Meet Ross H. Martin

 

Alright – so today we’ve got the honor of introducing you to Ross H. Martin. We think you’ll enjoy our conversation, we’ve shared it below.

Ross H., first a big thank you for taking the time to share your thoughts and insights with us today. I’m sure many of our readers will benefit from your wisdom, and one of the areas where we think your insight might be most helpful is related to imposter syndrome. Imposter syndrome is holding so many people back from reaching their true and highest potential and so we’d love to hear about your journey and how you overcame imposter syndrome.

I don’t believe an artist of any kind or writer completely overcomes imposter syndrome. Artists and writers are often their own worst critics. Even when a work is praised or wins an award we still find something that could be improved. I’ve been writing for over three decades now. My writing has vastly improved. The more knowledgeable I am about screenwriting the more confident I am when tackling a new idea. It’s been easy to become jaded with writing and the whole entertainment business, but when you take on a career in entertainment you have to acknowledge that you’re in for the long game. It’s about the journey. My career has gone in various directions because I was not breaking through as a screenwriter and director. I took up video editing as a backup career. My editing career has stalled out like my screenwriting career before because of not having the right connections. Additionally, I was the founder and festival director of a film festival in Las Vegas, NV. I’m thankful to have had these experiences, but they’re distractions to my main goal, being a professional screenwriter. In the last few years, I’ve been improving my craft. I’ve joined various writers’ groups. Recently, I took a story analysis course. This year I’m reading scripts for the Austin Film Festival. Often I get through a bout of imposter syndrome by getting a fresh new screenplay idea. When the pandemic started I had been re-writing some dark horror and science fiction stories. I wanted to work on something lighter, a comedy. It’s a constant battle to overcome imposter syndrome. I even wrote a short film about my imposter syndrome called “Waiting For Godzilla.” Even well-known writers still suffer from it, but find ways to get past it. It comes down to believing in yourself. I believe that one day one of my screenplays will resonate with a manager or producer and my career will take flight.

Great, so let’s take a few minutes and cover your story. What should folks know about you and what you do?

I grew up mostly in New York. I graduated from the University of Hartford in Hartford, CT as an English Major. In 1992, I moved to Los Angeles, CA. After working as crew on a few TV pilots and the feature film, “Return of the Living Dead III,” I attended Columbia College-Hollywood film school. I produced, wrote, directed, and edited 16mm short films. “The Turnaround” short film was the “Best of the Fest” of the Rochester Intl. Film Festival.

I produced, co-wrote, and co-directed the feature film, “Rubbernecking” starring Corbin Bernsen, Arye Gross, Renee O’Connor, and Debra Wilson. “Rubbernecking” is a dramatic comedy about diverse characters stuck in a major traffic jam. The film was screened at a few festivals.

In 2008, I edited the feature film “War of the Worlds 2: The Next Wave” directed by and starring C. Thomas Howell for The Asylum. I wrote, directed, and edited a short comedy film, “The Octo Circus.”

In 2001, I was the festival director at the first Screamfest Horror Film Festival. In 2012, I was the founder and festival director of the Social Media Film Festival at The Mirage Hotel and Casino in Las Vegas, NV. Films, mostly documentaries, used social media to confront social issues.

Mostly, I write feature-length screenplays in various genres; drama, comedy, horror, sci-fi, and rom-com. I love storytelling! In recent years, my screenplays have received some accolades in screenplay competitions. Currently, I’m reading scripts for the Austin Film Festival. I’m looking to make script reading my business whether it’s for a company or myself.

If you had to pick three qualities that are most important to develop, which three would you say matter most?

Anyone can learn screenwriting. Formatting is very important. Classes are important. There are some incredibly smart screenwriting teachers you can find online. Feedback is a necessity. Being able to take notes and constructive criticism is most important. Making mistakes is ideal because you learn from them. If you don’t belong to a writers’ group, find another writer you trust and swap scripts. Be there for other writers. Writing is a very lonely journey of discovery. Support each other. Network! As a filmmaker, I learned a ton simply by doing. You learn what’s or who’s needed on a set by making a film. You learn the importance of sound. You learn that filmmaking is a collaborative team effort. Things come up unexpectedly on set. Murphy’s Law suggests that anything (bad) can and will happen. So, be as prepared as you can. I’ll mention networking again as like any business, everything is about relationships. As far as finding work in the entertainment industry it couldn’t help to have a solid backup plan even if it’s for a few months. You never know when there will be layoffs or strikes, etc. Be humble about having a day job if it’s outside of the entertainment business. It’s supporting you while you pursue things on the side. It’s paying your bills. Lastly, believe in yourself!

What is the number one obstacle or challenge you are currently facing and what are you doing to try to resolve or overcome this challenge?

Earlier in my career I thought of myself as an independent filmmaker. I produced and directed short films. I produced, co-wrote, and co-directed a feature film. That feature film, “Rubbernecking,” never received distribution and thus was never a solid calling card. What I’m getting at is that it has been one very long challenge to make any kind of real break. In recent years my screenplays have consistently been awarded as QFs or Quarter-Finalists. Always a QF, never a winner. Of course, I’m a winner for writing and completing screenplays. I’m not making a living as either a screenwriter or film director. In fact, I’m currently unemployed. I’ve pretty much been on this journey alone. I’ve worked with many people, but there’s no one in my corner other than my mom. I have heard of the value of having a mentor. I may explore that more. What I could use after years of writing and pursuing is a manager. Representation. Often managers won’t read your unsolicited scripts unless they’re referred by someone else. I’m still seeking those types of connections. Entering competitions and not winning doesn’t get much attention. From what I’ve witnessed, winning doesn’t grab much attention either unless it’s from Nicholl Fellowship or Austin Film Festival. So, I need a manager. Where would Rocky be without a manager?

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