When my 1st screenplay made the 2nd Rounder list at the Austin Film Festival several years ago, I wasn’t sure whether I should attend. After all, I had a day job, 3 kids, a Maytag full of dirty laundry, and an ever-waning bank account. How could I ditch all that glam to go to Texas? I polled my friends, my partner, and my dogs: they all said go. My wallet disagreed, but I never listen to my wallet, so I went for it.

Was it worth it?

Hell, yeah—and that still resonates, even years later. Where else can you meet a wide array of award-winning film and TV industry professionals with years of real-life experience, who not only make a living in your career of choice but willingly share what they know?! If your travel costs aren’t too high, it can be a screaming deal for the caliber of advice you’ll get and the creative crowd you’ll meet. Austin is also worth a visit all by itself. It’s a city with a pulse: great restaurants, live music, a fun vibe, and interesting people.

Here are eight things I learned at the Austin Film Festival that continue to inform my work, and three of my own creative-life lessons to help you get where you’re going.

1.) SCREENPLAY CONTESTS MATTER:

As you might already know, most scripts submitted directly to TV & film professionals end up in the “slush” pile. Screenplay contests are an easy way to get your work out of that pile and into the hands of someone who can actually help your career. Not all contests are equal, and panelists or judges vary, so do the research to find out which contest best suits your work, then enter early for the cheapest fee.

2.) PERSONALITY COUNTS:

One agent said it best, “Assholes aren’t invited to conferences.” The AFF panelists I saw were all high-level professionals, but they were also open, engaging, and genuinely wanted to help. Personality also matters in a writing career. Agents, managers, and execs want to work with people who are conscientious, considerate, and professional. Personality is even more important in a writing room, which one panelist described as “a 10-hour bus ride,” so give a little love to your soft skills.

3.) RESEARCH IS CRUCIAL:

It’s never been easier to learn what you don’t know. Hollywood loves to talk about itself, so go online and research your genre to find out what gets made and who’s actually doing it. Find out which execs are looking for the work you’re creating, how to pitch to them, what managers and agents want in a client, how they want to be contacted, and how to spell their names if you’re contacting them by email.

4.) FEEDBACK, FEEDBACK, FEEDBACK:

You can’t fix a problem you don’t know exists. The AFF is a great way to meet other writers, find a writing partner, or connect with someone who can give you informed feedback. Many who attend are in the early or mid-stages of their careers and are willing to offer insight, support, and encouragement.

5.) AIM HIGH:

Keep working on your feature or TV screenplay until it’s as good as you can get it. Not only is high-quality writing easier to read and sell, but the development process can be long and lonely. The more you love your work, the easier it is to keep that love affair alive.

6.) REMEMBER THE 3 P’S:

PASSION: Every story might have been told before, but it hasn’t been told by you. Especially in the age of AI, nothing sells like authenticity. Write what you’re passionate about and write the story only you can tell. No one else can do that.

PERSISTENCE: You might be closer to your goal than you think, but you won’t know if you give up. Rejection is a fact of life, but it doesn’t mean this isn’t the field for you. Some AFF panelists said they gave in and read the work of someone who contacted them respectively but persistently. Two common rules: comply with manager and agent guidelines, and contact the same individual no more than once a month.

PATIENCE: Many panelists said "overnight" success came after 10-20 years of hard work, so keep that in mind the next time your work is rejected. It may take a while, but you will only get there if you keep trying.

7.) HOLLYWOOD ISN’T FULL OF EVIL PEOPLE TRYING TO STEAL YOUR IDEAS:

You might think evil is everywhere, especially now, but industry execs don’t have time to steal your ideas. They just want a good script, so do the research to learn the current protocols to protect your IP (copyright, etc.), then submit it only to those contests, agents, and managers who promise—in writing—to respect your rights.

8.) WRITING IS A BUSINESS:

Filmmakers and related execs might appreciate your talent, but at the end of the day, even they have to pay the rent, again and again and again. It’s much easier to become a working writer if you’re consistently creating good work they can actually sell. If you win, they win.

I come from an unrelated but similarly creative industry, so here are a few life lessons from my creative process to yours:

CONFRONT YOUR BRUTAL TRUTH:

You’ll get a lot farther ahead—in this or any career—if you know where your deficits are and are willing to address them. Unlike many other industries, you can actually make a living as a self-taught writer. Just know that much of your competition has attended accredited schools geared to the film and TV business, lives in L.A., and many are well-connected. In order to compete, you need to polish your skill set, know where you're weak, and how to fix it.

GET OUT OF YOUR OWN WAY:

Writers, filmmakers, and other creatives are all artists at heart, which means you’ll spend 50% of your time convinced you’re a brilliant, undiscovered, and unappreciated talent, and 50% of your time plotting to kill yourself because you’re such a pathetic loser. Accept that your self-esteem will oscillate and move on. Keep copies of the positive feedback you receive to remind yourself why you’re gifted or driven or competent, and when you’re ready to put your work out into the world, don’t let doubt cloud your judgment. Revisit that feedback and listen to the voices outside your head, not the self-sabotaging ones that keep you up at night.

JUST DO THE WORK:

Every writer knows 10 other writers (or wanna-be writers) they think are more qualified, but talent alone is rarely enough to create a viable career. Being talented doesn’t mean you have a good work ethic, can get along with other people, or will show up on time. Most importantly, you have to do the work and—surprise!—doing the work, again and again, actually makes you better at the work itself. Connections can get you in the door, but what will keep you in the room is consistent, high-quality work.

From my laptop to yours, I wish you happy and endless success.

A.j. Recchi

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