Million Dollar Screenwriter

2011-12-25T13:18:00.001-08:00

Merry Christmas to you and your family. May you be blessed and amazed in 2012! Natasha

What types of scripts are selling in 2011?

2011-11-09T10:20:00.000-08:00

What types of scripts are selling in 2011?

Here’s a break down of the genres sold in October 2011 per the Scoggins Report:

New Specs 47
Number Sold 20
Percent Sold 43%

Genres Sold
2 Action/Adventure
5 Comedy
5 Drama
1 Horror
3 Sci-Fi
3 Thriller
1 Unknown

The amazing thing is that people in the industry will tell you to NOT write a drama because those don’t sell, well as you see, William Goldman was right...nobody knows anything...especially when it comes to what will sell. The one “unknown” that sold was probably a script that couldn’t easily fit into any drama...who knows.

The lesson is to write from your heart, continue to show up on the page and know that good writing will eventually sell. If you keep at it and believe that quitting is not an option, your time will come.

Write right and write on!

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For more industry information, check out www.onthegrid.com.

Why did they pass on my brilliant screenplay?!?

2011-11-08T15:18:00.000-08:00

We’ve all been there. You’ve spent 3 to 6 months or more working on your screenplay. You’ve put your best foot forward and then some and you were psyched because someone actually wanted to read it. You give it a once over then nervously attach it to an email and send it off then wait...and wait...and wait what seems like forever and either after endless waiting you finally hear back and it’s a, “No, not what we’re looking for.” or worst...you never hear back from them ever again and contacting them makes you feel like a psycho stalker. Rarely do we get an explanation as to why they really passed on our work. I found the below except on Linda Bergman’s blog and thought I would share it here. Knowing how those in the industry feel will better help you polish your gem of a screenplay the next time it goes out...or better yet, will help you write a better script from the start.

Except from Linda Bergman’s blog...www.lindabergman.com

1. Your story is probably not as original as you think. If it rings of anything familiar, it will get passed on. Also, if it is too contrived, it will get a big fat “No.” If the story is not a good one and executed perfectly, it will get a pass. If it is a terrific story and executed poorly, it might have a chance at getting optioned and new writers assigned. Don’t do a rehash of something you saw. Make your idea (which has probably already been done somewhere by someone) different enough to be called original. Find a way to make it fresh and compelling. You do that by having something NEW to say about the idea or a different point of view.

2. Your characters are weak, flat, and unimaginative. Murky characters don’t have a goal. They aren’t driven to overcome any obstacles. They don’t come to life on the page and we don’t care about them. I always ask my students if they have written a ten page bio for each of their characters. You don’t have to put everything in the script that they did their whole life, but a good bio will inform your writing of the character. You are the only person that can bring him/her to life for the reader. And the reader is the first step in the process of selling.

3. Your descriptions are too long, too wordy. Just pick the best words to economically describe a scene then let the reader’s imagination take over.

4. Your dialogue is clunky, over-written, unnatural, too on-the-nose, or you are using dialogue as exposition. Don’t tell the reader what is going on through dialogue, show the reader what is going on with action. Also, make sure your characters don’t all sound the same. Good dialogue has rhythm and meter. Each character should have their own.

5. You don’t have a conventional three act structure and your tone is not obvious up front. Write like a pro and you’ll have a better chance of selling like a pro. No exec will read past page thirty (some will only read to page ten) if you don’t have a structure in place.

6. Your script doesn’t make the reader FEEL. If a reader laughs or cries or gets scared, this is a good thing. Even if a script is well written, it can still be boring. Ask yourself if you are moved by your material, if you didn’t laugh or cry, no one else will.

7. Your script cannot be marketed. There are a lot of well-executed scripts with material that cannot be sold. Maybe it’s too similar to one the studio or production company already has in development. Or maybe your rom com is just too cookie cutter or your thriller is not that particular execs cup of tea. These are things you cannot control and please try not to take them personally.

8. You did not let enough people who know what they are doing read the script before you submitted it. A script must be in the best possible shape before you send it to a buyer. Find an editor or professional that can help you and ask all the tough questions of your piece before it goes out.

Most importantly, don’t stop writing!

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Linda has some good advice and freely shares her industry experience. Be sure to check it out. Oh and her book, "So You Think Your Life's a Movie", isn't too shabby either.

For industry insight into getting them to say Yes instead of No and getting that much sought after sell, check out The #1 Secret to Sell Your Screenplay to Hollywood, without an agent and even when you don't live in LA.

Good luck and happy writing and getting those Yes's!

Write right and write on!

The Secret to Writing Screenplays

2011-11-03T11:08:00.000-07:00

I believe the secret to writing screenplays is being prolific in writing them. The more you write, the better you get, just like with any other craft. Below is an article written by Martin Acuna that explains the road to prolificity. Take note and write write write write. He also has a free newsletter that you can sign up for that has other great screenwriting tips and tips for breaking into the industry. Be sure to check it out. The more you write, the better your chances of having the million dollar screenplay and also when someone asks, "What else do you have?", you won't come up empty handed.

Write right and write on!

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The Importance of Being Prolific

by Marvin V. Acuna

Terry Rossio (co-writer of the Pirates of the Carribbean franchise) believes that

a trait of successful screenwriters is... Prolificacy.

Here are his specific thoughts:

PROLIFICACY

Consider this: in the afterward of Stephen King’s book Different Seasons, he
explains how the four stories in the volume came about. Each one was written
after he had completed writing one of his novels.

He writes, “...[I]t’s as if I've always finished the big job with just enough gas
left in the tank to blow off one good-sized novella.” So he wrote The Body
after Salem's Lot. Apt Pupil after The Shining. Rita Hayworth and the

Shawshank Redemption after The Dead Zone. And Breathing Method after
Firestarter. Now just stop and think about this. Here's a writer who, after
finishing a bestselling novel, has the ability to sit down and knock out a
masterfully written novella in a matter of days. And three of these
“afterthoughts” have been adapted into major motion pictures.

Now that's prolific.
I often meet screenwriters that become obsessed with one screenplay and devote
years of their time and energy to it. Some spend more than a decade on one.
Other writers expend precious energy awaiting responses to query letters or
submissions. Months go by and the only additional writing done is focused on
follow-up letters or emails asking the horrid question: Have you read my script?

In my humble opinion, if you are spending that kind of time on one screenplay,
writing is a hobby, not a profession.

If screenwriting is a hobby for you, then it doesn't matter. But if you are truly
committed to screenwriting as a professional endeavor, then generating content
should be a ritual, a tradition, an absolute must.

Hobby or profession? Only you know the truth.

This is a competitive profession. It requires that you play your A-game even if you
are not yet an A-lister.

I've worked with various screenwriters who have written an entire spec and then
through the process discovered a character or an idea that was worthy of further
exploration. They have no issue discarding the screenplay and beginning a new
one based on their new discoveries.

Other writers submit their completed works and while they await feedback from
their representatives or the market itself, they begin work on the next screenplay.

Is it easy? No. It's not supposed to be easy. If it were easy everyone would be
doing it.

Being prolific has numerous benefits. Beyond amassing an inventory of material
and developing a necessary habit, I believe you hone, shape and refine your skills
as a screenwriter.

I know many industry professionals who would agree with literary manager Jewerl
Ross, who said “I sell writers, not scripts.” He expects his clients to generate
content, to be prolific. Three to four screenplays a year is the minimum.

With these criteria in mind, let's bring all of this back to you. While not everyone
can be Stephen King, are you at least setting the table for your success? I've said
this before, but this is an industry where talent alone won't carry you across the
threshold to screenwriting stardom.

Instead, it takes that rare combination of talent, passion, and joyful hard work.
In other words, being prolific. My hope is that you have already incorporated this
necessary screenwriting trait into your writing routine, or you see the value in it
and will start applying it immediately.

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To get Hollywood's "Most Valuable e-Newsletter" for FREE, sign up for Martin Acuna's The Screenwriter's Success Newsletter.

www.TheBusinessofShowInstitute.com

Four steps to achieving anything you want in life

2011-09-21T21:28:00.000-07:00

The four steps necessary for achieving anything you want in life are as follows:
1. Have a wish. (Desire something)
2. Create the dream by visualizing it happening.
3. Release the dream to a higher power while retaining the visualization. (Higher can be the Universe, God or whatever name you said higher power)
4. Take constructive action to direct your dream into reality.

It's the law of attraction in action.

