Screenwriting: It's Not Worth It.

Overview

The video is a “counterpoint” to typical screenwriting advice that implies anyone can become a Hollywood screenwriter by following simple steps. The speaker presents their story as both a personal account and a warning: screenwriting can be a lifelong dream, but it often brings financial instability, mental-health strain, and an unpredictable gap between what counts as “success” and what actually follows for a career.

Main points and arguments

• Personal success didn’t translate into stable financial security

  • The speaker says their first film released on Netflix and performed extremely well (over 20 million views, reaching #1 on the streamer).
  • Despite that win, they struggled financially and had to return to a previous career.
  • They stress that the achievement didn’t lead to meaningful new opportunities—such as representation offers or major industry introductions.

• Full-time screenwriting was emotionally and financially exhausting

  • They describe “extremely high peaks” (flexibility and rare wins).
  • Ultimately, they conclude it wasn’t worth the constant anxiety and the sense that work value didn’t consistently pay off.
  • Even with significant writing earnings (including a successful Netflix film), they say taxes, commission structures, debt, and non-guild status made living on screenwriting income difficult.

• Being outside the WGA worsened pay and opportunity

  • A major theme is that not being in the WGA affected earnings (“it’s not a WGA deal”).
  • They describe encountering deals that pressured writers into unfair terms unless they accepted low compensation to keep projects alive.

• The industry’s supply/demand imbalance forces compromises

  • They contrast normal employment (where you can see tangible results) with freelance screenwriting reality (often limited work).
  • In that environment, writers may accept low-paying or unwanted assignments just to cover living costs.

• Career outcomes can differ from what “success” is supposed to produce

  • The Netflix #1 placement didn’t create lasting momentum.
  • They report no major networking boom, no new agents/representation, and limited tangible professional impact.
  • They also mention the experience included creative dissatisfaction and harsh criticism, including reader-level backlash.

• They refuse exploitative deals and warn others to protect themselves

  • They turned down an approved film because the financiers wouldn’t go to the WGA and pay “fairly” (they asked for scale).
  • They argue writers may be forced to choose between accepting unfair terms to “make something,” or walking away and losing everything.

• This isn’t “stop writing,” but “know what you’re trading away”

  • They say they won’t stop writing and believe some people succeed.
  • However, they emphasize that odds are low, competition is high, and luck matters.
  • They warn that screenwriting can take a heavy mental-health toll, and strongly advise against putting one’s entire life on hold.

• Relationships and identity can be at risk if writing consumes everything

  • The speaker argues against sacrificing important relationships for the dream.
  • They cite friendships that deteriorated and warn that involvement in the work can contribute to depression or estrangement.
  • They recommend not letting writing become your whole personality and value.

• Practical guidance: choose collaborators and tasks carefully; expect low pay for many jobs

  • They advise being careful about who you sign with (contracts/partners) and which assignments you take.
  • They note many tasks—especially rewrites—can be tedious and draining.
  • If you’re not in a guild, they suggest pay is often poor.

• Life conclusion: returning to a steady job was better than gambling

  • After reflecting on quitting their job too early, they say they learned a lot and are now happier with a steadier life where they can write mornings/weekends.
  • Later freelance wins are framed as “windfalls,” not survival income.

Presenters / contributors

• Nathan Graham Davies