I’ve found that I can’t just sit down and write a screenplay draft unless I know where I’m going with it. Probably “formula” was the wrong word. I meant to say that I need to have the entire script sequence laid out first. I work backwards from the final objective displayed by a final effect, then work each “cause” backwards to the beginning. What I’m trying to do is set up each act & sequence with good conflict: initial act of aggression / justified retaliation / aggravation of issue / precipitating act, to all lead up to my central dramatic question. I will definitely check out this “Save the Cat” book. I’ve seen this book praised in many blogs. My problem is that I’m having trouble taking a great story and turning it into a good drama. Seems like most of life is a great story…but real life conflicts (internal, external, etc.) just don’t seem to overlap very conveniently. I had no idea that there was such an intricate craft to making an audience react in the right sequence of emotions, at the right time, and with the right varying degree of intensity. It’s as if the job here is to tap into the human capacity to suspend reality and sell a satisfying experience to the collective consciousness.
Well, enjoy that snow. If we could sell a few screenplays, then we could all move out to southern California & just watch the Hawkeyes in the Rose Bowl! (I used to live in San Diego back in the 80’s when I was stationed there in the navy. Sometimes wonder why I left! I really wondered that question for the 3 winters I shoveled that Iowa snow!!!)
Thanks,
Alex Smith
Some writers like to know their ending and others say they are making discoveries as they go. Find what works best for you , but remember the saying that writing is like driving with headlights, you can’t see the entire trip, but you can see enough of the road before you.
Follow the light.
I do see story structurea a long way from formula.
Check out this post I wrote on Structure, as it may be helpful;
http://wp.me/paP6U-1f
You wrote, “It’s as if the job here is to tap into the human capacity to suspend reality and sell a satisfying experience to the collective consciousness.” Many would disagree, but I think Spielberg would be right with you and it’s paid off well for him. He is said to ask the question of script or an edit, “What is the audience feeling right now.”