Formula for success = Desire + Dream + Faith + Commitment + Action

Write right and write on!

Marketing Your Script

2011-09-07T14:24:00.000-07:00

Here's an excerpt from my book: The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent and even when you don't live in L.A.

MARKETING YOUR SCRIPT

Successful screenwriters have two jobs: writing a good script and marketing it.
Once you make your script as best as you can, research appropriate buyers for your script.

There are three basic steps to marketing your script:

1. Know your market. Look at the credits the target producer has already. Don’t pitch them something in a totally different genre than what they have previously made movies in unless you know for sure that they are looking to branch out in a new direction. Don’t assume that your high concept script that happens to be the next great horror film will make a producer who usually does romantic comedies invite you and your script into their arena with open arms.

2. Come up with a plan then put it into act. There is not try, just do. (I think that was Yoda.) If that plan includes sending out mass queries, think about that. I sold my screenplay without sending one query letter and without an agent. Maybe I got lucky or maybe I decided on a different approach or approaches. These are noted in the “Marketing Your Script” and “Break into Hollywood” sections.

3. Have a knock ‘em dead One Sheet.

The One Sheet is different from the synopsis or outline because it’s a marketing tool. "One-Sheet" is a standard industry term for a movie poster. More recently, within the screenwriting industry, it has come to mean a one page narrative summary of the entire story of your original screenplay. It includes all of the major story beats, and act breaks. Beginning, middle and end -- minus the minor details. Having listened to your pitch, a producer will often ask for the one-sheet as a reference, or as something to show to a higher-up.

Think of what the poster would be for your movie. There are no strict guidelines on what should be on it or how it should look except that it has to be amazing and get the producer or studio executive excited about your project. Easier said than done, I know but it is possible.

Tips for creating a dynamic One-Sheet:

1. You’ve got to have punchy description of your story.

2. Leave out the backstory.

3. Imagine what you would see in the trailer.

4. Describe only the interesting scenes.

5. Include your contact information.

Exercise:

Watch some movie trailers. Check out ones that are for movies you have already seen. These can be found on the internet…imdb, fandango, the movie’s website. Notice what images they choose to highlight in the trailer. Note what made you interested in seeing the movie.

Next take an upcoming movie and view the trailer. Note what makes you want to see the movie or what doesn’t and why. This will give you a clue of what works and what doesn’t. Notice what is the difference between the movie trailers that were phenomenal that made you excited about seeing the movie and which ones didn’t. Try to read the screenplay for those movies. You can find them most times for free online. Then compare what parts they chose to show in the trailer.

Do the same sort of thing with your movie. What strong, visual elements do you have that will pique their interests? Forget the fluff and extract the big events, the big turning points in your screenplay. If you have a major twist that you do not want to give away, hint at it so that the reader will know that there is something more to come but they’ll have to read the script to find out. Don’t be totally vague but provide just enough intriguing information to whet their appetite. They will already be interested based on your title and high concept logline. Note that the One-Page write up is a lot shorter than the outline or synopsis. A paragraph at the most. Try not to have more than 10 - 15 sentences.

Example information to include:

For a screenplay:

Genre
Title
Logline
Synopsis

For a TV series:
Title
The Concept
The Series Description (basically a synopsis)
Episodes Explained (Explain how the first 6 episodes will play out to show them that you’ve thought through the concept)

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I hope this gets you started. For more information, be sure to check out my book: The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent and even when you don't live in L.A.

Write right and write on!

Seven Most Popular Genres

2011-07-28T02:04:00.000-07:00

The late Blake Synder was revolutionary when it came to story and plotting. If you haven't read any of his Save the Cat books, I think there are 3 in the series, check them out. He has a new way of looking at the same old genres we see time and time again. He's the Polti of our generation. Below are the seven most popular genres per Save the Cat. If you like this approach, I think it's a fun approach to creating, there is also Save the Cat software and an Iphone App. I love the app because then I can create on the go or while I'm waiting for appointments. A creative mind is never idle!

The 7 Most Popular Genres per Save the Cat

1. DUDE WITH A PROBLEM - Every story, in essence, is about a “dude with a problem.” But this particular genre dictates a certain type of problem: one that is life-or-death and immediate, that must be solved through some sort of physical battle, right now. The whole movie is essentially a chronicle of that battle (which might consist of a series of mini-battles). Think Die Hard, Bourne Identity, Misery, 2012, or Apollo 13.

2. GOLDEN FLEECE - This often seems to be the “catch-all” genre when no other will fit. But it, too, has its own specific requirements that must be met for it to really work. The key is that the main character’s “team” is chasing a very clear and definable “prize” that seems unreachably hard. You’ll know the movie is over, because they’ve achieved the prize, or not. Often, I find in scripts purporting to be a “Fleece” that the “prize” is unclear, or not big or challenging enough, and the journey toward achieving it thus not as compelling as it could be. Think The Bad News Bears, Finding Nemo, Saving Private Ryan, Ocean’s Eleven, or Cast Away.

3. BUDDY LOVE - All movies have relationships with problems. But it’s not a “Buddy Love” unless the main problem of the movie has to do with a key relationship that seems essential to the main character, which is threatened by something. “Will they or won’t they end up together?” is the central question of the movie, and the main issue that is explored throughout. Think The Black Stallion, Starsky and Hutch, Pretty Woman, Mr. & Mrs. Smith, or An Officer and a Gentleman.

The world of fashion is an institution - and as a turns out - makes for a memorable film.

4. INSTITUTIONALIZED - Just because a story takes place at an “institution” of some sort, does not make it fit this genre. And the “institution” does not have to be literal. The question is whether there is a group with its own rules and norms that the main character is exploring the costs and benefits of membership in — and ultimately deciding whether they want to be a part of it or not. It’s about deciding who they want to be in relationship to it, and the risks and reward of same. Think Full Metal Jacket, Goodfellas, Office Space, The Devil Wears Prada, or Crash.

5. RITES OF PASSAGE - Similarly, just because a character is going through some sort of rite of passage (in the generic sense) does not mean it meets the criteria for this genre. The key here is that it is a relatable life problem (like adolescence, divorce, mid-life, loss of a loved one, or addiction), which the main character is avoiding by chasing something else. They are clearly on a wrong road, as they spend most of the movie in pursuit of some challenging goal that is entertaining to watch, but not ultimately going to work out well. Finally, they’re left having to face life after all, hopefully having learned something in the process. Think 10, The War of the Roses, Ordinary People, Trainspotting, or American Pie.

6. SUPERHERO - The key here is a nemesis and problem that is seemingly bigger than they are. It’s never compelling watching amazing people (real-life or made up) succeeding over and over again. Good stories are always about characters being pressed to their limits and overmatched — in hell, essentially — until the very end. (I cannot say this strongly enough. Stories are about dealing with big problems that only get worse when you try to deal with them. So are scenes, most of the time. This is the main issue that I work with on almost every story — making sure it’s a compelling problem that is big enough, hard enough, and complicated enough to take a whole movie to solve.) Think Erin Brockovich, the Harry Potter series, The Matrix, Gladiator or Spider-Man.

7. OUT OF THE BOTTLE - The “magical” catalyst should cause complications and challenges that never would’ve been there without it. Again, they make the hero’s life harder, in ways that demand to be solved. Usually, it’s easier for readers to swallow if the magic emerges from some sort of relatable, semi-explainable place (i.e., not too arbitrary or contrived) like a carnival wish machine, an electrical storm, or some established mythology like genies or witchcraft. And the magic should go away or be resolved in the end, with the character back to an essentially “normal life,” where they’ve grown in some way. Think Big, Aladdin, The Nutty Professor, Liar Liar or Field of Dreams.

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Question for today: Where does your script or concept idea fall within these seven?

Happy Writing and Creating!

Hero's Journey tip: The Oracle

2011-04-27T09:50:00.000-07:00

A tip from the Hero's Journey:
Every hero must meet an Oracle.

The Oracle is that entity that guides the Hero towards the tangible (Sword) that represents the intangibles (Expansion of Consciousness etc).

The Oracle can be literal. For example, in The Matrix (1999), a literal Oracle guides Neo towards the choice he must make.

The Oracle can be an inanimate object. For example, in Alien (1979), the Oracle is Mother the computer.

Or the Oracle can simply be metaphoric for any event that pushes the Hero in the required direction. In Scarface (1983), it is the assassination attempt that pushes Tony to take out Frank.
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Write right and write on!

