Reader Question: What to do when a manager responds, “I liked the writing but…”

Get ready for some cold, harsh truth about Hollywood passes.

From Courtney Chambers:

You’ve been through the trenches so I hope you can shed a little light on the subject.

If a manager — (I don’t query agents)

Responds with, “the writing is great,” (happens every time)

Then –

“I just didn’t fall in love with the story, at least not enough to champion.”

What do you do?

I get this — each and every time in some shape form or fashion —

With no notes of course.

(And yes… I do realize not every story is right for every person.)

But if I knew “management-eese” I would know what to do next –

But I don’t.

Keep throwing it out there waiting for those “right” two eyes?

I’m in limbo not knowing if I should rewrite or leave it alone and query my ass away in hopes for one… “I like it.”

Like I’d mentioned, I receive NO feedback. And if I did, I could deal.

I’m my own worst critic (think Howard Gordon) and I can handle it — I’m forty-one-and-a-half.

Just tell me if the story stinks —

“It’s not for me” or “pass” does nothing to help either improve or scrap the story.

And yes I get it –

They’re busy…

But I work all day — write all night then get up and do it all over again — seven days a week — so the “overworked” thing from LA — I think aspiring writers win — bleeding eyes, crumpled fingers and all.

So with that I say…

Dear managers: Help me… help you.

Okay Scott not really a question just looking for insight.

Hope I’m not the only bait out here on a hook waiting for a nibble.

Courtney, get ready for a date with reality: There are people in Hollywood who lie.

There’s even a book by movie producer Linda Obst titled, “Hello, He Lied,” a variation on the old joke, “How can you tell when an agent is lying? When his lips move.”

I’m not saying these managers who respond to your script by saying, “I liked the writing but…” are all lying. No, odds are some, perhaps most are telling the truth. They do like your writing, it’s just the story didn’t knock them out or they don’t think the concept is commercially viable or they’re just not into that genre.

But some people on the script acquisition and even development side will use a default “I liked the writing but…” response even if they don’t, in fact, particularly like your writing.

Why do they do this? Have you ever heard of that phrase the “line of least resistance”? It means taking the easiest path. And the easiest path when trying to dispense with a bunch of script inquiries is often to lie. Rather than drill down into a variety of reasons why they actually are passing on the script, just say, “I liked the writing but…” and be done with it. That way the manager comes off as a decent person, doesn’t cause the writer to go into a suicidal depression, and everybody moves on with their lives.

There’s also this: If there is even the slightest chance a writer might one day nail a spec script, a manager doesn’t want to risk pissing off said writer by responding, “Sorry, but your script sucked.” By saying “I liked your writing but…” at least they feel like you will keep their email address active for the next spec you write.

Again, I’m not saying they all lie, but I have gotten the same critique from studio execs or producers [information passed along by my reps — “They really liked the writing, but the story just wasn’t for them”] only to discover down the road that in fact, they did not like the script very much at all, not even the writing. And I’m sure there are plenty of working screenwriters who can attest to receiving the same response on a script of theirs.

So what to do? I have a pragmatic answer and an inspirational response. First, pragmatic.

Any time you interact with a management company or agency, even if they pass on your script, that is an opening. Suck up your courage and call them. You will get an assistant. Explain that you recently submitted a script that was received favorably at the company, but ultimately a pass. Could you speak to someone who read the script to learn more of their reaction? Maybe they will agree to do that or at least send you to their voice mail, maybe they won’t. But now at least you are talking with an assistant, an actual human being, getting their name, and writing it down on your list of reps you are contacting (you do have a list, right)? And as long as you are nice, courteous and — this is really important — not crazy, you are creating a contact. Yes, it’s an assistant, but they are gatekeepers to their bosses. Moreover assistants are the power brokers of tomorrow which is why you should always be nice to them. Repeat this process with every single rep who responds, “I like the writing but…” The simple fact you had the initiative to follow up with a phone call sets you apart from 90% of the other people who submit scripts via email.

The inspirational response: Write a script that forces an agent or manager to say they want to rep you. Easy to say, hard to do, right? Yes, it is. But in all honesty, that is no different than the challenge every professional screenwriter faces with every script we write: Craft a script that is so great, people — producers, execs, talent — love it. There is no secret formula, no guaranteed script paradigm, no certified one way to write a great script, just your own creativity, what you have learned about the craft, movies and life, your unique voice, a killer story concept, the persistence and guts to write it, and the passion for the story to bring it to life on your pages. The fundamental writing task — you or me — is no different.

If you commit yourself to writing a great script and you keep at it, chances are some day a manager is going to respond with this: “I really like your writing and I think the story is great, the characters are great, the whole thing is great, when can we meet?”

Question for GITS readers: Have you ever gotten the “I liked your writing but…” response from managers or agents? If so, how often? Did you do anything to follow up? If so, what?

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