Chapter 1: Is Age Just a Number in Screenwriting?

How absurd is it for a 46-year-old to embark on a writing career in Hollywood? It may sound outrageous, but it's equally outrageous for anyone to think they can easily break into this industry.

A question posed on Twitter by @russmaloney:

"How insane is it for a 46-year-old to start a Hollywood writing career? Asking for an insane person…"

A witty reply would be: Just as insane as it is for a 20-year-old, a 25-year-old, or even a 30-year-old. The reality is that the chances of achieving financial success as a screenwriter or television writer are slim for nearly everyone. Every aspiring writer should be fully aware of this reality from the outset. Even if you manage to enter the field, sustaining a career remains a challenge.

That being said, it's undeniable that Hollywood exhibits an age bias, especially in television compared to feature films. This bias is partly due to the youthful demographics of those working on the development side, typically in their 20s and 30s. Additionally, Hollywood has a long-standing fixation on teenagers and the 18–25 age demographic. The prevailing belief seems to be that only those within this age group can accurately understand and write for younger audiences, implying that older writers are out of touch with contemporary youth.

This notion is absurd, akin to claiming that men cannot authentically write female characters or that women cannot write about men. It also suggests that young writers are incapable of portraying older characters, or that white writers cannot accurately depict black characters, and vice versa. If we accepted this flawed logic, we would have to abandon science fiction films entirely, as no one could possibly envision life as an alien species!

Such conventional wisdom contradicts the fundamental belief that writers should be able to create characters of any race, gender, sexual orientation, or socioeconomic background.

Research, creativity, and empathy are what writers do; we immerse ourselves in the lives of diverse characters, regardless of their backgrounds. Unfortunately, this argument doesn't hold much weight in Hollywood. However, one fact remains: if you produce an exceptional script, nothing else matters.

It doesn't matter if you are a man or woman, young or old, Christian, Jew, Muslim, Atheist, straight, gay, transgender, black, white, Asian, or Hispanic. If buyers see potential for profit in your script, they will purchase it.

Take the example of Mickey Fisher, a dedicated follower of Go Into The Story. Mickey spent years on the periphery of the industry as a writer, filmmaker, and playwright before crafting an original TV pilot titled "Extant," which became a CBS series. In our July 2014 interview, Mickey recounted the moment he sold his script:

"The news broke on my 40th birthday, which happened to be a Wednesday. We were selling the show directly to series on CBS. It felt like everything exploded that day. I received hundreds of messages and calls from friends, family, and my entire team. It was an exhilarating experience."

On his 40th birthday! It could have just as easily been his 50th or 60th. The truth is that Mickey wrote a script that became the centerpiece of Hollywood's development landscape and sold for a substantial sum. That demonstrates the true power of the written word.

There are numerous other examples. For instance, I spoke with Allan Durand in January 2013, who, in his 60s, penned a Nicholl-winning screenplay that led to a writing opportunity. Similarly, in August 2014, I interviewed Frank DeJohn and David Hedges, who, with their Nicholl-winning screenplay, secured a writing gig for a television movie. While I didn't inquire about their ages, our conversation suggested they were both over 40.

Ultimately, every writer must recognize the long odds stacked against financial success in television or screenwriting. To chase that dream, Russ, a hint of insanity must reside within you. However, if you produce an outstanding script, regardless of your life circumstances—age, gender, race, or location—Hollywood will discover you.

Readers, what are your thoughts? Please share your insights on Russ's question in the comments. If you know of any writers who broke into the industry after turning 40, feel free to mention them.

UPDATE: Several intriguing comments from readers, including longtime GITS followers John Arends and Debbie Moon, both of whom found writing success professionally after turning 40. You can read interviews with them to learn more about their writing journeys: John and Debbie.

Section 1.1: The Youth Bias in Hollywood

In Hollywood, there's a prevailing youth bias that often sidelines older writers. This bias is both a product of the industry's target demographic and the youthful age of many decision-makers.

Subsection 1.1.1: Challenging Stereotypes

Chapter 2: Inspiring Insights from Industry Veterans

In the video "Am I Too Old to be a Screenwriter? (Screenwriting Uncut #16)," experts discuss the challenges older writers face and offer encouragement.

The second video, "Avoiding the DARK SIDE of Hollywood: Oliver Stone EXPOSES SHOCKING TRUTH About OSCAR & FILMMAKING!" provides critical insights into the industry's realities.