Starting with a bang

2011-04-26T10:33:00.000-07:00

The best way to hook someone who’s seeking a thrill is to start with an action scene. A quick example can be seen in the James Bond movies. Bond movies always starts in the middle of some life or death situation that he’s required to bomb, shoot, or ski his way through to safety. The action hook may or may not be related to the story as a whole, but it sets the tone for what the reader can expect throughout.

Question: Does your script start with a bang? If not, how can you incorporate a bang to make it pique the interest of the reader making them chose to skip lunch because they have to turn the page to find out what happens next. Once they put it down, the chances of them picking it back up again is slim unless they are mandated to do so.

Write right and write on.

5 Ways to Start a Screenplay

2011-04-15T09:45:00.000-07:00

FIVE WAYS TO START A SCRIPT

By Nicholas Turner

The best scripts feel both original and familiar at the same time—no easy feat. Even more challenging: being able to capture that tone within the first few pages. Your script only gets one first impression, and if it doesn’t hook a reader immediately, its next stop may be the landfill.

That doesn’t mean the beginning needs explosions and car chases—or that it even has to be particularly fast-paced. What it should do is introduce a bit of mystery. Your readers should have a thread of suspense pulling them from page to page. What’s going on here? Who are these people? Why does one of them keeping sharpening his bowie knife?

Unsure how to start? Here are five classic beginnings you may want to try. A tried-and-true formula gives you structure and helps ground your reader in something familiar. The challenge is to give your opening a twist, making it your own.

1. The how-did-we-get-here opening. With this beginning, you plunge right into the action—showing your character in an intriguing predicament. Maybe your hero is by the gallows, getting a hood placed over his head. Maybe she’s dragging a trash bag full of twenties past a policeman—and the bag slowly starts to split open. In any case, as soon as you’ve hooked your audience, you flash back to the beginning of the story. If you’ve done your job right, they’ll be itching to find out how it all happened. The ultimate version of this opening may be Memento (2000), which is told backwards.

2. The who-are-these-people opening. Mysteries don’t have to be about murder and cover-ups. Just put two characters together and have them start a conversation. Don’t tell us that they’re man and wife, or boss and secretary, or hit man and victim. Let the facts leak out gradually, through natural dialogue. The audience’s desire to figure out the relationship between characters can hold their attention. This approach often works best for stage plays (Harold Pinter is a master of the technique), where there are few clues other than dialogue.

3. The big-bang opening. There’s nothing wrong with an explosion or two. If you’re writing an action-adventure script, it’s wise to start off with a tightly paced set piece. In addition to grabbing the audience, it can help establish your character. In Speed (1994), an elevator sequence teaches us that Keanu Reeves’ Jack Traven is a quick-thinking cop on the bomb squad. In the Peruvian-temple scenes from Raiders of the Lost Ark (1981), we see Indiana Jones’ bullwhip-cracking prowess, as well as his respect for ancient artifacts. After the set piece, you should step back and slow down—showing your character in a less frenzied environment (Indiana Jones teaching college kids, for instance). Remember that your climax will have to be even more exciting than your opener, so don’t pump up the action to the max. Where will you go from there?

4. The waking-up opening. This beginning is fraught with cliché dangers, so be careful. How many movies have you seen where an alarm clock goes off and a weary hero flails around in an effort to shut it off? It’s a shopworn scene. However, there’s something to be said for showing your protagonist starting out a typical day. It helps your audience identify with the character and also establishes who this person is—before the events of your script irrevocably change his life. To see a twist on this idea, check out Half Nelson (2006). Ryan Gosling’s character is in his living room, strung-out and wide-awake, when his alarm clock goes off in his bedroom. Like all good beginnings, this reveals something about the character: You know immediately that this guy is messed up.

5. The origin opening. If you want to add a little heft to a character trait, consider this opener. Say your protagonist is deathly afraid of bees, you may want to show her as a kid, when she bumps her head on a buzzing hive. Or maybe you’re giving the origin of a superhero’s powers, as in Superman (1978). When you cut to adulthood, the audience has a deeper understanding of the character than they’d get through dialogue alone. The risk: Starting off with your main character in childhood can easily be hackneyed and cheesy. And when you show that character as an adult, the audience may not recognize that it’s supposed to be the same person. (You also may want to withhold the origin story until later in the script, to give more mystery.) For an example of this approach done well, see The Orphanage (2007). It shows the protagonist Laura as a kid, enjoying games at the orphanage. You then can understand why she would return to the same rundown place later in life, eager to restore the idyll she remembers. Again, the best openings spotlight the hero’s character.

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Hope the reposting of this article helps you to create a dynamic beginning for your script.

Write right and write on!

Reality Show Concepts

2011-04-13T11:46:00.000-07:00

Reality shows seem to have become of our evening staple. Once considered fleeting entertainment looks like it's here to stay. Have an idea for your own reality show and need professional feeback. Try out my reality show evaluation services.

What you get is a one page analysis of the Reality Show or Game show concept.

Includes:

Show Evaluation – A one page of general comments.

First Impression – What works, what doesn’t work and why.

Development Ideas – Tips on how your concept can be improved.

Analyst Advice – What you should do next

Show Concept Score Card & Graphical depiction on how your show concept rates – a grade on the elements from Excellent to Poor and a Pass, Consider or Recommend note for the show concept.

Contact me for the low cost special.

Write right and write on!

Question of the week 2/14 How's your philosophy?

2011-02-15T12:24:00.000-08:00

Question of the week for 2/14 taken from Philosophy of a Great Screenwriter class:
Presented by Hal Croasmun at ScreenwritingU.com

Tip 12. Some People Get Lucky. Make Sure You're One of Them.

In this industry, you often hear about "lucky breaks." Many of the most successful writers, producers, and actors credit part of their success to a few lucky moments.

But let's be clear. The vast majority of those people absolutely deserve their luck because they created it...and so will you.

Having said that, there's the other side of the coin. Some writers don't want to accept luck as part of their model. In fact, they'll refuse a lucky break if they get one. Either they don't recognize it, or they don't like how it is being presented to them, or they don't want luck to be the reason for their success. Whatever the reason, they have sabotaged their own success. Don't let that happen to you.

Creating Your Own Luck

This is all about driving your own story (Tip 1). You can't control the industry, but you can control the actions you take. Here are some easy steps for creating your own luck:

1. Make sure you're prepared.

Overall, this entire philosophy is about getting you ready for a lucky break. But you also need to do the work to have screenplays that are attractive to agents and producers (Tip 3). You need to have a pitch that will instantly intrigue an industry player. And you need the confidence (Tip 4) to present yourself as a professional.

2. Put yourself in situations where luck/opportunities can occur.

Interact online with writer's groups, filmmakers, and producers. Go to events where you can network. Don't wait for opportunity to come knocking. Knock on opportunity's door!

Even if your script gets turned down (Tip 9), there's still value that can come out of it. You can build relationships with the production company. Use the feedback to improve your script. Then, learn from the experience so your next submission is more successful.

3. Accept lucky breaks and take action on them.

The opportunity has shown up. Don't put on the brakes. Just step forward. Take the appropriate action. If it is an important connection, build a relationship. If it is a chance to collaborate with a production company, jump in. If it is an offer, give yourself permission to make the deal (Tip 5) and move your career forward.

Very likely, you've created opportunities like this at some point in your life (Tip 7). Thinking back on how you "became lucky" might give you insights into how to do something similar for your screenwriting.

ACTION: Create a plan RIGHT NOW to take action on the three steps listed above. Don't wait until later. Design your future success today.

QUESTION: How can you set up your screenwriting career to create more opportunities and take advantage of lucky breaks?

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Write right and write on!

Philosophy of a Great Screenwriter: Tip 1

2011-02-04T09:30:00.000-08:00

Philosophy of a Great Screenwriter Class

Presented by ScreenwritingU.com

Tip 1. Drive Your Own Story

Think of the biggest successes you've had in life -- especially the ones that you worked for -- and let me ask you a question.

Don't they all have a story that comes with them?

A beginning when you decided to go for a specific goal. Then a middle when you encountered the work required to make that goal happen. And finally, an ending where you've succeeded!

Very likely, you learned something in the process -- your own character arc.

Right now, as a screenwriter, you are somewhere in that 1st or 2nd Act. You are the protagonist of your story. And the beautiful thing is that this story ends with you succeeding in a big way...

...if you choose to DRIVE your own story.

