"The secret to success in any field is to find what successful people do, think about and act on, and do the same."—Anthony Robbins
"We are what we repeatedly do. Excellence then is not an act, but a habit."—Aristotle

Meet Joe Executive. He's a successful studio producer with a long list of box-office hits and award-winning films. Despite the old adage attributed to William Goldman, "Nobody knows anything," there's one thing Joe knows for sure: It all starts with a great script. And in a town where only one in a thousand screenplays can be considered great, he knows one when he reads one.

And that's his problem, you see. Most of the scripts that cross his desk are terrible, mediocre, by the numbers, or almost-good, which means that in order to feed the industry's ravenous appetite for good stories, executives are desperately looking for great material. Every day, upon grabbing the next script from the top of the pile, Joe prays that it's the one.

"If you want something you've never had, you have to do something you've never done!"—Kimnesha Benns

So he wonders, "How could it be that with so many people writing scripts, their quality is sub-standard?" After all, although it used to be that most American writers yearned to write the Great American Novel, since the early 1990's, they've been trying to write the Million-Dollar Spec Script. Who can blame them? With readily available spec sales news in trade publications (and more recently on the Internet) captivating aspiring writers with dreams of a quick fortune like a nightly dose of "Who Wants to Be a Millionaire," screenwriting has become the newest American lottery. Good or bad, it's still a strong incentive.

But Joe has a theory. Maybe the problem is not craft. Maybe it's the temperament of the so-called "writers"—their traits, skills, talents, and habits—that are not allowing them to write a great screenplay. It may sound harsh, but the sad truth is that more than half the scripts currently making the rounds in Hollywood were written by writers who have no business being screenwriters. Sure, everyone goes to the movies and knows when they're good or bad, and everyone has access to a computer on which to write their screenplay. But think about this: Everyone can recognize a funny joke, but can everyone create one that's as funny, and has never been told before?

Joe Executive is aware of the multi million-dollar business devoted entirely to giving outdated prescriptions, rules, and formulas to aspiring screenwriters in an industry that frowns on formulas. He's browsed the bookstores and seen entire shelves devoted to screenwriting. He's seen flyers and newspaper ads and Web sites for script doctors, consultants, seminar gurus, pitching conferences, and contests, so he knows just how many aspiring screenwriters are willing to pay anything to get that magic key that will open the door to a spec sale that will instantly change their lives.

Problem is he's still looking for great scripts and they ain't coming. Sure, he's inundated with material at a mind-boggling rate, but he's tired of reading bad scripts and seeing the waste of paper, money, readers' time, messenger costs, and overworked Beverly Hills postal carriers.

"One hasn't become a writer until one has distilled writing into a habit, and that habit has been forced into an obsession. Writing has to be an obsession. It has to be something as organic, physiological and psychological as speaking or sleeping or eating."—Niyi Osundare

But Joe Executive is an idealist and a dream maker; that's what he does for a living. He turns dreams into reality. And his dream is to raise that standard of scripts from terrible to great. He's tired of all the books that teach formulas, that don't really give any information about how to be a screenwriter and how to develop habits that will lead to more joy in the process and better material for the industry. Don't get him wrong, it's still an entirely selfish motive: better material for him and less manure to sift through in order to find it.

While cooking dinner one evening, an idea jolts him. In order to write a great script, you have to be a real screenwriter, because, like an aged wine, it takes time and hard work to develop the necessary craft to write great scripts. You can't just be a fly-by-night, dreaming of the big score.

"Winners have simply formed the habit of doing things losers don't like to do."—Albert Gray

"I know!" he says, "I'll invite one lucky aspiring screenwriter (the apprentice) to my mansion for an in-depth, no-holds-barred question and answer session with a group of the top screenwriters in the business (the masters) who would share their thoughts on what it's like to be a real screenwriter." After all, that's how Joe became a successful executive. He started out as an assistant to an executive, who mentored him and showed him the ropes.

He's always believed in the "work smarter, not harder" philosophy. The difference between successful screenwriters and unsuccessful screenwriters is that successful screenwriters do all the things that unsuccessful ones want to do but can't do or don't know how to do. Modeling what works is the philosophy at the heart of every master-apprentice craft. Why not screenwriting? Someone is doing it right—many in fact. Why not ask them how they do it? "Hey, successful-screenwriter-dude, what are your habits? What works for you? Enlighten me."

