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Memo to Women Screenwriters: Man Up!

Memo to Women Screenwriters: Man Up!

Why do so few scripts
written by women receive high ratings on The Black List? This is mainly a problem for feature scripts, but highlighted television pilots also
project a dim ratio.

As a service, The Black List
has consistently been ahead of the curve but presently, it’s right in sync with 2013’s bleaker-than-usual, dismal “celluloid ceiling” report. Is the
shrinking percentage of women screenwriters now seen as just business as
usual, a reflection of our societal malaise? Or are women screenwriters
actually doing something to fuel the inequity?

I doubt an old school
research tool like listing all writers by their first initial would change the
numbers much. It’s the genre-skirting “logline” that gives the women away, demonstrating what
separates the girls from the boys. These self-congratulatory summaries border on dimorphism which, in the animal kingdom, distinguishes between male and female appearance.

An illuminated “premise,” on
the other hand, has to work to gain
advocacy with lasered, clear-cut genre as its engine. Agents prefer the term “premise.” A solid premise indicates something durable that actually has a shot at getting across the Hollywood player minefield, while a weak one won’t make it through the many hoops it takes to get all the way to the bank.

The Bechdel Test launched
1,000 righteous infographics illustrating the tried-and-true — and sometimes false — business model of male-centric “programmers,” clearly labeling blame on male decision-makers.  What if those charts and graphs
were interpreted another way? What if they were seen simply as stats for
a losing team? If that were so, why wouldn’t that team re-think its overall
strategy? Instead of a self-pitying document, why not make the annual Celluloid
Ceiling report an occasion for a call to arms?

Instead, women marginalize and dig themselves further into girly ghettos like the well-intentioned Athena Film Festival. Read their selected “winning” script loglines and
weep.

However, maybe all isn’t lost. Some women have accumulated serious cred and it’ll be
fun to see what they do with it. But what they need in order to push ahead are
scripts.

In 2014, Annapurna Pictures founder Megan Ellison
became the first woman, and only the fourth person in history, to receive two
Best Picture nominations in a single year, for “Her” and “American Hustle,” whose star Jennifer Lawrence has so far totally escaped the second sex box. “White House Down” writer Laeta Kalogridis enjoys a robust career flexing
her ability to wield Ocham’s razor, as does Kathryn Bigelow. But this is not a long list of serious women players. 

Women are finding easier footing in TV.Orange Is the New Black” and “Weeds” creator Jenji Kohan loves
a good crime while “Grey’s Anatomy” exec Shonda Rhimes kicks silk-sheet-covered ass. In Ann
Biderman
‘s neo-noir, LA-set “Ray Donovan,” women are just as strong and complexly weak as the men. There
are also those who’re impressively talented enough to invest in, and redefine, the traditionally safe real estate of “womantic” comedy, from Tina Fey and Mindy Kalling to the baddest “it girl” of them all, Lena Dunham.

Are women writers afraid of being “typed”? The fear of being typed based on looks is
a reasonable concern that women are all too familiar with, but fuzzy genre
identification or outright genre-switching is a recipe for failure, since professional
identity isn’t a shape-shifting guessing game. This is well-known in television, where writers and producers are deliberately in sync, while studios are unanimously clear about the primacy, and necessity, of genre, which their infrastructures need in order to thrive. Audiences show up for male and/or female superstars who
earn accordingly. Ironically, screenwriter Paul Schrader’s observation that “a screenplay isn’t
a work of art. It’s an invitation to other artists to collaborate” fits the television model better than it does for feature films, which have long been his wheelhouse.

Even the women on studio greenlight committees exploit the gender parity for their own gain, so the ball is ultimately in the writers’ court. If there were
more plentiful scripts written by women with clearly identified
genre skills, the gender factor could disappear, as it does with novels,
journalism, music, photography or any other creative discipline. The formula
for what works is really about the writer’s ability to compete. As in any thriller,
when the protagonist’s existence is threatened, the only chance to survive is
to use killer instinct. Rip a page from the “Veronica Mars” playbook, hold the door
open for yourself and don’t let the ceiling hit you on the way in.

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Comments

give me a break

Try putting the same script on the Black List or submitted anywhere with two different titles, one with a man’s name as the writer and the other a women’s name and watch the difference in the reviews. The problem is not that women have to "man up". It’s that men have to be gender neutral when they’re reading a script by a woman. Sorry, but that’s the truth and I’m a guy, btw.

Vita

As I reflect on the recent Pulitzer Prize announcements and note that it is a woman who has won Best in Literature and Best in Plays and that all four finalists in Theatre were in fact women, I consider how women have so clearly dominated these fields of creative writing while seemingly lagging behind in script writing. Fewer woman simply feel inclined to write scripts and more to write books and plays. Boys have driven the box office for some time on Friday nights but we all know that is changing. Girls are going out together on weekends and no longer waiting for a date while boys have begun to stay home – aka the X Box Factor- to play games. More women go to plays and read fiction. Maybe it's as simple as this: when girls dominate the box office, more films will be written by women. The future is coming.