Make sure you understand that last point. You, and you alone, are in charge of driving your own story. Reluctant protagonists don't succeed at breaking in. You can afford to be reluctant AFTER you are a star. But to break in, you must be proactive. You must take control of your screenwriting career.

The good news is that there are more resources for becoming a professional screenwriter than at any other time in history. Check out these resources: Screenwriting software (like Movie Magic) instantly formats your script to look and feel professional. Screenwriting communities (like ScriptChat) offer places where you can discuss the craft with other writers. There are sites where you can pitch your script from anywhere in the world (like Virtual Pitch Fest and ScriptBlaster), or upload your logline/script for producers to see (like Inktip). And we're proud to offer some of the best screenwriting classes in the world (ScreenwritingU).

With those and other resources, you can truly succeed...if you drive your own story.

WHAT DOES THAT MEAN?

You are the writer of your own story. Don't write a tragedy. Don't try to create a lot of drama for your protagonist (yourself). Instead, create an amazing story where the hero succeeds.

Today, you are on a journey -- your own hero's journey. This journey doesn't come to you. You come to it. Every day, you make the choices and take the actions that will further your journey.

You are the proactive protagonist that never quits. Wherever you are, you look to the next leg of the journey and move forward. You don't allow anything to stop you. You take the steps, confront the demons, and become the master of your own world.

You know your destination. Honor it.

ACTION: Make a list of the things you need to do to succeed. Then put them in a sequence. Choose one you can take action on today and move forward in your journey.

List of Actions could be: Write. Join ScriptChat. Take a class. Attend a screenwriting conference. Write a query letter. Send a query letter. Talk with another screenwriter. Answer an ad in Craigslist for "Screenwriters Wanted." Improve your network. Meet a new screenwriter on Facebook or Twitter. Comment on a screenwriting blog. Enter a contest.

There are 100 things you could do today. Pick one that moves your writing career forward today.

QUESTION: Every day, ask yourself the question, "What can I do right now to move my screenwriting career forward?"

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For more information and classes, visit ScreenwritingU.com

Write right and write on!

Question of the Month Feb 2011: What is your mindset?

2011-02-04T09:26:00.000-08:00

Question of the Month for Feb 2011

What is your current mindset regarding your screenwriting career? What do you actually believe you can accomplish? Are you sabatoging your efforts from negative self-talk?

You get what you expect.

Write right and write on.

Philosophy of a Great Screenwriter

2011-01-25T15:05:00.000-08:00

It's never too late to learn something new and even the experienced writer is continuously improving his/her craft. I've just signed up for a brand new class, The Philosophy of a Great Screenwriter.

THAT'S RIGHT -- A SCREENWRITING SPECIFIC PHILOSOPHY.

At ScreenwritingU, we have walked more than 50 screenwriters through the dealmaking process in the last two years (See some of those deals here) and noticed early on that the writer's philosophy either helped make that deal or killed it.

We're going to explore some of the most important philosophy tips on screenwriting -- perspectives that have caused other screenwriters to break in and become some of the most successful screenwriters in the World.

•Six tips for breaking into the Biz more quickly.

•Three tips that could save you years of amateur mistakes.

•Four tips for causing people to recommend your writing.

•Four tips that empower you through tough situations.

•Three tips that help you build a solid career NOW.

Any one of these could dramatically increase your chance of success.

For more information, go to http://www.screenwritingu.com/philosophy/landing.html

Write right and write on!

Question of the week 1/24: Does your script have enough white space?

2011-01-24T14:09:00.000-08:00

Question of the week: Does your script have enough white space?

White space is the screenwriter's ally.

How does the use of white space help you? First, breaking your action and description into smaller sections makes the script seems as if it reads quickly, giving the reader the effect that your story also moves quickly. A story that moves quickly is more likely to hold a reader's attention.

Smaller sections of action draw the reader's eye down the page. Screenwriters should make their best effort to limit sections of action and description to a maximum of five or six lines. Several consecutive smaller sections of action will appeal to a reader more than one large paragraph of action.

Write right and write on!

Question of the week 1/17: Ask yourself: "What one thing I’ve been thinking about doing for a while, that I keep putting off because I’m afraid?"

2011-01-17T13:38:00.000-08:00

Question of the week 1/17: Ask yourself: "What one thing I’ve been thinking about doing for a while, that I keep putting off because I’m afraid?"

What risk do you need to take to take your screenplay to the next level? You might want to:

• Ask someone for a referral.

• Ask someone to be a mentor.

• Set up a meeting with a potential mentor to get advice about taking your screenwriting career to the next level.

• Target a contest to enter.

• Query a producer, agent or manager.

• Set a date for a workshop you want to attend.

• Share a creative dream with others (supportive people only!).

• Start the new script you've been meaning to write.

• Finish a screenplay you have let collect dust.

Yes, you may face rejection, but what's the alternative? It's a mediocre life that comes from playing it safe.
Use this blog as a catalyst for taking action. Face your fear head on and take the risk!

Write right and write on!

What to Do With Your Spec Script in a Catch-22 Situation

2011-01-12T16:54:00.000-08:00

Found this on Rachel Miller’s blog. Rachel Miller is a Manager at Tom Sawyer Ent.

Wow, there always seem to be some "new" catch when trying to get your script sold.

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What to Do With Your Spec Script in a Catch-22 Situation

From Rachel Miller’s blog

Rachel Miller is a Manager at Tom Sawyer Ent.

There is some good news in the Hollywood world. Studios are buying specs again — not a lot — but still it is better than nothing.

However, if you read what is selling you know that almost everything has an attachment before a studio buys it — either a big producer, director or actor.

I was discussing this with an executive who at least admitted that, yes, pre-attaching an element that every studio approves is nearly impossible. Especially since there are maybe five people every studio will agree to. So this is definitely a Catch-22 situation.

But the exec did have some good advice: If you can attach an element that’s sexy, sometimes that’s enough — the element doesn’t actually have to star or direct in the film — they can just be attached in some producorial capacity.

For example, if it is a producer/actor or a producer/director, if the person is a big-enough name, that is enough to get the studio interested. Or, if you can say that a big-enough name has expressed interest, that also can work as well.

In other words, try to think of some creative ways around your catch 22 to get where you need to go. After all, if you don’t find a way around your catch 22, your spec script may never be bought.

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Summary, when they close doors, look for a window!

Write right and write on!

#1 Mistake Writers Make When Entering Screenplay Competitions

2011-01-11T11:29:00.000-08:00

#1 Mistake Writers Make When Entering Screenplay Competitions

Most people think the #1 mistake writers make when entering screenplay competitions is poor writing. I think that is closer to #2. The #1 mistake is submitting a script that is not marketable which also means interesting. In the movie industry it’s CONCEPT, CONCEPT, CONCEPT. A great concept will beat out a better written low concept script in most cases. The thing is that all scripts are rewritten at some point so the concept has to be great before you even get to that point.

The main reason people enter contests is to get noticed. The production companies who request to read the contest winners are looking for marketable material first, good writing second. What attracts them to want to read your concept is an interesting title and logline of the concept. They won’t know if it’s written well until after they have requested to read it. If you don’t have a great title and great logline hence great concept, they probably will never find out how great a writer you are. In contests, if your writing is great but the concept is not marketable, you may final but you probably won’t win. Even to garner the attention of an agent you need a marketable concept. For the Nicholls Fellowship competition, you definitely need both. Many dramas do win but I guarantee these aren’t your average dramas, there’s something definitely special about them. Just look at the winners that have been made into movies over the years.

In order to create a win-win situation, write a very good marketable script that you are passionate about! Save the low concept passion projects for after you have an established career and have made a name for yourself. When you get to that point, you can basically write what you want.

These are just my opinions so take what you can use and disregard what you can't. This works for me and I must be doing something right if I've sold my work, been optioned and have won a screenplay competition and had 3 other entries make it to the finals. The thing is to not beat yourself up if you don't think your idea is high concept or totally marketable. This comes with practice. If you need help, let me know. I'm very good at brainstorming ideas. In the meantime, write the most interesting, well written screenplay you can. Plus, the industry is very subjective! No one knows what they want until they see it.

Good luck.

For more information regarding how to make your concept great, check out my book, "The #1 Secret to Sell Your Screenplay to Hollywood" on amazon.com or BN.com.

Write right and write on!

Question of the week 1/10: Have you dust off your dreams today?

2011-01-10T15:10:00.000-08:00

Question of the week: Have you dust off your dreams today?

