
The Shane Black Effect
The story is a Hollywood classic. At the age of 23, two years after graduating from UCLA with a theater degree, and eager for a source of income while waiting for his acting break, Shane Black decided to try screenwriting. He penned a buddy cop flick, featuring a deranged lead seeking redemption. He gave it the type of clipped, masculine title popular in the mid-80s blockbuster era: Lethal Weapon. The script was scooped up mega-producer Joel Silver for a quarter million dollars, catapulting Black into screenwriting stardom. Within a decade, after earning a then record $4 million for The Long Kiss Goodbye, he became the highest paid writer in the industry,
Black’s story, and those like it, drive thousands of hopeful writers to Los Angeles each year, and motivate untold tens of thousands more to bookstores to seek instruction from a bewildering array of expert advice guides. These writer wannabes take this leap with full knowledge that screenwriting is one of the world’s most notoriously elite and inaccessible industries. The Writers Guild of America counts 12,000 professional screenwriters on its rolls — that is, writers good enough to have been paid for their work — and of these pros, it’s estimated that around half are out of work at any given time. To make matters worse for the amateur, a growing number of selective screenwriting M.F.A. programs ensures a constant flow of highly-trained newcomers to compete for the few open slots that remain. In 2009, the Nicholl Fellowship, the most prestigious amateur screenwriting award, received close to 7000 submissions.
If you want to make it in screenwriting you have to be exceptional, and this is what makes it a fascinating case study for our ongoing efforts to decode the secrets of becoming so good they can’t ignore you.



