I wonder if this has been discussed earlier? Have you ever had a rejection letter that was uplifting?
Here's one I got a while back (details omitted) :
Hi there Ville,
I hope you’re well.
I wanted to let you know that we’ve read your script, it’s very good! The series does seem very funny.
Unfortunately, we’ve got a lot of live action in development at the moment so we’re just not in a great position to add anything to our slate.
We’ve also heard about another studio here in **** that is developing a series based on something similar, so the timing might not be right.
Thank you so much for thinking of us, and we’d be very interested in hearing about ANYTHING else you’ve got brewing, we love your sensibility.
All the best Ville
You can't feel defeated after this. Do you have similar experiences?
What a wonderful thread. That's a great letter. It wouldn't make me feel rejected at all. Basically, they just said, love the script, not for us, and not right now, but keep going.
I once ended up having an entire email conversation with a producer who really likes what I had to offer, it just wasn't for him. He talked about all the ways I could find a home for my screenwriting and advance in my screenwriting journey. It was really sweet of him.
Thanks Lily, this is awesome to hear. That kind of happened to me once, where someone said "Have you tried company XX, they might like it?".
As someone does that, it's not money out from their pockets, only good vibes all round. And with very little effort. In the end, you don't remember the ones who never replied, or the generic rejections, but the good vibes stay with you.
Absolutely.
While rejection or crickets can be a major disappointment, what I found helps me to continue my own journey, is just having nice conversations with industry members. It's unfortunate how many assume that all industry members are like prison guards or the mafia. They're not like that at all. Real people dealing with the limitation of only 24 hours in a day, just like you.
Well put. With what little experience I have, very few people in the industry act like royalties, or claim to know everything about everything. Pretty much like in any other trade or industry anywhere, most people are ok.
Dear Writer,
We are not currently accepting any scripts. But I thank you for reaching out and I wish you all the best success. Please do not contact us again unless you have an agent submit.
Sincerely ...
Dear Writer,
Keeping in line with our policy not to accept unsolicited submissions, I have deleted your email regarding your project. I wish you all the best in your future endeavors.
Sincerely ...
Dear Writer,
In keeping with our rule on unsolicited submissions we have deleted/destroyed your submission. Once you have an ‘A’ list cast, crew and finances in place, and a sales deal, please re- submit.
Best ...
Dear Writer,
Thank you for getting in touch. I don’t think it’s a project for us as we are unable to look at it at this time, but best of luck setting it up – it looks like fun. If you approach us again, we will use the law to its fullest extent against you. If you own a pet, we will find it.
Best wishes ...
Dear Writer,
Stop sending us your fucking scripts! We will NOT read them!!!
Best ...
Dear Writer Fuck off!! Sincerely FUCK OFF!
FIZZY DAYS AND PLASTIC MONKEYS https://getbook.at/FizzyDays
Hah! Sounds fairly familiar.
You guys are getting responses?
Better than nothing, right?
My favorite rejection letter came with an depth review of my script. It was scathing and very brutal. But to be honest everything in the letter was 100% accurate and although I must admit the bluntness of the criticism hurt my feelings a little, I took everything on board and did a full rewrite. The letter basically told me that the premise/plot was great, but the execution fell flat. The writer of the letter really seemed bummed that the content of the script didn't match the concept.
It's my all time favorite rejection because I learned that I need to make sure that the work I put in fully matches the potential of the idea. Made me a better writer.
Yeah, brutal. But then we learn to turn our emotions off and focus on the work. That kind of stuff can be helpful. My most crushing feedback after a lot of hard work was in a nutshell: "Nah, do something else". It didn't make it any less frustrating to find out later through little slips between the lines, the person had never read the script at all. But I did something else.
Worth keeping in mind too, most of feedback is opinions, not facts. Like with any movie out there, not everybody likes the same stuff. So sometimes you shouldn't follow somebody's advice, even if they really, really feel a certain way. With feedback, it will be helpful to know where it comes from. If it comes from someone who 'knows' how everything works, because they 'know' everything, stop listening immediately. If it comes from a creative person, who encourages you to question your choices, or points out blind spots, or offers alternatives, take notes and be grateful. It's worth gold.
Very wise words and an ethos I've been trying to encourage for years. When someone seems to have authority and experience, their critical views of your work can feel more objective than it really is. I've butchered scripts in the past because of a lack of self-confidence and a belief that the person giving me feedback was so much higher up the mountain than they really were. While a lot of people (people who are failing) say this is all about taking on feedback, I'd say it's actually more about building up the skills and confidence to question it, all so you can maintain voice and direction. That's a running theme I've seen with successful artists who may come across as arrogant to some, especially in their early years.
I think it's also important for any creative to keep in mind that a positive response isn't the same as approval. A negative response isn't the same as rejection. Not everyone isn't going to love you and your script. Some may hate just the idea of your script, but the nice ones out there, if they have the time to respond, will provide info that may help you with the next email/interaction/etc. And if none of it helps, personally, I swallow the bitterness, as well as I can, shrug and move on.
The thousand of rejections responses I have received over the last 20 years I have rolled into a recent book to help scriptwriters and filmmakers deal with rejection and give people an idea of what hurdles we go through - It's got as high as in the top 100 screenwriting books on Amazon. I thought this might be a good place to push it.
Dear Writer Fuck off!! Sincerely FUCK OFF!
FIZZY DAYS AND PLASTIC MONKEYS https://getbook.at/FizzyDays
Extending the conversation on feedback a little, something I think that's important to note, and something I've been coming to learn through recent experience, is that people generally follow the crowd in a bid to preserve their social mobility. It's not only cool to like the things deemed cool but also cool to hate the things deemed uncool. I know this is a pretty obvious concept, but understanding how it works when you're an unknown writer, or new filmmaker, is critical to preserving your sanity.