There are no deadlines for dreams. Miracles happen every day and usually when you least expect it. Think of the homeless guy, Ted Williams. If you haven't heard his story, google him. He's been all over the news lately.

If you haven't thought about the possibility of your dreams coming true in a while, now is the time to dust off those dreams and take action. Even, Ted the homeless guy, took a small step and look at what happened. If it happened for him, it can happen for you.

Keep living and keep dreaming.

Question of the week 1/3: Have you set your writing goals for 2011?

2011-01-07T11:04:00.000-08:00

Question of the Week for January 3rd:
Have you set your writing goals for 2011?

Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.

Write right and write on!

Question of the Month: Can Your Spec Screenplay Be a Television Series?

2011-01-07T10:59:00.000-08:00

Question of the Month for January: Can Your Spec Screenplay Be a Television Series?

Have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in the blog post, “5 Quick & Dirty Steps to Write a Bible 5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days” to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post).

Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.

At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.

Write right and write on!

About the Author: Natasha E. Williams has optioned and sold her projects to major Hollywood Producers and has won screenplay contests. She was featured in the book, "Crashing Hollywood", and on the development team for two, Chicken Soup for the Soul® books. She is also the 2010 winner in the Scriptapalooza TV contest in the Reality Show Category and a finalist for two other Reality Show concepts. She is also the author of, “The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent, even when you don’t live in LA.” For more information, visit her website at http://www.NatashaFX.comand www.thescriptwall.com.

New series of blog posts in 2011

2011-01-07T10:51:00.000-08:00

I'm going to start a new series of blog posts called Question of the Month to help keep you educated, motivated, encouraged and hopefully inspired to not only keep writing but to finish what you write! A selling writer is a writer who finishes what he/she starts and take action to get it sold. If you don't finish it, you can't sell it and if you don't put action behind it after you finish it, you still won't sell it. 2011 is going to be a busy year for me, lots of projects lined up already and it's only 7 days into the new year! So I'll do my best to honestly post a new tid bit every month and maybe even a Question of the Week if I have time. Setting recurring remembers now! The Question of the Month will be more indepth than the Question of the Week which may only be a simple question and not much additional information. It's meant to get you thinking. I'm not committing to a question of the week but we'll see how it goes. This also helps me to keep the blog updated regularly which is a goal I have for 2011 and to stay on track I've set recurring reminders in my iphone! Look for the Question of the Month the 1st of every month and the Question of the Week, the Monday of each week.

Question of the Week: Have you set your writing goals for 2011?

Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.

Please subscribe to this blog if you haven't already so that you can get the updates when new posts are published. If you have already subscribed, thank you very much!

Write right and write on!
(my new slogan for 2011)

5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days!

2011-01-07T10:21:00.000-08:00

5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days

By Natasha E. Williams

What is a Television Series Bible? A series bible is essentially an overview of the proposed series. It should cover the main characters that are followed weekly, thematic issues, story and character arcs and setting. It provides the development executive with important information and gives him/her an idea of the cohesiveness of the series over a long period of time. Basically, it provides insight as to whether or not the show has legs and sustainability. If it doesn’t, it’ll probably be better off as a Television movie or Feature Film.

These steps can also be used as a brainstorming technique to develop a television series before you write the bible.

Here are the steps:

Pre-step

To have better success, ensure you have an interesting and unique concept that we haven’t seen before or that has some special twist that makes it interesting since there really are no new ideas under the sun, just your fresh and creative take on old concepts.

Remember to be creative, leave out boring details, make it interesting and have fun.

Day One

1. Think of a compelling title.

2. Write the concept of your series in two paragraphs. Make it as interesting and entertaining as possible. Leave off unimportant details. This helps you to think of the core elements of your idea and get right to the point and heart of it.

Day Two

3. Describe the story world where your series takes place.

4. Write short, descriptive bios of your continuing characters. Include who they are, what they want and define their relationships with the other characters.

Day Three

5. Create at least six sample episodic stories that will be told in the series. Include the challenges that the characters will face each week. Put only a few sentences in a paragraph. Be sure to include beginnings, middles and ends for each episode. Tip: The conflict or tension should be apparent because that’s what makes the story interesting. Note: If you have trouble coming up with at least six great ideas for future episodes, your show idea is probably better off being a television movie or feature film.

Day Four

Post-step

Reread what you wrote. Remember to do the spelling and grammar checks. Use action verbs. Make sure everything is in the present tense. Last but not least, make sure it’s interesting and unique...something we haven’t seen before.

If you follow these steps, you'll have a draft bible in as little as 4 days! If you get stuck on any step, write what you can think of at the time and then go back to it later. Don't let one bottleneck stop or slow down the process. You may spend another week or two perfecting what you've come up with. It's always good to take a couple of days off and come back to it because you may get fresh insight or see mistakes you made along the way. Take your time to get it right because you'll only have one chance to make a first impression.

Once you have a decent and interesting bible, you can move on to writing the pilot episode.

Quick notes regarding the Television Pilot

A "television pilot", also known as a pilot episode and series premiere, is the first episode of a television series. At the time of its inception, the pilot is meant to be the "testing ground" to see if a series will be possibly desired and successful and therefore a test episode of an intended television series. It is an early step in the development of a television series. Networks use pilots to discover whether an entertaining concept can be successfully realized. After seeing this sample of the proposed product, networks will then determine whether the expense of additional episodes is justified. They are best thought of as prototypes of the show that is to follow, because elements often change from pilot to series. Variety estimates that only a little over a quarter of all pilots made for American television succeed to the series stage. Don’t let that discourage you. Even if your pilot episode does not spark interest in a television series development, you still can make it a spec screenplay

Speaking of spec screenplays, have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in “5 Quick & Dirty Steps to Write a Bible to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post). Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.

At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.

Write right and write on!

About the Author: Natasha E. Williams has optioned and sold her projects to major Hollywood Producers and has won screenplay contests. She was featured in the book, "Crashing Hollywood", and on the development team for two, Chicken Soup for the Soul® books. She is also the 2010 winner in the Scriptapalooza TV contest in the Reality Show Category and a finalist for two other Reality Show concepts. She is also the author of, The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent, even when you don’t live in LA. For more information, visit her website at http://www.natashafx.com/ and www.thescriptwall.com.

Trying to sell a Television Series?

2011-01-04T16:17:00.000-08:00

TRYING TO SELL A TV SERIES?

Look what I found on The Pitch Bible Blog! Thought it would be helpful to Millon Dollar Screenwriters in the making...if television is a goal for you.

What are they looking for? As in Development Exec's.

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This is from Eric Homan - V.P. Developement at Frederator Studios from the Channel Frederator site: http://raw.channelfrederator.com This is what they want to see...

Know that a pitch bible and a writer's bible are two different beasts. The latter is a much broader document created after a show's picked up, the former is designed to give a brief but clear overview of what you want to do with your cartoon.

Everyone looks for something different in a pitch bible. I like to see a very brief overview, a few character descriptions, a bit about the world in which the characters live, and a handful of storylines. Make sure your storylines are brief but that they contain a beginning, middle, and end (i.e. no "Ben and Jerry get jobs at a car wash and hilarity ensues" or "Lucy has to cook dinner for Ricky's new boss - will she be able to pull it off?"). Three or four sentences should be enough.

Be as brief as possible overall. A total of twelve to fifteen pages should suffice. A paragraph or two, using the right language, should be more than enough to give an exec the information they need to decide if they want to see more of that character. Put yourself in the exec's position - what would you like to see? Remember, most development executives see an awful lot of bibles, many drastically similar. Be short, sweet, and distinctive.

Include a mix of artwork. Not everything should be finished or finalized, although I always like to see one piece of art showcasing how the creator envisions how the show will ultimately look. However, remember every project goes through a lot of development and will look different than what you initially present. One more note: I, personally, dislike character art in which your characters are more or less standing there, as in the standard model sheet pose. I see it all too often, when I'd rather see the characters doing something that reflects their personality.

Keep in mind the purpose of a pitch bible is to get a network interested in seeing more, kind of like a movie trailer. It's a first impression and should grab attention.

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Good luck and happy creating!

Happy Holidays

2010-12-25T04:32:00.001-08:00

Here's to a Happy Holiday and much success in 2011. Let's sell some scripts!

