The Relentless Road to “Back to the Future”

There’s one trait every successful screenwriter must have, and it’s not just talent. It’s not even just hard work. It’s persistence. Grit. The ability to keep pushing forward when every door slams shut in your face. I was thinking last night about how to talk to emerging screenwriters about the necessity of more than just hard work and talent. If a writer intends to make it in Hollywood and forge a career, there needs to be unwavering faith, but also an intensity about forming relationships, networking, joining writing groups, meeting people, submitting to contests, attending screenwriting conferences, making cold outreach calls and emails, knocking on doors and asking contacts for help and support. A screenwriter needs to be a marketer and publicity person just as much as a writer. On top of all of this…there needs to be an innate ability to never take no for an answer.

And a story that illustrates this better than most - the long, bumpy road to getting a movie made - it’s the story of getting Back to the Future to the screen.

How Many Times Would You Hear “No” Before Giving Up?

Robert Zemeckis and Bob Gale first wrote Back to the Future in 1980. They loved it. Their reps loved it. The studios? Not so much.

They pitched the script over 40 times.

Forty.

Let’s get further into this; not just a little of the Back to the Future story, but I also cover a list of what writers need to do to create a career in this biz. It isn’t easy! To say the least.

“No” Wasn’t An Option

Studio after studio turned it down. The feedback?

It was too clean. This was the era of Porky’s and Fast Times at Ridgemont High, and Hollywood wanted more raunch.

Disney rejected it because of the mother-son romance twist (even though it was played for comedy…though I can kind of understand this. Yikes, if you really think about it.

Other studios just couldn’t see the commercial appeal. And this happens to be an age old issue with “Hollywood”. They don’t actually know what they’re talking about.

At any point, Zemeckis and Gale could have walked away. They could have shelved the script and moved on. But they believed in the story, and they kept pushing.

The Evolution of the Script

Persistence in screenwriting isn’t just about facing rejection; it’s also about refining your work based on feedback and evolving circumstances. REWRITE REWRITE REWRITE. It’s what every writer groans over, and even those of you who say that you love the rewriting process…I would wage a bet that there is a limit to that “love”. After digging into some of the stories about the early drafts of Back to the Future, in some ways I’m not all that surprised it was rejected. The original drafts underwent significant changes:

• Time Machine Concept: Initially, the time machine was envisioned as a stationary device resembling a refrigerator. Concerns about safety and practicality (and also…how boring is a refrigerator??) led to its transformation into the iconic DeLorean car we know today.
• Climactic Power Source: Early versions had Marty returning to 1985 by harnessing the power of a nuclear explosion. Due to budget constraints and narrative considerations (like, um, that might put a bit of a dent in the world and change the past as Marty and Doc knew it), this was changed to the memorable lightning strike on the Hill Valley clock tower.
• Character Adjustments: Doc Brown was initially named Professor Brown and had a pet chimpanzee instead of a dog. Studio suggestions and narrative refinement led to the character and his companions evolving into their final forms. (OK, so maybe the studios DO actually KIND of know what they’re doing. Really…a chimpanzee?)

These revisions highlight the importance of adaptability and the willingness to iterate on your ideas - a crucial aspect of persistence. It’s also so damn important to note that a script is never really finished. The story and the core of what you’re trying to say is ultimately what needs to be held on to, grasped and caressed like it’s a little baby waiting to become and adult.

Why Persistence Isn’t Enough

Most aspiring screenwriters could hear “40 rejections” and think, Wow, I need some thick skin. And yes, you do, but this story is one of thousands of rejection stories, and many of them have an even higher number than 40. But persistence alone doesn’t open doors - you have to be relentless about making connections, building relationships, and putting yourself in the right rooms in any way you possibly can.

Zemeckis and Gale didn’t just sit around waiting for someone to say yes. Zemeckis went and directed Romancing the Stone in the meantime, which became a hit in 1984. Suddenly, Hollywood saw him as a viable director. That gave him the leverage to push Back to the Future again - this time with Spielberg backing him.

The lesson? Go direct a classic 80’s adventure movie. Ok, ok, I’m kidding. But he didn’t just work on one script. He kept moving. He built momentum. He gave the industry a reason to NOT ignore him.

What Every Screenwriter Needs to Do Beyond Writing

Most emerging screenwriters assume they just need to write a great script and everything else will fall into place. It won’t. The ones who make it in Hollywood do all of the following, consistently and intensely:

? Form Relationships: Join a writing group. Go to events. Introduce yourself to people. Help others before asking for help.

? Network Like a Producer, Not Just a Writer: Make connections in every corner of the industry - assistants, managers, executives, other writers.

? Submit Relentlessly: Contests, fellowships, pitch competitions - every possible avenue.

? Attend Conferences and Industry Events: Yes, they cost money. But they put you in the same room as decision-makers, and god forbid you actually make new friends…and those friends will be striving to climb the ladder of industry success too. Once they hit it big, they may just bring you with them.

? Make Cold Outreach Calls & Emails: Be professional, be polite, and never be afraid to ask for a meeting. At the very least, we need to remind the industry players that we exist!

? Knock on Doors (Figuratively & Literally): If you know someone who knows someone, ask for an introduction. If you’re in L.A. or New York, or Chicago, or Austin, or Atlanta, go to panels, events, film festivals, art exhibits, community arts program events, and Q&As - speak up, meet people, meet people, meet people.

? Market Yourself: Build an online presence, write short films or short stories, create a podcast, self-publish a book. Work on your brand. The more visible you are, the better, and the more options you give yourself to be noticed.

Back to the Future - And Beyond

Zemeckis and Gale didn’t get their script made by waiting. They worked every angle possible. And when they finally got the green light, the movie became a cultural phenomenon, spawning sequels and securing their place in Hollywood history. I still watch it every time it happens to be on TV (which it happens to be on ALL the time).

The takeaway? If you want to be a screenwriter, you can’t just write. You have to believe in your work so fiercely that you’re willing to knock on doors until your knuckles bleed.

Persistence gets you through rejection. Relentless action gets you through the door.

So…who are you emailing today?