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‘Door slams and inane advice’: An emerging writer shares his experiences

Michael Dixon. 

I’ve only been writing a short time by industry standards, after spending 10 years on strategy and technology for the resources sector and consulting for other industries.

In between, I spent the last five years knocking out two Masters degrees, in International Relations and an MBA.

I’m not currently working full time and am looking for a new gig. I’ve written mainly spec scripts and have a couple of feature scripts in development and one completed. I’ve also engaged in general arts advocacy through personal or official channels.

To date, I have:

• Had heads of departments’ proactively offer to read my work but after a year and a half of follow ups, there are just more promises to get around to reviewing or handballing to the EA/university graduate. ‘I’m just terribly busy.’

• Approached agencies for representation, to be told, ‘No one wants to know you unless you are referred or have created a produced product with a viral or cult-like following.’ Wonderful.

• Attended events to network with writers, actors and producers. More door slams and inane advice, ‘Maybe you should do my writing course, or a degree at AFTRS?’ Yeah, like my two Masters degrees aren’t enough.

• Looked at other avenues like advertising and getting put through the wringer presenting ideas (which they then steal). They finally choose past creatives who have a ‘solid track record.’ Ah good, good. More of the same daily rubbish.

• Supported the system for increased funding indirectly through pro-bono non-executive directorships in the arts.

• Played around with social media to build presence. What a dumpster fire. I’d rather spend the time creating quality work.

I’m not bitter, nor do I fear rejection. Like many passionate creatives, I am just frustrated by the state of affairs, the seeming acceptance of its status quo and thus, a cliché inability for anyone to change it.

It’s as if the industry wants you to fail, but in the interim, wear rejection and the cold shoulder like a badge of honour. You have to keep fighting Matrix-style agents for a look-in if you don’t come from traditional sources. I get it, it’s the same with every industry.

So really, the only other thing you can do is enter competitions, hoping they are legit because half of them are as dodgy as f—.

I’ve recently entered an American Dad spec into the Nickelodeon Writing Program and am writing another, just in case I win it out of the 7,000 or so other applicants.

Michael Dixon penned his article in response to an IF story which quoted CJZ executives Nick Murray and Matt Campbell lamenting the shortage of TV writers in light of the ongoing talent drain overseas.

  1. All the best to you Michael, but airing your frustrations on Inside Film does not look good. If you want it enough, you’ll find your way in.

    1. Sorry dumptruck. That’s just not good enough. He is flagging a real issue in our industry. Being in this industry for over 20 years I have to agree, who you know comes before talent. It’s heartbreaking to see it happen over the years. And to a degree I see it happens as our industry revolves around getting gov support.. and as that is decided by individuals driving the decisions more then talent. But that’s only my opinion. And I cannot see a way around this dynamic.

    2. Dumptruck, I agree with James – Australian industry is a non-sustainable joke propped up by Government funding with content restricted by individual political peccadilloes.

      I’m reminded of a recent ‘screenmaking seminar’ where one of the heads of content for a distributor stated that the way to get them to read a script is 1) send to their inbox for new projects ‘which we have never looked at’ or 2) ‘be a mate of mine’. That is a direct quote.

      Also reminded of a meeting with the head of then new project development at a state funding agency 25 years ago who stated that I would be free to apply for funding, however she would be giving this years funding to ‘x’ (friend) who will be in charge of the next funding round and who will be giving the funding to her next, and that if I wanted to ‘make it’ I would need to ‘hang out and buy them coffee for the next 10 years or so, and maybe, if we like you, you might get a shot.’ – Also a direct quote.

      Given that there actually existed a robust indy Oz film industry in the 70’s which became defunct, it would appear that if the Government is serious about the ‘industry’ here (or lack thereof), they should consider bringing back tax breaks for films and/or digital content.

      The author of the article is not whining about not getting work, he’s pointing out that even though he has several ‘feet in the door’, that the lack of ongoing activity in Oz means that he cannot turn that success into regular work.

      You cannot survive in Oz film industry without being on the top tier, because there IS no industry to speak of – there is only work for a ‘special’ few people.

  2. Michael, I’ll read one of your feature film scripts. You can check me out on IMDbPro, my contacts are there or just message me on FB.

    Elli Maclure

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