We’ve all heard about Hollywood’s new landscape. The film industry is facing significant challenges right now. Some of these issues have been brewing for a long time, while others are relatively new. The industry is in a state of flux, dealing with an identity crisis as the landscape shifts. The way people consume content has changed — what they watch, where they watch it, and who is watching. This shift isn’t stopping anytime soon. Conversations with kids and teens often reveal a preference for short-form content on platforms like YouTube, rather than traditional shows. The old business models aren’t working, and some of the new approaches have fallen short. Now, studios are grappling to redefine the future, while also dealing with other compounding factors like the pandemic, strikes, and the rise of AI. Everyone is trying to learn and adapt to this new reality.
Last night, a friend told me that he’d just spoken to a busy film producer in LA who’d really liked one of his scripts. The producer said that, under normal circumstances, he would have made me an offer. But right now, he’s unsure how to proceed. His tried-and-true process doesn’t work anymore, at least not in the current environment.
Many are hopeful for a recovery in 2025, but I think the road ahead will take longer. It’s been particularly tough on those just starting out in LA, as well as on seasoned professionals who have been successful for years. It’s sad to see, because the everyday artists, creatives, and crew — the heart and soul of the industry — aren’t responsible for the decisions and business practices that led to this situation. But that’s another discussion entirely.
So, what can screenwriters do in these uncertain times? Keep writing. No one is saying you have to stop. Use this time to prepare your scripts and have them polished, ready to go. There is still a hunger to make movies, and when the opportunity arises, you’ll want to be prepared.
Also, keep your ear to the ground. Knowing what kinds of stories studios are looking for can give you an edge when it comes to optioning or selling a script. While fewer projects might be moving forward in LA, studios and other production entities still have their mandates. They know the types of stories they want, and each is looking for something a bit different.
It’s also worth considering opportunities beyond LA. Think globally. Over the past 18 months or so, much of my work has been international. Hollywood may be struggling, but films are still being made around the world. There are other markets out there.
Lastly, it doesn’t hurt to adapt to the times. If younger audiences are drawn to short-form content, consider how you can tap into that as a writer. There is opportunity there, and it might be a new way to expand your skills and reach.
That’s why I am so interested in the Story Machine Summit being organised by Raindance: everything from traditional social media content creation to Artificial Intelligence.
Are you interested in the next era of storytelling?
Get on the inside here!
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Anna Taborska writes horror stories and screenplays. Her body of work includes three short story collections: Bloody Britain, Shadowcats, and For Those who Dream Monsters, recipient of the Dracula Society’s Children of the Night Award. Anna has been nominated for a British Fantasy Award thrice, and a Bram Stoker Award five times, including for her illustrated storybook A Song for Barnaby Jones. Anna has also directed five films: Ela, The Sin, My Uprising, A Fragment of Being, and award-winning drama The Rain Has Stopped, and worked on twenty other film and TV productions, such as the BBC / PBS series Auschwitz: The Nazis and ‘The Final Solution’. She is a member of the Horror Writers Association.
Anna loves helping out with the Screamdance strand of the Raindance Film Festival.