Screenwriting Tips

2010-12-10T11:36:00.000-08:00

I found these tips in one of my archives. I think these are from when I took Steve's pitch class many years ago. Still relevant today. The only thing that I would disagree with is #9. Never say never. Giving a free option for a short period of time for the right project could work in your benefit. Now I would agree, do not always give a free option but doing it once in your career for 6 months when you are just starting out isn't going to break the bank but it could break your career...as in be a foot in the door with the right producer for the right story. So consider all options especially when you are just starting out. Also, don't automatically agree to a free option, try to get some money. People work harder if they put down some cash even if it's $500. Plus, sometimes people will have a small amount of funds but will try to get it for free first. So always consider all options even if you will eventually say no. If they are truly interested, they may be able to scrap up something just to get the ball rolling.

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Screenwriting Tips

Steve Kaire, Pitchmaster

1. Dramas are difficult to sell because they don't pitch well.

2. Treatments should be 10-20 pages in length, double spaced, and have no dialogue.

3. To make your story original, your logline needs a hook which is a detail that makes your premise unique.

4. The order of pitching is: Title, genre, then your logline.

5. Pitch what your story is about, not what happens in the story.

6. By the end of your script, one of your characters should change, also known as the character arc.

7. The best time to call and reach a producer is 5-8 PM when the secretary has gone home.

8. High Concept scripts sell for more money than non-High Concept scripts and are easier to pitch.

9.Never give a free option on your material. Accept at least a few thousand dollars as a show of good faith.

How to Start a Screenplay

2010-12-02T16:55:00.000-08:00

I found this article in my archives. Sometimes it's difficult having a great start to a wonderful idea but this advice comes in handy every time I start a new project. It works for every genre whether for television or feature film.

FIVE WAYS TO START A SCRIPT

By Nicholas Turner

The best scripts feel both original and familiar at the same time—no easy feat. Even more challenging: being able to capture that tone within the first few pages. Your script only gets one first impression, and if it doesn’t hook a reader immediately, its next stop may be the landfill.

That doesn’t mean the beginning needs explosions and car chases—or that it even has to be particularly fast-paced. What it should do is introduce a bit of mystery. Your readers should have a thread of suspense pulling them from page to page. What’s going on here? Who are these people? Why does one of them keeping sharpening his bowie knife?

Unsure how to start? Here are five classic beginnings you may want to try. A tried-and-true formula gives you structure and helps ground your reader in something familiar. The challenge is to give your opening a twist, making it your own.

1. The how-did-we-get-here opening. With this beginning, you plunge right into the action—showing your character in an intriguing predicament. Maybe your hero is by the gallows, getting a hood placed over his head. Maybe she’s dragging a trash bag full of twenties past a policeman—and the bag slowly starts to split open. In any case, as soon as you’ve hooked your audience, you flash back to the beginning of the story. If you’ve done your job right, they’ll be itching to find out how it all happened. The ultimate version of this opening may be Memento (2000), which is told backwards.

2. The who-are-these-people opening. Mysteries don’t have to be about murder and cover-ups. Just put two characters together and have them start a conversation. Don’t tell us that they’re man and wife, or boss and secretary, or hit man and victim. Let the facts leak out gradually, through natural dialogue. The audience’s desire to figure out the relationship between characters can hold their attention. This approach often works best for stage plays (Harold Pinter is a master of the technique), where there are few clues other than dialogue.

3. The big-bang opening. There’s nothing wrong with an explosion or two. If you’re writing an action-adventure script, it’s wise to start off with a tightly paced set piece. In addition to grabbing the audience, it can help establish your character. In Speed (1994), an elevator sequence teaches us that Keanu Reeves’ Jack Traven is a quick-thinking cop on the bomb squad. In the Peruvian-temple scenes from Raiders of the Lost Ark (1981), we see Indiana Jones’ bullwhip-cracking prowess, as well as his respect for ancient artifacts. After the set piece, you should step back and slow down—showing your character in a less frenzied environment (Indiana Jones teaching college kids, for instance). Remember that your climax will have to be even more exciting than your opener, so don’t pump up the action to the max. Where will you go from there?

4. The waking-up opening. This beginning is fraught with cliché dangers, so be careful. How many movies have you seen where an alarm clock goes off and a weary hero flails around in an effort to shut it off? It’s a shopworn scene. However, there’s something to be said for showing your protagonist starting out a typical day. It helps your audience identify with the character and also establishes who this person is—before the events of your script irrevocably change his life. To see a twist on this idea, check out Half Nelson (2006). Ryan Gosling’s character is in his living room, strung-out and wide-awake, when his alarm clock goes off in his bedroom. Like all good beginnings, this reveals something about the character: You know immediately that this guy is messed up.

5. The origin opening. If you want to add a little heft to a character trait, consider this opener. Say your protagonist is deathly afraid of bees, you may want to show her as a kid, when she bumps her head on a buzzing hive. Or maybe you’re giving the origin of a superhero’s powers, as in Superman (1978). When you cut to adulthood, the audience has a deeper understanding of the character than they’d get through dialogue alone. The risk: Starting off with your main character in childhood can easily be hackneyed and cheesy. And when you show that character as an adult, the audience may not recognize that it’s supposed to be the same person. (You also may want to withhold the origin story until later in the script, to give more mystery.) For an example of this approach done well, see The Orphanage (2007). It shows the protagonist Laura as a kid, enjoying games at the orphanage. You then can understand why she would return to the same rundown place later in life, eager to restore the idyll she remembers. Again, the best openings spotlight the hero’s character.

Earn a 7 Figure Income by Developing the Secrets of the Millionaire Mind

2010-10-29T12:41:00.000-07:00

I found this article strictly by chance if you believe in coincidences. I don't. I believe everything happens for a reason and there are no coincidences. Hopefully, no matter what you are going through, this article will lift your spirits where they have been down and give you a renewed inspiration and motivation for your own dreams. Enjoy!

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Earn a 7 Figure Income by Developing the Secrets of the Millionaire Mind

By Ben Frank Jr.

How would you like to earn a 7 figure income? I know to most people earning millions of dollars a year sounds impossible, yet there are people all over the world who indeed earn vast incomes, many exceeding the 7 figure mark. And contrary to what many people think, most of these individuals actually work less, much less, than the rest of the world who works hard and never gets ahead financially. What is the difference between these individuals who earn thousands of dollars a day working part time (or even not working at all) and those who work all the time and still end up broke? It all comes down to the mindset of the individual. When you develop the secrets of the millionaire mind you will realize that making money can be done in a whole new light, and you will have the necessary tools to take you to any financial goal that you may have.

So just what are the secrets of the millionaire mindset that can take you from financial lack to a earn a 7 figure income? By applying the following principles in your life you will begin doing things in a way that will support your in reaching all of your financial, business, and personal goals.

Grand Thinking-Do you think that the size of your thinking relates to the size of your income? It definitely does. Small thinking and goal setting may seem safe and easy, but the results will be no larger than the goal itself. People who earn millions of dollars had set that goal for themselves. Had they only set their sites on a 6 figure income, that is where they would have ended up. If you want to earn a 7 figure income, you need to think big and set grand goals.

Laughing at Fear-Do you think that it is easy to earn millions? Well, it may not be as difficult as you think, but one thing is for sure; You Must Be Willing to Take Action. When you set a big goal for yourself, sooner or later you will be presented with the opportunity that you need to realize that goal. It may be frightening and intimidating, but don't let that stop you. Millionaires are courageous and act even when they feel fear. They simply feel it and act anyway.

Get Paid on Results-Do you think that millionaires earn an hourly wage? Most likely not. When you decide to earn a 7 figure income, you need to have the ability and potential to earn that kind of money. When you get paid based on the amount of time you work, your chances of getting rich are greatly diminished. Get into business for yourself, work on commissions, or get paid for the results you attain. Only then can your income become unlimited.

Be Persistent-If wealth came easily and quickly, there would be many more rich people that there are. Most everyone wants wealth, but not everyone is persistent enough to stick with their goals long enough to make it happen. If you truly have the desire to earn a 7 figure income, make sure that you are committed fully to the pursuit. Unless you quit you cannot fail.

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Ben is a young entrepreneur who has several successful businesses under his belt, and enjoys sharing information on a wide range of business, financial, and entrepreneurial topics. Visit Home Business Advantage and the Home Business Blog

Visiting Israel

2010-10-19T02:33:00.000-07:00

I'm currently in Israel for work and it's such an amazing place. Last night I saw a camera crew and it reminded me of moviemaking. No matter where you are in the world, someone is making a film. Totally inspiring.