GKN

Have to agree, those 'winning' loglines are dreadful, and do represent the self-pitying vein too many women fall into with their scripts (although Showtime seems to eat them up, don't they?) The other dreadful vein I see too frequently is the 'girls aping male action-figures' type of story. The trouble with both is an obvious lack of maturity and confidence. But surely you know as well as I that scripts avoiding both, and with more interesting things to say, do not get produced more easily produced because of it. Was told again just this week that one of mine (which he qualified as a 'masterpiece' on first read) will never get produced in today's market (after trying for 6 months. And I've been at it for 2 years, just on this one). You can only sell what's been seen a hundred times. So, much as I deplore it, I can no longer fault people sticking to clichés and stereotypes quite so stridently.

Jennine Lanouette

I beg to differ: There are two ways to look at lack of female representation in this world. There is the women's rights perspective, which demands that women get equal opportunity and equal pay for their own benefit. Then there is the gender balance perspective, which strives for more female representation in arenas of power in order to counterbalance masculine impulses towards hierarchy, competition, aggression and dominance with feminine impulses towards equilibrium, cooperation, safety and communication. I'm not sure telling women to write more genre screenplays is going to significantly contribute to our dire collective need to bring the current social, economic and environmental extremes into greater balance.

L.Camino

Horrible title…"Man Up!" is a ridiculous term, not to mention feeds the notion that women need to gender swap in order to achieve success.

Katerina Curtis

To Nancy Nigrosh: Nancy as a writer/director with appropriate cohones, having sweated years to create a visceral film about our society, am pleased to read your article but wonder whether we women really support each other. How do I get featured in Indiewire when I can't get even through to anyone? Most women's forums say ' tweet us'. Most media outlets direct your mail in spam. I can't even post link as it takes it to spam. So allow me to direct you to kickstarter, on the feature film Marriage. If you can't even reply to this message Nancy, then its a case of words not actions and words never changed the world. Please check it out. Thank you , Kat

HW

This really has nothing to do with the types of movies women buy tickets to see and nothing to do with female executives and everything to do with the pool of aspiring screenwriters from which the Black List is selected. This pool is overwhelmingly male, something like 70%-80%, which is consistent with the male-female ratio of applicants to the Nicholl Fellowships.

Why is the pool of aspiring screenwriters so predominantly male? It's actually an interesting question, but this article completely misses the point and doesn't really offer anything useful to the discussion. There is no Male Gaze Bias selecting scripts written by men over those written by women, for whatever reason women just aren't writing scripts.

GurlSad

here's the reality: women and men go see films that are masculine. women see films that are feminine but not men. if female filmmakers really wanted to kill the inequity, try writing a film that is gender neutral. I'm a woman, btw.

Whatever

Wow. I think this writer is seriously misguided in the opinion (not supported by any real statistics) that women aren't writing genre work. The fact is, they are. Women go to film school in EQUAL NUMBERS to men, and it's clear from the minimal statistics of successful women we have available to us that they are definitely writing genre pieces (look to TV to see women in writers' rooms ranging from Game of Thrones to The Wire). But look beyond screenwriting to female writers IN GENERAL, and we come across literally thousands writing in mystery, noir, sci-fi, fantasy, comedy, and other "hard genre" literature across the board. So it's easy and petty and ridiculous victim-blaming to assume that women are just "not writing" the right kinds of things. As a professional reader, who reads thousands of scripts and novels each year, it is VERY CLEAR to me that women ARE writing genre novels, films, and TV pilots in droves.

First, women in Hollywood are generally EXPECTED to write rom-coms or romantic dramedies (as a woman who prefers writing action thrillers, I find this gross, but it is what it is). So there's some pre-existing ghetto-ization there. Women are expected to NOT be able to write genre projects, so are generally not even put on lists for OWAs when those projects come up (or when many projects come up).

Second, they're not receiving nearly the same amount of mentorship or guidance that men are in the film industry. You can literally watch the trickle-off effect immediately after schooling, where men are promoted over women, are given more funding for projects, and are trained in more hands-on approaches.

It's extremely myopic to blame the victim of the pre-existing social structures FOR those structures existing, however.

Much of the existing stats DO have to do with preconceived notions; women are trained not to apply to things until they feel 100% qualified. Men are trained to apply when they feel only 30% qualified. So – some of that DOES have to do with readjusting social programming (and some of that programming, sure, probably does tell women to write about princesses and white knights and difficult parenting/relationships).

That said, problem isn't that women aren't writing the "right kinds" of stories. Women are writing all kinds of stories.

And, at the end of the day, we should have space in Hollywood for both romantic dramas and high-action sci-fi "space operas." As a professional reader, good writing is good writing – no matter the genre, style, tone, or concept. It's all the execution. And that has nothing to do with gender.

KILL THE MEN!

KILL THE MEN, KILL THE MEN, KILL THE MEN!

me

I really don't understand what's happened to the word "female". "Memo to female screenwriters.." sounds so much better

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