We were lucky to catch up with Douglas Eboch recently and have shared our conversation below.

Douglas, appreciate you joining us today. So, let’s start with trends – what are some of the largest or more impactful trends you are seeing in the industry?

The streaming revolution has somewhat fizzled, and interest is returning to theatrical feature films. Streaming services are mostly losing money, or at least not making much profit, whereas when movies are successful theatrically, they can make solid profits. Also, studios are discovering that movies tend to be far more successful on streaming services if they get a theatrical release first. I think there is a growing recognition that to sustain the movie business, movies need to be the center of the cultural conversation, but that has not been happening lately for many reasons: the over-reliance on Intellectual Property (sequels, remakes, etc.), the impact Covid had on theaters, and the glut of streaming conent. When I went to film school, IP started with movies. Franchises like Star Wars, Alien, Ghostbusters, the Matrix, and Mad Max began with a movie before being adapted into comics, novels, video games, etc. In the last decade, a franchise had to be successful in other forms before a movie could be made. A story like mine – selling SWEET HOME ALABAMA as an oritingal spec script, became incredibly rare.

But now I think we are about to see a reemergence of opportunity for writers to create new original content that can spawn major franchises. The studios seem to agree, as spec script sales have been gradually increasing.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I became interested in filmmaking when I saw STAR WARS as a 10-year-old, then read about this guy named George Lucas who thought all of that up. I thought, “that’s a job? I want that job!” I went to USC film school and got my MFA in screenwriting. For my Masters thesis, I had to write a screenplay. That screenplay was SWEET HOME ALABAMA. After graduation, I wrote another screenplay which attracted an agent and the attention of producers. One of those producers, Neil Moritz, asked what else I had. I gave him the SWEET HOME ALABAMA script. He bought it, and after a long development process, it was produced. It set the record for biggest opening weekend box office for the month of September.

Since then I’ve been hired to do a lot of rewriting. I am also hired occasionally as a consultant to help producers develop material with a writer. I’ve also written in other media: I’ve sold two children’s plays and four science fiction short stories. And I’ve written several novels – three prequels to SWEET HOME ALABAMA and two originals. I also co-wrote THE HOLLYWOOD PITCHING BIBLE with producer Ken Aguado as a guide to sell movies and TV series to Hollywood.

Alright – let’s talk about marketing or sales – do you have any fun stories about a risk you’ve taken or something else exciting on the sales and marketing side?

I’ll give you two stories in one. First, when I was starting out, I had a meeting with an executive at a major studio. I went to his office. He was reading a screenplay, but motioned me in. He threw the screenplay down in frustration, and said, “I just got this rewrite on one of our projects. The writer did exactly what I told him to do.” I said, “Isn’t that what you wanted?” He responded, “No, I could do that. I want the writer to give me a better version of my notes.” That taught me that you have to be true to what you believe is best, or you aren’t bringing anything of value to the table.

I was able to apply that lesson later, though perhaps inadvertently. I had worked for a while at Disney Feature Animation in a technical position before selling my first screenplay. I was contacted by someone I had worked with at at Disney who had moved to an educational institution that was looking to produce an animated educational television series. He suggested they bring me in. I came in and did my pitch, and I got the job. When I came in for my first meeting after that, the producer told me they’d met with a bunch of the top animation writers, but those folks had all pitched the same thing. The producer liked that I pitched something different. I thought, “maybe that’s because I don’t know what I’m doing?” But the lesson, again, is that what you have to offer as a creative is your unique voice and perspective. Doing what everyone else does is not going to lead to success in a creative field.

We’d love to hear the story of how you built up your social media audience?

I do all my own social media. I’ve mostly built my audience through public speaking, such as doing panels at conventions and such. A few guidelines I use for my social media strategy are: First, know what you’re trying to accomplish with social media. Who are you trying to reach? What do you want them to know? Tailor your posts accordingly. Second, posts should be entertaining and/or informative. People don’t want to follow someone who’s constantly trying to sell them something. Think about why your target audience would follow you. Also stay positive – talk about what you like, not what you don’t like.

Social media has become a powerful networking tool for screenwriters. We follow each other and discuss trends in the business and the challenges of the profession. This has then become a way for aspiring screenwriters to make their first connections in the business, by interacting with pros on social media. When I was starting out before social media, it was a challenge to stay in touch with people I’d met in the business. Now, that’s very easy.

Contact Info:

• Website: https://douglasjeboch.com
• Instagram: https://www.instagram.com/douglaseboch/
• Facebook: https://www.facebook.com/DouglasJEboch
• Youtube: https://www.youtube.com/@dougeboch
• Other: Blue Sky: @douglasjeboch.bsky.social