THREAD: I think one of the aspects that separate casual "writing for fun" screenwriters from professionally-minded writers is INTENTION. As in, how is what you're currently writing/about to write a step towards your goals as a working writer? So I wanted to walk through that. 1/

I was having a conversation with a friend who's a fellow manager. He and his writer client were discussing her potentially writing a biopic script about a famous musician. Since I've done a few of those, he wanted to discuss how to go about it. 2/

The pertinent question I asked was, if that script is successful in gaining attention (as it was unlikely to sell, due to the music rights being controlled by the musician), then will it lead to the sort of opportunities that the writer wants? 3/

This may seem obvious, but if you write a music biopic that gets attention, those are typically what you'll be offered a shot at being paid to write next. Hollywood is very big on hiring people who've done one thing well to do that same thing again and again. 4/

That doesn't mean that it'll be the ONLY thing out there, but it'll probably make up the MAJORITY of opportunities coming your way. Just as, if you wrote a horror film that was a success, you'll likely be brought horror projects to write and rewrite going forward. 5/

Writers often chafe at being put in this "box," but the reality is that we put actors and directors in those boxes constantly. Hence the shock when a comedic star does a dramatic role. And it's unlikely that people are bringing David Fincher romantic comedy scripts. 6/

My general rule of thumb is, it's better to be on a list for a specific genre (especially if you're high up on that list) than not on any lists at all. And if you can always spec a new script to break out of the box. 7/

Matthew Weiner was on BECKER until he specced the pilot to MAD MEN. John August was best known for a great, unmade adaptation of HOW TO EAT FRIED WORMS, so he was brought kids projects. I believe he wrote GO on spec to break out of that box. And so on. 8/

Those writers (though already successful) wanted to move their careers in a different direction. So they wrote a script that reflected the direction they wanted to work in. 9/

They were clear in their intention -- this script is going to open me up to these new opportunities. But there would have been no point in them writing those scripts if it didn't reflect their intended direction for their career. 10/

To circle back to my manager friend's client, she didn't particularly want to be known as a writer of music movies. And so, even though the script idea was the type that could get attention if done well, there really wasn't a point in her writing it. 11/

If you get attention for doing something well, but it's not something you want to do again, then that attention is somewhat wasted. Especially given the amount of work you need to put in to make anything truly great to the point where it gets attention (and can't sell.) 12/

Beyond the simple fact of writing the sort of scripts that you want to write MORE of, I want to also talk about intention in terms of a more simple goal. What sort of career opportunities am I intending for this script to bring to me? 13/

Sometimes, I'll start working with a client whose script I liked, but didn't feel was commercial or unique enough to take out to show the town. Often, I really like their voice and I really like them, but I don't think the script is the best reflection of them. 14/

That script interested me, but it's not what I think will interest the town. But, as a result of that script, we start working on something new that I feel WILL be a great way to introduce them to the town. 15/

My bar is different than that of an executive or an agent. I'm looking for someone with a great voice, even if they need polishing or help developing the right script to showcase their voice. Agents are, generally, looking for someone they can start making money from ASAP. 16/

Executives are either looking for 1) something they can get made ASAP (this is ideal) 2) an incredibly unique voice that they, their bosses, and buyers will IMMEDIATELY respond to and want to meet (those are rare.) 17/

So a lot of the time, the script that introduces the writer to me is not necessarily what I think should introduce the writer to the town. As we all know... 18/

But that doesn't mean the script was a "failure" -- it introduced them to me. And if their intention was to find a manager who works closely with them and believes in them, then the script was actually a great success! 19/

So, when you're figuring out what you want to write next, really ask yourself -- what do I want to come from this script? What's the clearest, most realistic goal for this script to accomplish that will push my professional screenwriting career forward? 20/

I'm not talking: "It'll get made, make me rich, and win me an Oscar." I'm talking" "It's going to be a great example of X-type of film. It'll hopefully get me a lot of meetings at producers that make X-type of film because I love those films and I want to write more of them." 20/

It's about figuring out what that goal is, and therefore what's the right script to accomplish that goal? And being ruthless in determining that. @IanShorr had a cool idea for a movie years ago, but realized it wasn't the right project for him to write at that moment. 21/

To me, that's the difference between a pro and an amateur. They might both find the same "cool" idea -- but the pro writer realizes, as cool as it is, it's unlikely to sell or get made or even be a useful sample. Whereas an amateur writer simply writes the cool idea. 22/

If I had to simplify my advice about intention down to a single line, it's this: How will this script set up the next script I write after it?

That's the question you need to ask yourself and be rigorous in thinking through it. 23/

Starting to think this way about the scripts you write and how you're laying down the path for your screenwriting future is something I honestly believe can be the difference between being a professional writer and merely hoping to be one. END

Every single person in town.