Script Tip: Write a Screenplay in 8 weeks!

2010-10-10T16:04:00.000-07:00

Here are some tips for writing your screenplay in 8 weeks. Note, this is just the first draft to get the movie in your head out on the page. Then the rewriting starts but you have to have something to rewrite, right? Here goes it. Give it a whirl. For more informaton on selling your script, check out my book on Amazon.com or Barnes and Noble.com, The #1 Secret to Sell Your Screenplay to Hollywood.

Week One:

Write your logline and synopsis

Write an outline of the story using paragraph or beat sheet format

Week Two:

Write the inciting incident and first 15 pages.

Week Three:

Write next 15 pages—Finishing Act I.

Your screenplay should be around 30 pages.

Week Four:

Write next 15 pages.

Be sure to include enough conflict to keep the story moving and interesting.

Your screenplay should be around 45 pages.

Week Five:

Write next 15 pages.

Consult the beat sheet regularly to make sure you are staying on track.

Your screenplay should be around 60 pages.

Week Six:

Write the next 15 pages.

You should be finishing Act II.

Your screenplay should be around 75 pages.

Week Seven:

Write the next 15 pages.

Act II should be completed and are approaching Act III.

Your screenplay should be around 90 pages.

Week Eight:

Write the final 15 pages.

Be sure to tie up all loose ends.

Congratulations! You should have approximately 105 – 110 pages. You have finished ACT III and completed your screenplay. Put the script away and celebrate.

Week Nine:

Now that you have the first draft of your screenplay, re-read the screenplay.

Use the Script Tip Rewrite Sheet as a guide. (Found in my book, The #1 Secret to Sell Your Screenplay to Hollywood".)

Week Ten:

Once you have written your script and it’s the best you can get it, give it to someone else to read. You may consider hiring a Script Consultant to provide an unbiased evaluation.

Week Eleven:

While your script is away getting a second opinion, rework the logline and synopsis. Create a dynamic one page for marketing your script to sellers. Identify potential buyers for your screenplay.

Week Twelve:

If you have received your script analysis back, incorporate the ideas to make your script better. Once the revisions have been made, reread the screenplay once more. If needed, you can usually resend the same script back to the script consultant for a new analysis based on the changes and revisions for a discounted fee. If you feel your script is as good as it gets, revised the logline, synopsis and “One Page” with any new information. Write query letters to the potential buyers previously identified. While waiting for them to come back with a read request, start outlining your next movie. Then start the process all over again. Note: If they do not ask to read it, continue to do research to find other potential buyers. Also, do not forget to search for pitch festivals where you can meet buyers face-to-face. Also, consider attending workshops and conferences that provide networking opportunities such as the Screenplay EXPO (usually held in October of every year) and any Sherwood Oaks Experimental College events (various dates throughout the year).

Follow-up Notes:

Remember, giving up is not an option. Winners never quit and quitters never sell. Keep on pressing on until something happens. Those who make it are those who continue to show up.

Good luck.
Here's to making all your endings happy ones.

Scriptapalooza TV win

2010-08-31T10:18:00.001-07:00

I'm so stoked! My reality show won in Scriptapalooza TV contest and the second one was a finalist and the third one was a quarterfinalist. I think I may be on to something. The promotions have already started. Working to get all 3 sold this year. Although I never imaged writing for TV, I didn't limit myself and I'm glad I didn't.

It's funny but just this Sunday the boyfriend and I were watching the Emmy's and he was like, "Maybe you will win an Emmy before an Oscar." I was like, yeah that would happen since I never really focused on writing for TV but last year I had some ideas and I was like, I'll just see what happens since I've been trying to sell scripts to Hollywood for 10 years and finally last year I had a break through with the sale. I shifted my focus to the TV market and in less than a year I'm seeing progress.

Believe in yourself and never give up on the dream even when you encounter setbacks and it looks like nothing is happening.

http://www.amazon.com/Secret-Sell-Screenplay-Hollywood-ebook/dp/B003YUCBT6/ref=sr_1_3?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1283271872&sr=1-3

The #1 Secret to Sell Your Screenplay to Hollywood - now on Amazon kindle

2010-08-09T15:20:00.000-07:00

I'm so stoked. Just got word from Amazon that my screenwriting book will be available within 24 hours but I checked and it's there now! I guess the description will show up in 24 hours. Decided to release the book before the app since that's going to take lots more work. At any rate, cheers! Buy my book on amazon Kindle. Buy once, read everywhere. You are able to read your Kindle book on any device. Kindle works on BlackBerry, Android, iPad, iPhone, iPod Touch, PC and Mac.

5 Secrets to Success

2010-07-28T13:39:00.001-07:00

5 Secrets to Success

1. Know what you don’t want. Flip switch that into a positive statement about what you do want.
2. Set your intentions on what you do want.
3. Get clear. Eliminate any contra thoughts that hinder what you do want.
4. Visualize and feel what it would be like if you had the things you want.
5. Let go of desperation and don’t get caught up in the how it will happen. Focus on your passion and take action.

Teleplay format

2010-07-16T14:36:00.000-07:00

Teleplay Format

For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.

The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.

The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.
The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.

Well, what're you sitting there for? Now that you've got the format "Start writing!"

LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.

From Screenwriter to App Developer?

2010-07-15T13:33:00.000-07:00

I got a little bored with the current screenplay that I was working on and decided to venture off into another creative direction. I created my own iphone app! It was a lot of work but I totally got consumed in the creative process and it really sparked my creative juices. The app was released in the app store this week. Check it out if you get a chance. I had so much fun designing, writing and creating this app that I've decided to create one for screenwriters so I'm putting my future screenplays on hold for the summer to work on the next app. Estimated release date is September 1st. Stay tuned.

Switchword Magic app store link:

www.switchwordmagic.com

From Screenwriter to App Developer?

2010-07-15T13:27:00.003-07:00

Teleplay Format

2010-05-04T16:13:00.000-07:00

Found this article that gives the skinny on the teleplay format. It's quick, easy and simple to incorporate.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The TV Writer On--What Else?--TV Writing

Teleplay Format

For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.

The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.

The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.

The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.

Well, what're you sitting there for? Now that you've got the format "Start writing!"

LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.

Setting up a script with 3 Post-It Notes?

2010-04-27T13:27:00.001-07:00

The Entirety of Scriptwriting Technique in 3 Post-It Notes
by Bill Grundfest

Here it comes, aspiring screenwriters! Are you sitting down? If not, then sit down. If so, then lie down.
Here is everything you need to know to write like the pros, in three Post-It-Note Principles:
1. LOGLINE. You must create a compelling logline for your script (that's the TV Guide-sized description)
that says WHO — WANTS — WHAT. If your WHO is relatable/likeable/hateful/scary, what they WANT and
are ACTIVELY trying to get is something we emotionally care about, and a powerful WHAT stands in their
way, all in one sentence, you have a possibility of creating a script that works. Without all this, you have
zero chance and you may not move on.

2. CAUSALITY. The events in your story mustn't simply follow previous events, they must be CAUSED by
previous events. In turn, they must CAUSE future events. This is what makes a page-turner, or causes us as
viewers to lose track of time when we watch a movie or television show.

3. TOPS & BOTTOMS. What does everyone want at the top of your story and where do they end up
regarding that specific issue at the bottom of your story? What do they want at the beginning of an act and
where are they regarding that specific issue by the end of the act? The same question should be applied at
the top and bottom of each scene.

BONUS POST-IT NOTE! How to Take a Notion and Turn It into a Script.
There are five levels of development for each script. You may only go to the next level upon succeeding at
the previous one, and you must adhere to the three Post-It-Note Principles throughout.
1. Logline (see above)
2. Fat Paragraph that tells your overall story with beginning, middle and end
3. Three Fat Paragraphs, one for each act of the script
4. Beat Sheet with a logline for each scene that crystallizes it into one sentence
5. Script

That's it. The rest is DOING IT. Check what you've done against the three fundamentals. Re-do. Lather.
Rinse. Repeat.
It may be hard, but it's not complicated. Keep writing!

Bill Grundfest is a TV writer and producer who has won a Golden Globe Award® and received three Emmy®
nominations. He writes for major award shows including the Oscars®, Grammys® and Emmys, including the most
recent Emmy telecast. For more, visit his website at www.workshopforwriters.com.

Writing in 2010, IMDB credit and Sundance update!

