Have you ever wondered what really happens behind the glamorous facade of Hollywood? Well, let me assure you, the journey of a screenwriter is often a wild ride, filled with twists, turns, and maybe even a few surprising detours. I’m here to share my true story—a narrative that’s anything but clickbait. It’s a firsthand account of my path to becoming a screenwriter, designed to peel back the layers of mystery that surround this craft and illustrate the gritty reality of the screenwriting business. My hope is that fellow aspiring scribes can glean valuable insights from my experiences, moving beyond the fairy tales and into the realm of actionable knowledge. So, buckle up as I take you on a journey through the less-traveled roads of screenwriting… LEARN MORE.
The title isn’t clickbait or hyperbole (this really happened)—and this isn’t intended as a “me” piece. I’m here to tell the true story of an amazing and blessed screenwriter journey with the hopes that screenwriters can learn a thing or two about the real business of screenwriting beyond the fantasy and lore, and how you can apply my experiences to your own screenwriting journey.
So here goes…
The Early Screenwriting Years
I graduated high school back in 1994 and proceeded to flounder in Madison, WI for five years. Thankfully, I met the girl of my dreams, fell in love, and moved to California in 1999 to pursue my dream of being a professional screenwriter.
‘Bedazzled’ (2000)
I worked as a movie extra to get on Hollywood sets. Do you see that guy looking at a folder?
Yeah, that’s me. It was a Harold Ramis flick called Bedazzled, starring Brendan Fraser—and it was a thrill to see myself on the big screen. But the moment I truly treasured was when the late, great Harold Ramis introduced himself to me between shots. There I was, a kid from the Midwest meeting a Ghostbuster.
I did that kind of work for a while to get on set. I shared space, and some brief screen time, with legends like Dustin Hoffman and down to newcomers (at the time) like Jake Gyllenhaal.
My wife and I eventually moved across the street from Sony Studios, the former iconic MGM lot where The Wizard of Oz and the original The Twilight Zone series was shot.
I tried everything I could to get a job on the lot. It was futile until one day, fed up, I marched across the street to one of the gates and asked a security guard, “How do I get a job here?”
Two weeks later, I was a Sony Security Guard. Two weeks after that, I was working the North Thalberg VIP gate, meeting the likes of Stan Lee, Arnold Schwarzenegger (pre-Governator), and nearly every A-lister you could imagine. I spoke with the studio head at the time, Amy Pascal, every day as she drove through the VIP gate and waved hello.
Let’s fast-forward this origin story a bit. Here are the highlights:
- I worked my way up into an office position as a studio liaison working with incoming productions and incoming Sony employees, executives, and term deals.
- I was writing scripts throughout this whole time, mind you, learning my craft.
- I talked my way into a development job as a script reader and story analyst, which offered me my best education in screenwriting.
- Once we had our first child in 2005, I started to focus more on my own screenwriting, eventually landing representation from a referral I garnered after querying a group of Wisconsin-rooted industry insiders (Hollywood Badgers).
- With my first notable spec script, I was thrilled to get general meetings with Disney, Universal, Warner Brothers, Dreamworks, and Sony.
- Nothing came of those meetings. Such is Hollywood.
- My wife and I decided to move back to Wisconsin to raise our son (now sons) close to family.
- I cried like a baby when I drove out of the Sony VIP Gate (I had a great parking space) late at night for the last time (years later I would return to that very gate as a guest).
Sony Pictures Studios Motor Gate
My Early Pro Screenwriting Deals
Here I was, back in Wisconsin—2,000 miles away from the dream I had pursued. I was still working with my manager and was thrilled to learn that Lionsgate wanted to sign me to a development deal for an action spec script.
That was my first paycheck. I thought I had finally made it, not to mention the fact that I had done so living in Wisconsin, not Hollywood.
Then, the double punch of the 2008 Economic Collapse and the 2007/2008 Writers Guild Strike happened (I wasn’t, and still am not, a WGA member). It sent the industry into disarray—ripples that are still felt today in Hollywood.
My action script was never produced by Lionsgate. They dropped my deal amidst the chaos like hundreds of other deals throughout the studio system.
My manager and I eventually went our separate ways. I haven’t had representation since.
In 2010, I was still in Wisconsin writing as a work-from-home father with two boys. I was pretty close to quitting my dream when a producer with Wisconsin roots connected with me via a Wisconsin screenwriters group I presided over.
I pitched him some of my specs, he requested them all, and the next thing I knew, I was hired on assignment!
