Chapter 1: My Journey into Screenwriting

Allow me to share my experience of selling my first screenplay in Hollywood, along with an important lesson about self-trust in an industry where certainty is scarce, yet everyone claims to have the answers.

The year was 2009. Despite having multiple agents and managers, I found myself unemployed as a screenwriter, making ends meet as a freelance arts journalist for Village Voice Media and other outlets. The pay was dismal, ranging from $0.10 to $0.25 per word, and I was churning out thousands daily.

At this stage, I was considered an "emerging writer" in Hollywood. My speculative script, Quatermain—a modern take on H. Rider Haggard's King Solomon's Mines—gained significant attention the previous year. Unfortunately, it didn't sell because one of my filmmaking heroes had a similar project in the works, effectively sidelining mine.

The silver lining? Quatermain garnered me a growing fanbase throughout Hollywood. Creative executives began approaching me to reimagine classic literature, a time when new ideas were flourishing in the industry, unlike today’s more challenging landscape. With the success of Guy Ritchie's Sherlock Holmes (2009), there was a surge of demand for period action franchises, and I was eager to deliver.

One concept particularly excited me, inspired by my admiration for the 1924 and 1940 adaptations of The Thief of Bagdad. This idea stemmed from the largely unexplored treasure trove of One Thousand and One Nights—known in its first English translation as Arabian Nights.

While I recognized that Aladdin (1992) had been made, it was an animated feature that only touched upon a small part of a vast narrative universe. Remember, there were 1001 nights to explore!

A young executive, now a rising star in Hollywood, asked me for my thoughts on the idea. I shared a brief pitch that I wish I could elaborate on here, and they promptly ushered me into their boss's office to pitch it again. The response was overwhelmingly positive.

Feeling energized, I sought advice from my representatives on how to proceed. This is when my anxiety began to rise.

My pitch received mixed reactions. Half of my team praised the concept and encouraged me to pursue it, while the other half expressed skepticism. Their main concern revolved around the impending release of Prince of Persia: The Sands of Time (2010). They warned that no one would want another "desert movie." Offended by such a narrow viewpoint, I pointed out that Arabian Nights is rich with lush, colorful settings across Africa, Asia, and the Indian Ocean. Their response? That a Tarzan movie was also in development, thus another "jungle movie" was unwelcome.

Despite my inexperience, I was youthful and brimming with confidence. I decided to collaborate with the producers anyway, and then, a miracle happened—the kind that every aspiring writer dreams of.

We pitched the idea to Warner Bros., and I sold it on the spot. It was surprisingly straightforward. Suddenly, I was a professional screenwriter. I called my parents, who had doubts about my Hollywood pursuits. We all shed tears of joy.

However, upon finalizing the deal, I had to confront the reality that two of my representatives had advised against pursuing this very project. It was a sobering moment. I had managed to pay off all my credit card debt and a portion of my student loans simply by trusting my instincts.

(To clarify, I earned the WGA minimum, which at the time was around $90K USD, less 25% for my agents, managers, and lawyers. While I didn't strike it rich, it was a significant amount for me at that point.)

Faced with this situation, I made a decisive choice. I thanked my naysaying reps for their eight months of service and parted ways. Their misjudgment on this project was not an isolated incident; they had discouraged several ideas that eventually found success.

Thus, we arrive at the core lesson of this screenwriting narrative:

Your creative instincts are your greatest asset.

In Hollywood, success hinges on the strength of your instincts, as they are what attract others to invest in your dreams. Chasing trends or seeking validation from others may lead to a few sales, but it will ultimately stifle your unique voice, making the process feel soulless and exhausting.

This doesn’t guarantee you’ll always be right; many writers, including myself, have misjudged opportunities. Some of us may not be cut out for this industry, despite our aspirations. However, nurturing your own voice and narrative instincts is crucial for long-term success.

No one knows your desired path as a writer better than you. While finding representatives who understand and support your vision can be challenging, it’s far worse to be tethered to those who believe your aspirations are misguided.

Interestingly, I forged one of my most enduring friendships in Hollywood through this project. Marc Guggenheim, known for creating "Arrow" and "DC's Legends of Tomorrow," was brought on to rewrite my script. He took me out to dinner, becoming a reliable source of wisdom in the industry—proof that something good can emerge from a project beyond just financial gain.

Another lesson learned: genuine long-term benefits in this industry often stem from the relationships you build. The people you encounter will have a lasting impact, far beyond any monetary rewards.

It's worth noting that this wasn’t the only time my representatives dissuaded me from pursuing a project; a later incident led to my first television sale, culminating in a pilot script being greenlit for a series. You can read more about that experience in my collaboration with Counter Arts.

For more insights on storytelling, the arts, and occasional reflections on life, consider subscribing to my Medium page or signing up for my free arts-focused Substack newsletter, 5AM StoryTalk.

Chapter 2: Lessons in Trust and Collaboration

In the video "HOW I SOLD MY FIRST SCREENPLAY IN 2 WEEKS! PART 1," I delve deeper into my journey and reveal key strategies that helped me navigate the complexities of the screenwriting world.

The video "Forget About Selling Your Script. Do This Instead" offers alternative perspectives on finding success in screenwriting, encouraging writers to focus on their unique voices rather than market trends.