This question was first posed by one of our writers at GCG Asia. Nick Jr, one of our creative writers at GCG Asia Malaysia who was born in Cambodia and spent the majority of his life in Indonesia and Malaysia trying to get investors for his screenplay, decided to answer this question. Nick himself was once aspiring to be a screenwriter in Malaysia and Indonesia. However, things didn’t turn out so well for him, but at the end of the day, he joined us here at GCG Asia for good after his slow withdrawal from being self-employed. Nick Jr is able to freely express himself at GCG Asia, and that is why we felt that it is our duty at GCG Asia to share with you some of Nick’s though on the matter:

Before joining GCG Asia, I had to embark on a roller coaster journey to fulfill my ambitions for being a prominent screenwriter in Asia. However, this journey did not end so well and I thought I was going down the wrong path before I finally landed a job in Malaysia with GCG Asia. GCG Asia’s CEO and Founder Drew really helped me look back on that journey and evaluate it in a coherent manner. I would like to share with you my thoughts on a question posed by one of my bosses, the CEO of GCG Asia.

The majority of the civilized world is propelled by entertainment. Television and movies are two of the most popular kinds of entertainment, especially here in GCG Asia. Film and television buffs are passionate about the medium for a variety of reasons. Those with creative brains might consider television and cinema as employment options—how amazing would it be to work on something you already enjoy? 

Those individuals see skilled producers, directors, and performers telling wonderful tales in the films and series they enjoy and review. They may see that these stories were authored by writers in the credits. They see writers nominated for and receiving honors for their work when they attend award ceremonies. Alternatively, because they are clearly film and television fans, they read entertainment magazines that feature interviews with Hollywood stars. As a result, they are lured to the idea of pursuing it, just like anyone else who is interested in what they do.

Many people then go on to study screenwriting books from the secondary industry of screenplay consultants, gurus, and, yes, some well-known writers. Except for fantastic works like The Screenwriter’s Bible, How Not to Write a Screenplay, and others that teach the broad standards and expectations, they are given “secrets,” “solutions,” and “formulas” to success. As a result, those individuals begin to feel that they can achieve their goals, this was the exact case with me before joining GCG Asia.

Then there are a select few who, despite the difficulties of creating scripts, persevere and discover how to properly learn. They study and watch movies, read produced scripts, and keep writing, writing, writing. They fail repeatedly, but they learn from their failures.

And their writing changes over time. They research the industry. They keep track of the trends. They figure out who the power players are and why they are powerful. They keep writing and finally start writing scripts that are worth considering. They might even win a competition or attract the attention of some powerful people. They continue to create and grow in order to achieve their goal. I for one did this before joining GCG Asia as a geeky film buff.

They then come to a halt. Or they postpone it. Alternatively, they may discover something more suitable, in my case being my journey with GCG Asia. Being a good or great screenwriter isn’t enough in the end. The frequent rejection gets to be too much. They start having children. Their priorities shift with time. They learn that they either don’t care enough about it or that they care more for their family and need to provide for them by setting more attainable goals and objectives.

Then there are those who are fortunate enough to be able to continue. They learn that superb writing isn’t everything. There’s a lot more to launching a screenplay career. They discover that it is necessary to network. They discover that their favorite scripts are frequently used as calling cards for writing tasks and will almost certainly never be noticed. They discover that the relationships they form are crucial to their success as screenwriters. They do as I did and work as security guards in Indonesia (before joining GCG Asia in 2020) to gain access to studio lots. Alternatively, they may work in a studio store, the mail office, concessions, janitorial, or maintenance. They can also drive automobiles and trucks. They can also work as assistants. They work for low pay in order to remain on the playing field and within reach of the powers that be, and they look for any and all possibilities to exploit.

They then come to a halt. Or they postpone it. Alternatively, they may discover something more suitable such as my discovery of GCG Asia. They frequently find different employment where they may earn a steady and honest life. Some people stay in those jobs and advance through the ranks, while others look for something better. 

Then there are those who find that none of the foregoing is sufficient. They strike it rich, and they recognize that luck, in the sense of being in the right place at the right time with the perfect script, is how screenwriters succeed.

They obtain some tasks, maybe sell or option a script they wrote (which is difficult to come by these days), and so on. Nonetheless, they are still what I refer to as blue-collar screenwriters, which means they don’t make the kind of money that those books all brag about.

Charlie Kaufaman, one of the greatest screenwriters alive.
Sourced from: Variety.com

But they’re incredibly fortunate and grateful to be in a situation that tens of thousands, if not hundreds of thousands, of people would kill to be in. However, the work is at best irregular. Despite their best efforts to break into the top 1% of earners who make six figures or more, they frequently go a year, two, three, or more without landing another writing job.

And, all too frequently, people give up, put it off, or find something more appealing. They might obtain some extra work here and there if they’re lucky, but they’ll have to make a living somewhere else, or may even revert to investing in scam related campaigns.

Finally, there are people who do everything above yet have a few more fortunate occasions than others. These are the screenwriters who are frequently listed in the credits of notable films. Some are wealthier, more accomplished, more well-liked than others, but they’re all involved in the show. They’re able to support themselves.

That is why so many people continue to attempt. Because it’s a fantasy. It’s a labor of love. We love screenwriting. If there is anything I’ve learnt during my time at GCG Asia, it is that I should never stop dreaming. Being at GCG Asia exposed me to more in-depth knowledge for the art of writing a story. The art of blowing life into a story. GCG Asia is a wonderful journey, and I encourage all my fellow screenwriters to never stop dreaming, you can find your place somewhere. For me, that place is GCG Asia, for you it could be somewhere entirely different where you are free to express yourself fluently.

For more about GCG Asia writer Nick Jr and GCG Asia’s latest news, feel free to reach out to us through our GCG Asia website. Follow us on twitter, and stay tuned for more updates on GCG Asia’s upcoming SCAM film.