Read More: Why Screenwriters Should Focus on Getting an Assignment Over Selling a Script
The First Few Assignments
The first one didn’t go to script, but I made some money with the pitch and outline. But then they offered me another assignment that tasked me with rewriting a script for a two-part, four-hour action miniseries called Blackout.
I read the original script and told them I would need to do a page-one rewrite, which basically means that the concept and some of the characters would be the only thing I’d keep, but everything else would be mine.
Because they had pre-sold it to foreign territories and needed to get production going, I had just two and a half weeks to write a 250-page script. I delivered—as a pro must—and the project went on to star the likes of the late Anne Heche, Bruce Boxleitner (Tron!), James Brolin (father of Josh Brolin and iconic actor in his own right), Haylie Duff, Eric La Salle, Sean Patrick Flanery, and Billy Zane, among others.
The Dark Years, Screenwriting-Wise
Blackout finally came out in 2012. I had visited the set during shooting, hearing and seeing my words come to life. It was a thrill. The miniseries was a Top 10 series overseas and debuted above the likes of True Detective and Game of Thrones on iTunes.
However, it’s not that much to write home about. It was a low-budget project that benefited from some great B-level (respectfully) names.
What followed was years of grinding away. I wrote some great spec scripts that garnered attention in the industry, and I had meetings back in Los Angeles. I was thrilled to fly back and visit Sony Studios as a guest, driving up to the VIP gate I used to man. But nothing ever hit.
I was a work-from-home father raising our two boys while working some consulting jobs in the tech industry to make ends meet. It was becoming more and more clear that maybe this dream had finally run its course.
Despite an exciting opportunity to write an indie thriller on assignment (Hunter’s Creed), the career had gone dark. Plenty of close hits, but nothing was sticking until one of my specs got the attention of a director and his producing partners.
They had investors for an action script of mine. It was going to happen. I was just a couple of weeks away from signing on the dotted line until March 2020 hit. We all remember it. We don’t need to get into it again.
But once things started to open up in 2021, a voice from the past entered my email inbox.
How I Landed 10 Feature Script Deals in Four Years (Without an Agent)
OK, you’re still here. I needed to tell the origin story to set the stage. And before I get into everything (as quickly as possible I promise), let me assure you that these ten script deals weren’t lower pay options or unpaid shopping agreements.
These 10 deals were/are fully paid writing assignments produced and distributed (well, as of the writing of this, seven were, with an eighth about to debut, and nine and ten close to production) on Lifetime, Hulu, Amazon Prime, iTunes, etc.
Let’s first tackle the “without an agent” part.
Success Without an Agent?
That’s right. I didn’t have an agent when landing these deals. I’ve made into the six figures without one. I came close to signing with an agent at the behest of my manager when my Lionsgate deal was offered, but I decided to save the 15% commission for the next contract. Then, the strike happened and deals went south.
My Lionsgate deal, as well as my deals for Blackout and Hunter’s Creed, were all handled without an agent or entertainment lawyer. I knew contracts well from my development days and through the non-signatory deals I had. It was more than enough knowledge I needed to understand contracts.
Pro Tip: You just need to read them and understand every line. It’s actually fairly simple.
Don’t get me wrong. Having a legit agent is amazing. But just not the necessary acquisition you need to make things happen.
Sometimes Networking Takes Time to Benefit You
So, I mentioned a voice from the past. My producer/executive from the Blackout miniseries had moved back to Wisconsin with his family post-pandemic. He was still working with the company that hired me years prior, but he wanted to get into screenwriting.
After almost 10 years apart, we had coffee and he explained that he had an in with a Senior Vice President of a major production company that made Lifetime movies. Yes, we’re talking about the Lifetime channel. They were looking for thriller concepts. Lifetime is notorious (and celebrated) for its thrillers.
We decided to partner up and pitch them two concepts that we conjured with the agreement that we would split any contract money 50/50 as co-writers.
Note: For legal purposes and professionalism, I’m not going to name the names of these projects. However, you can go to my IMDb page and put two and two together.
The First Two Screenwriting Deals
When both of our pitches were accepted, we were offered two writing assignment contracts. We decided that we’d each take on one with sole writing duties, using the other for support and feedback. For the script we didn’t write, we’d take a Story By credit.
Once both of these projects were completed and eventually went into production, we decided that we didn’t want to split another contract deal. So, we went our separate ways and haven’t collaborated since.
Eight More Screenwriting Deals on My Own (Still Without an Agent)
Thankfully, the SVP of the company we wrote for is amazing. We’re both excellent collaborators with no ego. I began to send pitches to her while she would bring her own pitches to me.
