By Joshua Kazemi
WHY YOU? WHY NOW?
Writers are often asked these two simple questions. Whether it’s in the early stages of developing an idea or further down the line, as they begin pitching their show or movie, at some point, these two deceptively tricky questions find their way into a writer’s brain. What should be a simple pair of questions can often feel confusing, loaded, and insurmountable.
The frequency with which these riddles appear in writers’ lives suggests that they are important questions, and that they can’t be written off as just another annoying aspect of a writer’s life. It is, however, something every writer should spend time thinking about and developing answers for that feel natural, organic, and true to themselves. But what specifically are people asking for when they ask, “Why You? Why Now?”
EVERYONE IS LOOKING FOR THE NEXT BIG THING
Everyone involved in the industry of making things wants to succeed. Everyone wants your TV idea or your movie pitch to be the one that breaks box office records and sweeps at the awards shows. Many are convinced that the key to a good script is a writer with a clear, strong voice and a unique perspective. As people wade through stacks upon stacks of spec scripts, they’re looking for, and hoping for, the one that stands out and grabs their attention. Because if the first page of script can manage to set itself apart on the page, it stands to reason that the movie or show itself will do the same in today’s overstaurated media landscape.
Essentially, people want to invest in a script that could only ever be written by this specific writer, at this specific time in the world, believing that this is their best shot at making something that will break through to the widest audience possible. So the questions become, “What makes you unique?” and “Why does this story need to be told right now?” which are both still equally broad, difficult to answer, and loaded with unreasonable expectations for just about any movie-nerd with Final Draft.
THE ANSWER IS THE FRIENDS YOU’VE MADE ALONG THE WAY
The funny thing is, writers almost always answer their own versions of these questions subconsciously as they excavate the corridors of their minds, looking for the next idea. And these answers are often better and more specific anyway. Writers are idea machines. There is no shortage of ideas bouncing around in their heads. Regardless, every writer has a finite number of works actually written. Even Stephen King.
Meaning, of all of a writer’s many ideas, only a few rise to the top and demonstrate themselves to be sticky enough to actually get written. So, when does an idea become the obvious choice for a writer’s next project? The answer to that question is different for every writer, but in broad terms, it’s when they feel they have to write it. Writers know deep down why they have to write something right now. Half the battle is simply learning how to articulate those reasons in a succinct answer form.
The best part about all of this is that each writer gets to define those reasons for themselves. They shouldn’t feel pressured to conform to anyone else’s definition or expectation. A lot of writers psych themselves out believing that the answer to these questions, an answer as to why they are writing this script right now, must be socio-politically motivated, or one that is simply trending today.
Writers also fall into a trap of believing that “Why You? Why Now?” suggests that people are only looking for autobiographical stories loaded with personal trauma. They can feel pressure from the industry into believing that this is the most valuable thing they have to offer, and they should be glad to offer it up even if they aren’t comfortable sharing those parts of themselves. And this belief is understandable because of how many people find success doing so. While that route might be one rich with a writer’s personal and unique perspective, it is not the only way. An idea loaded with social commentary, or one that is timely and relevant, or one that is derived from personal experiences, can motivate a writer to write, certainly, but they are rarely the sole reason they do so.
WRITERS DO WHAT THEY MUST
Writers write because they simply cannot stop thinking about an idea. The waves of the right idea wash over them again and again, like lying in bed after a long day at the beach. They see the scenes in their head. They won’t stop talking about it to anyone who will listen. That’s why they need to write it right now. Writers are going to spend a long time, years, working on an idea. The reason they committed to embarking on the journey of writing a script is that they’re passionate enough to pursue it and invest time and energy working on it. That’s how exciting it is to them. So, they just need to speak to why it’s exciting.
Anything that makes the idea a writer is currently obsessed with topical, in-demand, and or relevant is just a cherry on top. Those things are certainly worth mentioning and incorporating into pitches, but they should let them come about organically. Those are things that reveal themselves in discovery as they develop the characters, the themes, the story itself. There’s a good chance those elements already exist within their idea, and they could very well be playing into the reasons they want to write it in the first place. But chasing those things for the sake of the pitch, or shoe-horning them into scripts, will always ring insincere.
A lot of people tell writers to chase the market and write ideas in the same vein as the most popular thing of the moment. And there is truth to the fact that people tend to gravitate toward something that feels like a sure thing, but, as corny as it sounds, nothing is more of a sure thing than an undeniable script. There is a world in which a writer is genuinely excited about their take on the medical procedural, so they decide to write one in order to ride THE PITT’s success. If so, great! But a writer chasing the market and trying to construct ideas that they aren’t passionate about is a fool’s errand. The market changes faster and faster, and by the time they finish writing the thing, the market could have moved on already. If a writer can authentically hitch a ride on the next big thing at the right time, then maybe it’s time for a trip to Vegas to further test their luck.
“Don’t try to guess what it is people want and give it to them. Don’t ask for a show of hands. Try your best to write what you like, what you think your friends would like and what you think your father would like and then cross your fingers… The most valuable thing you have is your own voice.” — Aaron Sorkin
WRITERS, DO WHAT YOU MUST
So, writers, go forth and write the ideas that you feel compelled to write. Write your rom-com because you saw MY BEST FRIEND’S WEDDING and have been obsessed with 90s rom-coms ever since. Write the script for your next horror short because you’re obsessed with Mike Flanagan’s ability to use horror as a way to haunt his characters with their own trauma. Write that high-concept half-hour comedy because COMMUNITY is your all-time favorite show, and you are, in fact, streets ahead. And the next time someone asks you, “Why You? Why Now?”, just fill them in on your latest obsession.
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Tired of explaining “Why Me? Why Now” in all of your grant and funding applications? Got a short script you want to see produced? Look no further. The Shore Scripts Short Film Fund provides an opportunity for filmmakers and screenwriters to get much-needed financial support for their short films. And all we ask for is the script.
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Joshua Kazemi is a Filipino-Iranian American screenwriter originally from Houston, Texas. After living in the San Francisco Bay Area for the better part of a decade, he moved back to Texas to study Radio, Television and Film at the University of Texas at Austin. From there, he went on to serve as a Content Creator/Director for Rooster Teeth Animation, a former division of Warner Bros. Discovery. Most recently, he was selected to participate in the 2024-25 Mentorship Matters program.