"If I wanted to become a tramp, I would seek information and advice from the most successful tramp I could find. If I wanted to become a failure, I would seek advice from people who have never succeeded. If I wanted to succeed in all things, I would look around me for those who are succeeding, and do as they have done."—Joseph Marshall Wade

Has he ever seen this done before? Not really. During his days as an aspiring screenwriter, he'd read a couple of great interview books, and he sometimes found them useful when a professional discussed his process. The problem was that he would have to read the whole book just to get the particular tidbits he was hunting for. For instance, when he was having trouble with discipline, he'd have to read a whole interview, hoping the writer would discuss discipline. Not the most efficient way to learn, and often a waste of time. But since he was procrastinating anyway, he never saw it as a waste of time. Sound familiar?

"This is going to be different," he thinks. This focus will not be on how to write a formulaic script but on what it takes to become the writer who creates a unique one. In other words, what the habits and traits are that would increase the odds of not only writing your version of a great script but also developing a successful career as a screenwriter.

Well, guess what?

You, the reader of this book, are the lucky apprentice about to discover what it means to be a screenwriter from real, successful screenwriters, in their own words.

What This Book Is About

This book is not intended to replace any of the books on craftsmanship. As Robert McKee says, "No one needs another recipe book to reheat Hollywood leftovers." Whereas the more than one hundred books on the craft attempt to teach the reader what to do, this book outlines, by asking those who are already doing it successfully, how to do it. It focuses on the necessary habits, so that the "how" becomes second nature to you. In other words, it explains how to be a screenwriter.

This book departs from the established interview books in that its structure is organized by topic rather than by individual interview, following a much more efficient model of reverse engineering. In other words, it focuses on a particular habit, trait, or indispensable skill, and then has a group of highly successful screenwriters share their thoughts on the subject, much like a panel of experts discussing a specific topic.

The habits presented here are simple. They are just habits of action and thought. Many will seem obvious, but they bear repeating because they're often ignored by aspiring screenwriters. Others are surprising and sometimes even shocking. By themselves, they may not make you a successful writer. But developing new habits and combining them with your talent, will definitely make you a better writer. All this book can accomplish is to share with you what highly successful screenwriters believe and do on a regular basis in the hope you will be intrigued and inspired enough to emulate them.

How this book is organized

What sets this book apart is its structure and its focus on the specific habits that have made some screenwriters highly successful. It is based on the simple philosophy of modeling excellence and the common sense approach of the apprentice-master relationship.

Since each screenwriter is unique and has habits that work for him or her*, you'll notice that several habits listed seem to contradict each other. For example, the habit of rewriting after finishing the first draft conflicts with the habit of rewriting as you go along. These habits are not gospel but simply what works for each of the screenwriters featured here. It's up to you to try them out and see if they work for you.

Part 1, Passion, discusses what makes screenwriters different from other people, their common traits and skills, their reasons for becoming a screenwriter despite all the drawbacks. Included in this part are thoughts on believing in your talent; being committed to a career, not just one spec script; how to overcome various fears associated with the writing vocation; and learning the craft.

Part 2, Creativity, focuses on the creative process, how working screenwriters summon their muse to come up with fresh ideas and how they flesh out a story. It also explores their writing environments and favorite times to write.

Part 3, Discipline, the heart of this book, guides you through the basic components critical to success, including the writing habit and time management, and offers tips on overcoming procrastination, dealing with writer's block, and the rewriting process.

Part 4, Storycraft, shares insider secrets and specific tips to make each of the basic elements of a great script easier to manage, from conflict and characters to dialogue and evoking emotion on the page. It also explores what makes a great story and what differentiates good from bad writing.

Part 5, Marketing, focuses on the business side of screenwriting and how to market yourself as a writer, offering tips on the importance of establishing a network of supporters, mentors, and contacts in an industry that runs on relationships, from getting your first agent to pitching with enthusiasm and overcoming nervousness.

Part 6, The Four Ps examines the need for patience, dealing with the Hollywood System, and keeping the dream alive, from perseverance and belief in your material to handling rejection like a pro.