The next thing I know, I’ve got my own contract offer—my first running solo for the production company.
The company is a Canadian non-signatory entity that deals directly with Lifetime and its owners. Had I been a member of the WGA, I would have never been able to sign a contract with them.
Here’s the general process me and my SVP have:
- We agree on a pitch to take to Lifetime, whether it’s my original concept or hers.
- I write a pitch document, which is basically a logline and a three-page synopsis of the story.
- She takes the pitch to the network.
- The network says “yay” or “nay,” or they offer notes as far as what changes they’d want us to make.
- When it’s a go, I sign a contract with the production company.
- I write an outline, which is the first paid portion of the contract beyond a commence fee.
- She gives me notes as we collaborate on that.
- When we get it to an outline (basically a bullet point list of scenes/story progression) we agree on, she sends it to Lifetime.
- Lifetime offers us notes to apply.
- I apply them and then she excitedly emails me saying that I can go to script.
- I wrote the first draft, which is my second paid portion of the contract.
- I hand it in to her and she offers me notes.
- I apply them to a rewrite, which is my third paid portion of the contract.
- When she approves, she sends it to Lifetime.
- They have notes and I apply them for a fourth paid portion of my contract.
- She excitedly emails me saying that the movie has been greenlit. Keep in mind, this happens in a short amount of time.
- When production commences, the biggest paid portion of the contract is sent to me—and my wife is extremely happy as we are putting our oldest son through college (and his younger brother soon after).
Now, you’ll notice I didn’t go into detail about money and other dynamics. Frankly, I can’t. But I can say this: I joke to those close to me—friends and family—that I’m not Hollywood rich, I’m Lifetime rich. And that’s a fun nod to those who wire the money to me. It’s much appreciated.
The Thrill of Getting Paid to Write and Seeing Your Words on the Screen
There’s no better thrill. Look, I’m not having any delusions of grandeur about Lifetime thrillers. They are what they are by design. There’s no formula, mind you. But there’s an audience of millions that expect something familiar, but different.
The fun is writing the familiar. The thrill is finding the different.
These movies also are what they are because Lifetime makes considerably more movies than Hollywood studios churn out. They need content. They partner with production companies to find and make that content. Things happen very fast, which means the original screenwriters are rarely fired or replaced—I have had neither happen to me (knock on wood).
Because of this, I’m blessed to have signed 10 paid and produced contracts in the last four years. By the time my current contracts (I’m on two right now) are done, I’ll have had ten produced feature films in four years (eight so far).
I’ve met amazing actors, directors, and crew members online from each. Haylie Duff has directed two of my films—over 10 years after having co-starred in Blackout, my first produced screenplay.
I’ve never met my SVP in person. We’ve never even had a Zoom or Google on-screen meeting. It’s all been done through email correspondence and collaboration.
I still strive to get the Hollywood deals, but I’ll say this—in Hollywood, the thought of a screenwriter having ten movies made from their scripts in just four years, without ever being fired or replaced, and with having their script shot nearly word-for-word and action-for-action, would be laughed at as nothing more than fantasy.
You’ll quickly learn that what really matters is being able to make a living doing what you love. Sure, we fall in love with our spec scripts and dream of being assigned to write the latest studio or streamer blockbuster. However, the reality is that most spec scripts are never purchased and produced. Instead, they’re mostly used as calling cards for assignments.
Most of the pro assignments out there aren’t with the studios and streamers. They can be found in the second tier of Hollywood via production companies.
The Screenwriting Lessons to Be Learned
Everything you need to know about becoming a professional screenwriter is in the story above—that is why I’m sharing it with you.
I don’t want to break down every single lesson. Screenwriters need to learn to become self-reliant and self-driven. You need to pick up on this stuff yourself and adapt it to your situation.
And, no, sadly, I can’t help you get your script written, sold, or produced. I’m in control of my own destiny, and I’m doing all I can to support my family.
You need to venture on your own journey. But by all means, use my story as a compass.
I will say this:
- Networking is key, and anyone can do it. Even this aging family man from Wisconsin.
- Being a good collaborator is everything.
- Ego is career poison.
- Delusions of grandeur are career poison.
- You need to learn how to write well, and fast.
- Patience is a virtue.
- Stay positive and don’t quit (unless you learn that it’s not for you).
- Have 3-5 amazing spec scripts in your back pocket.
All of the lessons you need to learn are in this story. I’m very blessed and have no ego when it comes to my work. I only share all of this to give you hope and direction.
More lessons, advice, and shared knowledge to come (and can be found in my many, many other posts).
Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.
He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76
