The Battle of Los Angeles Part 8: The Next Episode

            When I lived in LA, my entire identity and sense of value in myself were tied up in selling a script and I wasn’t alone. People there think they are on the verge of being discovered at any time. They’re like flakes of gold, hoping the sun will catch them and shine a light so bright upon them they become a star, even though most of them aren’t even popular in their hometowns. Someone once said to me, “Google me in six months,” and she meant it. I did. All I found was her Facebook page and a YouTube Channel with no hits. Still, the Hollywood insecurity was contagious and trying to ignore it or overcompensate for it made me the worst kind of person. I needed small, petty victories to make myself feel superior, like taking solace in my USC MFA, winning at bar trivia, or correcting other peoples’ grammar. These little superiorities gave me quick-hit ego boosts, but did virtually nothing to bolster my waning self-confidence or truly make me feel at ease. Honestly, this constant need to be better than everybody else, in some small, often insignificant way, kept me alienated and closed off from other people. 

            I thought the entertainment industry needed me and my genius, but teaching screenwriting has demonstrated again and again and again that I am not unique and I am decidedly not a genius. There are a thousand other people just like me; I know because I’ve taught like 800 of them. Talented writers are a dime a dozen. I’ve taught mes, I’ve taught Maloneys, I’ve taught Katies, I’ve taught Jordans, I’ve taught Ryans, I’ve taught Toms, I’ve taught Seans. I thought I got the opportunity to write for a living and maybe write some big league scripts because I was special or gifted, but the truth is I got those opportunities because I was lucky. I was so fortunate to go to USC, it was a blessing to get to spend my 20s going after what I truly wanted with all my heart, soul and energy. I learned there’s such a thing as trying too hard. Maybe things didn’t turn out as I scripted, but I got to play the game. Seeing the sheer volume of people trying to do what I was trying to do has made me realize how grateful I am to have had the opportunities I had, let alone the successes. 99% of people who try screenwriting will not achieve the things I achieved and that shouldn’t make me feel superior, it should make me feel so, so thankful.

            I hadn’t had a script professionally read in two or three years. But I learned to make things, and actually produced a web series and a sitcom pilot, none of which turned out as well as I hoped. But I’ve kept learning, I’ve kept thinking and I’ve kept writing. Sometimes it’s been scripts, sometimes it’s been short stories, sometimes it was a novelization of THE ART OF LIVING DANGEROUSLY.  Turns out I function way better when I’m working on something creative, whether it’s for a manager, for money, or just for myself. Like Gary and John need to keep playing music, I need to keep writing, no matter how small the audience. It’s not to get noticed, it’s not to make money, it’s to keep myself sane. Writing is the purpose of my writing. I write because I don't know how else to make sense of the world and I think it affords my best chance of being accepting of a place and accepted in a place I don't completely believe in or understand. 

 That said, with my wife pregnant and seeing some friends have Big League success, I still yearned for success in Hollywood. To that end, I did an autopsy on my screenwriting career. I read old scripts with new eyes and asked new people to read old scripts. It was a much more embarrassing experience than I expected, sorting through my past shortcomings. I thought the industry was wrong to ignore my screenplays, but turns out the flaws in my scripts are glaringly obvious and there are perfectly good reasons why those scripts didn’t do for me what I hoped they would do. I won’t bore you with the specifics, but the gist of my weaknesses as a screenwriter are probably the gist of my weaknesses as a man: I don’t write empathetic characters and I focus too much on words and too little on emotional intentions. I would also add that Screenwriting is storytelling in scenes, not prose. The form impedes some of my talents, I think, because I can’t use linguistic magic to say what I mean as I have in this blog, I have to use moments and characters and intentions. Producing things helped me realize this shortcoming and understand the differences between prose writing and telling a story in moments. With a new understanding of my weaknesses as a screenwriter, I considered new ideas and projects to undertake. But I didn’t have anything I wanted to write. 

            Then completely out of the blue, on the way to teach class, I got a Facebook message from my old agent. He is at a new job at a big management/ production company, a company way bigger than Fuse ever was, and he wanted to know if I still had THE ART OF LIVING DANGEROUSLY because he thought it would be a good vehicle to package at his company, which has a ton of A-list comic talent as clients. We are reworking the script and going to try to package it there, sell it and get it made. In the wake of working on this project, a new string of screenplay ideas emerged, which is great, since in Hollywood you’re only as valuable as your next idea. But I don’t have any illusions about this project selling or those other scripts somehow changing my life. Obviously, I hope it sells. I hope it sells for a shitload, becomes a franchise and I get to move back to LA. But I don’t need it to do any of those things. I don’t need to be in LA to be happy. I don’t even need to sell a script. I have a life, a wife and a daughter I love already in Chicago. Selling a screenplay would just be icing on the cake. Honestly, I’m just happy I get to play the game.  
Further Reading: BFD