Finally, a closing chapter, Fade Out, leaves readers with final words of inspiration as they return to their favorite task, writing their next project—coming soon to a theater near you.

What this book will do for you

This book is for any writer, novice to professional, who is aware of the basic elements of the screenwriting craft, but is missing the mechanics or daily habits that will make the process much easier.

It is also aimed at the intermediate to professional writer who has developed a set of habits that sometimes impede rather than help him in his writing output, and who is looking for better habits to develop. Maybe he's curious about what he may be doing wrong and, seeing what his peers are doing successfully, he may want to try some new ones. Or maybe reading about similar habits will validate his own and boost his self-confidence.

Look at this book as an effective way to have all the interviewed screenwriters be your personal mentors. Study their habits, learn from them, and maybe their wisdom will rub off on you and arm you with enough knowledge and self-confidence to accomplish your goals.

It is my hope you'll discover what it really takes to be a successful screenwriter in Hollywood, and realize that maybe there's a great deal more to it than seeing a mediocre movie and thinking you could write one better, or reading one of the more than one hundred screenwriting books.

It is also my hope that in reading and discovering the particular habits of highly successful screenwriters, you will either begin to see similarities in your attitudes and ways of thinking or be inspired to adopt new ones.

Screenwriters Panel

Ron Bass (Passion of Mind, Snow Falling on Cedars, Entrapment, Stepmom, What Dreams May Come, How Stella Got Her Groove Back, My Best Friend's Wedding, Waiting to Exhale, Dangerous Minds, When a Man Loves a Woman, The Joy Luck Club, Sleeping With the Enemy, Rain Man, Black Widow)

Steven DeSouza (Knock Off, Judge Dredd, Beverly Hills Cop III, Street Fighter, The Flintstones, Ricochet, Hudson Hawk, Die Hard 2, Die Hard, The Running Man, 48 Hrs)

Gerald DiPego (Angel Eyes, Instinct, Message in a Bottle, Phenomenon, Sharky's Machine)

Leslie Dixon (Pay It Forward, The Thomas Crown Affair, That Old Feeling, Look Who's Talking Now, Mrs. Doubtfire, Loverboy, Overboard, Outrageous Fortune)

Akiva Goldsman (The Sum of All Fears, Memoirs of a Geisha, A Beautiful Mind, Lost in Space, Batman & Robin, A Time to Kill, Batman Forever, Silent Fall, The Client)

Amy Holden Jones (The Relic, The Rich Man's Wife, The Getaway (94), Indecent Proposal, Beethoven, Mystic Pizza, Maid to Order, Love Letters)

Nicholas Kazan (Enough, Bicentennial Man, Fallen, Matilda, Dream Lover, Reversal of Fortune, Patty Hearst, At Close Range, Frances)

Jim Kouf (Rush Hour, Gang Related, Operation Dumbo Drop, Another Stakeout, Disorganized Crime, Stakeout, Miracles, The Hidden, Secret Admirer, American Dreamer, Class, Up the Creek)

Scott Rosenberg (Gone in 60 Seconds, High Fidelity, Disturbing Behavior, Con Air, Beautiful Girls, Things to Do in Denver When You're Dead)

Eric Roth (Ali, The Insider, The Horse Whisperer, The Postman, Forrest Gump, Mr. Jones, Memories of Me, Suspect)

Michael Schiffer (The Four Feathers, The Peacemaker, Crimson Tide, Lean on Me, Colors)

Tom Schulman (Holy Man, 8 Heads in a Duffel Bag, Medicine Man, What About Bob?, Dead Poets Society, Honey I Shrunk The Kids, Second Sight)

Ed Solomon (Men in Black, Super Mario Bros., Leaving Normal, Bill and Ted's Bogus Journey, Bill and Ted's Excellent Adventure)

Robin Swicord (Practical Magic, Matilda, The Perez Family, Little Women, The Red Coat, Shag the Movie)

These 14 highly successful screenwriters have agreed to be your mentors in the context of this book, and generously share their thoughts on the traits, skills, and habits necessary for success as a screenwriter in today's film industry. Let's explore them, shall we?