When my second film Double Threat came out, it was to very little applause, and the reviews were middling to damning. The average IMDb score dropped slowly but gradually over time and that felt like the path it would continue to follow. However, when it surprisingly went to #4 on Amazon Prime, pulling ahead in popularity over much bigger releases, the reviews and ratings suddenly skewed massively toward the positive, especially on platforms where no previous negative reviews existed. Viewers clearly felt a lot more comfortable nailing their colours to the mast with something already seemingly validated - and that validation went on to create more comfort and further public approval.
The critics however, they still panned the film and will most likely continue to unless it becomes a cult hit, in which case they'll brand it genius and something they supported vocally from day one. It's simply not cool for critics to like unknown little cultish films made for the masses to enjoy because critics don't roll with said masses and, in fact, pride themselves on going against the flow.
You'll see this in the screenwriting world whenever the Black List or Nicholl release a list of winners and people start gushing over the scripts like they just found the meaning of life. It's kinda creepy and a little scary to watch because, in a way, it plays out like like a madness. However, like it or lump it, the same mechanics are in play behind the scenes in Hollywood and all the history books show it. When you're hot, your hot, and it's risky business for anyone to claim otherwise.
True that, Lily. And Mark, I'm so going to read your book one day. And CJ, don't get me started on critics. No, too late, you just did. Now I may have to pour my heart out in a blog.
I hope I'm not straying too far here. But we all know that person, who sits in the movie theatre, holding his breath, laughing and crying, squeezing the armrest really tight. In the end they might even secretly wipe off a little tear. As the lights come back, they say "What a load of crap".
I will never, ever learn to understand this (and don't have to, not my problem). But what if it was THAT person who just read your script? Maybe they enjoyed it, but... are ashamed to admit it? They feel their reputation is at stake, should they confess to liking something that's "only entertainment". Or something like that? But the point is, we'll never know, because we get: "Thank you for your submission, but unfortunately..."
Stock answers. Another common one is, "We don't have the budget for this." It's a necessary evil. Partly because it's just safer. Consider things from the other side. 51% of the world's population, over four billion people, is now connected to the internet. No one wants to be harassed by potentially thousands of hopefuls a day who are desperately trying to force a complete stranger to make their movie.
I chatted with one low-budget producer, who confessed the reason he doesn't respond to every email is because he doesn't want to break anyone's heart.
There's a wide variety of industry members. There's a variety of film industries all over the world. Contrary to what many trendy little bloggers and self-titled gurus claim online, cold emails/queries/pitches sent to Hollywood are only one out of many ways to go. It just seems like the easiest way to go. There are a lot, and I mean A LOT, of people who will take advantage.
Semi-related side note. I enjoyed Double Threat, It's a fun little flick. And screw the critics.
This was a strange one :- Page 29 https://getbook.at/FizzyDays
Dear Writer
I have finally read your script; so very nice. Moving and very educating.
Good job!
Thank you again for sharing.
(me) Er ... thanks for looking ...?
I understand that rejections, individually, are opinions, but at the same time I took the particular rejection to heart. It was a detailed review with bullet points. The critique was oddly personal as most rejections tend to be just sterile 'No thank yous'. This was very different. Genuinely disappointed at the quality of my script. The author of the rejection letter was from one of the top management agencies in HW, and the absolute take down made me feel that I should probably avoid submitting in future.
Page 192.... I sent out and I received more responses, some adding a little more salt to the moment, such as this one:
Dear Writer,
‘We are formally warning you. Accordingly, we must ask that you do not send us any more original creative material. If you choose to disregard our policy and you submit screenplays, creative or story ideas, creative suggestions, ideas, notes, drawings, concepts, or other information (collectively, the ‘Submissions’), the Submissions shall be deemed, and shall remain, the property of Brightlight Pictures. None of the Submissions shall be subject to any obligation of confidence on the part of Brightlight Pictures, and Brightlight Pictures shall not be liable for any use or disclosure of any Submissions. Without limitation of the foregoing, Brightlight Pictures shall exclusively OWN all now known or hereafter existing rights to the Submissions of every kind and nature, in perpetuity, throughout the universe and shall be entitled to unrestricted use of the Submissions for any purpose whatsoever, commercial or otherwise, without compensation to the provider of the Submission.’
192
A HALTING INTERLUDE
Fuck me, give me a break! I just sent them a script. I didn’t kill anyone. https://getbook.at/FizzyDays
(paraphrase)
Industry member: If it can be made for less than $750k I'd love to read it.
Me: Please see attached PDF.
Industry Member: Thanks, I'm a little busy this month, but I look forward to it.
Me: Take your time and I hope you enjoy the read.
Regardless if it works out, it's really nice to know my efforts to better understand the film industry has paid off. So I can say yes, this script could be made for this budget or less. If this happened four years ago, I wouldn't have known what to say.
Ok, Mark.
That rejection from Brightlight is insane. I've never encountered that. I received one rejection years ago where they outright refused to even consider reading anything I submit, but nothing on the level of of what you were subjected to. Which leads me to another point. Over the years I've become friendly with quite a few industry professionals and have been told many times that they best way to break in is to disregard the rules and not follow the accepted approach. Although when I've tried that I've always been met with outright refusals to consider anything I submit.
In the years before I'd sold any novels or scripts, I actually really valued the positive comments. They can keep you going through difficult times because you know that 'neutral' parties are seeing value in your work.
The Brightlight response was possibly the most egregious response I chronicle in my screenwriting book --
https://getbook.at/FizzyDays
I'm sure there are worse out there...