2010-02-08T11:36:00.001-08:00

It's 2010, we're into a new year. A new year means new goals. Setting goals is a good way to keep on track and to ward off procrastination. Plus, it can be rewarding at the end of the year to see that all your hard work paid off, even if your goal was to complete one screenplay.

I returned from Sundance a couple of weeks ago and it was a very good experience. I came back with a lot of enthusiasm and motivation to get more scripts sold.

Also, I have received my first IMDB credit for the short film I worked on last October. It's a small credit but it's a credit that starts the ball rolling. Also, the director and the producer has requested that I be the Script Supervisor on the next film as well that will begin production in the bay area in the next month or so. I thought that was a great honor considering it was the first time I had acted in that role. So, credit #2 is already in the works. And if my sold project goes into production this year...fingers crossed...I will have another credit or two.

If you get anything from this post it would be to set goals, even small measurable attainable goals for 2010, continue to write and perfect your craft, have patience (much is required in this industry) and never give up. Persistence does pay off, eventually.

Write on!
Natasha
www.NatashaFX.com

Link to my credit on IMDB... Yeah!!!
http://www.imdb.com/name/nm3785577/

Writing gigs listed on the ISA website

2009-12-16T12:45:00.000-08:00

Hope you are enjoying the holiday season. Wishing everyone success in 2010.

Speaking of success, you may get that big opportunity from the ISA website. That's the International Screenwriters Association. There is a link on the website where writing assignments and scripts wanted are listed. Check it out. www.isa.org. You never know what may come of it.

Best wishes now and throughout the new year.

Natasha

Do you have a onesheet for your screenplay?

2009-11-03T09:43:00.000-08:00

Do you have a onesheet for your screenplay? A onesheet is not required but is becoming the most used marketing tool for screenwriters especially when pitching the idea. You should always leave behind something to remind the producer or studio exec about your concept. Why not a onesheet. Think of it as the movie poster for your screenplay.

Below is an article I found that really tells you how to put one together. I found it interesting because I was normally leaving behind just a standard synopsis. I think the onesheet will make the idea come alive. I'm certainly going to give it a shot for my own projects. Instead of sending the word doc type of synopsis, I'm going to send producers my newly created onesheet and see what happens.

Write on!
******************************************************************************

Onesheet Wonders
by Debé Scott & Signe Olynyk

One item you will want to consider bringing to the pitchfest is a document called a 'onesheet'. This single (or double-sided) document is a great marketing tool that condenses your concept onto a single page in a visual way. It enables the agents, managers, and producers that you meet with, to be instantly reminded of your pitch by having a quick glance at your onesheet. Many of these executives see upwards of 30-40 people at a single pitchfest, and you want your story to be remembered. Combined with a great pitch and a brilliant script, a onesheet can be the difference that sells your project, or lands you a new agent.

Onesheets are a common 'sell tool' in the industry, and can be compared as the 'poster for your script - in miniature'. They are used for all genres and formats (film and television) including feature films, television series, reality shows, children's programming, game shows, and just about anything else you can expect to see on the screen, tv, or web.

They do not have to be expensive, but they must be professional and void of typos. You will also want to be careful about overloading the page and presenting too much information - less is always more when it comes to onesheets.
Remember, when you pitch, you are asking the executives at the PitchFest to option your work, represent you as your manager or agent, or to hire you for writing assignments and internships. You must put your best foot forward, and a great onesheet can be a big step towards your success as a professional screenwriter.
Your one-sheet should include:
* Contact information. Be sure to include your name, title, address, phone number, email address and website. If your document is double-sided, be sure to put this information on both sides so your executive can find it easily.
* A great title
* Logline, Genre, and where possible a Tagline or Teaser.
* Brief synopsis of the project - aim for about 25 words.
* Visuals such as photos, or have images in mind to convey to a graphics artist. The visuals should communicate the tone, theme, setting, and premise of your concept in a single image if possible. Remember, a picture paints a thousand words.

Layout of your one-sheet
My first 'onesheet on a budget' consisted of cutting out pieces of colored construction paper into various shapes, gluing cutout text boxes and photographs into them, and then making color photocopies of the compilation. Today, there are many user-friendly and easily accessible software programs such as Microsoft Word or Publisher, OpenOffice, or Scribus to help make your job easier. If you are more computer savvy, you may want to consider other desktop publishing software programs such as Photoshop, CorelDraw, etc. You may also want to consider hiring a graphics artist to help you achieve the look you want.
The costs for onesheets vary, but you can usually hire a graphics artist for around $60 an hour, and it can take anywhere from half an hour to an average of an hour and a half with revisions to complete a simple onesheet. I've found that most onesheets cost me around $75 to complete on average, including about ten color copies on cardstock.

Color attracts attention, so be sure to use white paper, a strong font for the main text, and make sure the design doesn't swallow the text. You also want to make sure it is not too 'busy' and that the most important information 'pops' from the page.
Onesheets also come in all sorts of different shapes and sizes. You may want to consider making yours into postcards, or 'half page' sizes so that you can get better value for your money. This means that when you print your 8.5 x 11 page, you are actually getting two onesheets per page instead of one. Simply design a half page onesheet, duplicate it on the bottom half, print out, cut in half, and voila! - you have two onesheets.

You may also want to be creative about the shape of your onesheet, and not stick to the typical 8 1/2 x 11 page or postcard size. Think about your project and see if there is a design that would lend itself to the theme. For example, a writer I know once pitched a tv series for a cooking show, and had round onesheets created that showed a pizza on the one side, and a bowl of pasta on the other. This onesheet didn't cost the writer a lot (partly because she cut the rounds out herself after they were printed), but she could also have considered using the confines of the typical 'square' shape of a postcard or 8 1/2 x 11 page. For example, if she had printed a square menu board on the one side, and perhaps a square baking tray of cookies or lasagna tray on the other, she may have saved herself some money and time. Either way works. Just use those creative juices and see what ideas you can come up with that best suit your budget and the overall concept.
Another thing to consider is making your onesheet double-sided. You can make one or both sides color, or one side color and the other side in black and white to control printing costs. Either way, it is worth considering because you are handing the executives a document that will have two sides. If one side is blank, you have potentially wasted an opportunity to 'wow' them even more. Using both sides can also help to 'spread out' the information so that one side isn't too 'busy' with details and visuals. Always repeat your contact information on both sides so that the executive does not have to search for it. Make everything easy for them whenever possible. Most onesheets are printed on a cardstock or photo quality cardstock.

At the pitchfest (or in any studio pitch meeting), when you speak with an producer or agent, casually hand them your onesheet as you begin your pitch. The onesheet is a great ice-breaker, but make sure you don't read directly from it. Use it as a tool, to get your project noticed; so as to remind the person with whom you met. Remember, they are going to see dozens of people, and having a onesheet will help you to stand out from the rest.

Now a word of advice about when to give the onesheet to the person you are pitching, because there are differing opinions on when to hand it out. Some people recommend giving the onesheet AFTER the pitch meeting - because the onesheet has the potential to distract them from fully listening to your pitch. Nothing is worse than trying to pitch someone who is preoccupied 'reading' your onesheet when you know you only have a few moments of facetime to pitch them your project. But your verbal pitch should also be so engaging that it would be nearly impossible for them not to give you their full attention. Easier said than done?
My advice is to REVEAL the onesheet in the first 30 seconds of your pitch, by gesturing with it, and either having it in your hand or lap while you pitch. Or place it on the table in front of you, but rest a hand on it until you are ready for them to review.

Also, never force a script, onesheet, marketing tool, or any other item on an executive. They are often so bogged down with scripts and material that the last thing they want to cart around is more paperwork. I will often have all my onesheets in a plastic sheet cover, and will keep that in my hand or lap until I've conveyed the main concept of my script. At that time I will hand them a sheet, and tell them they can keep it if they like, or send one to them if they prefer. This serves two purposes. One, there is a visual identification. They've seen it and when another is sent with the requested script (always include a onesheet with the requested script if possible), there is an automatic 'I've seen this before, oh yeah, now I remember' reaction when they see it the second time. And two, if they do not take a onesheet, then it will save you a little bit of money because onesheets can be expensive to print, etc., and you will still get an opportunity to wow them with it when you send it to them later.

One last note about onesheets. On Monday morning when the execs return to work and their producer bosses ask how the pitchfest went, they will often show the various onesheets and scripts that they collected at the event. Having a onesheet is an easy 'cheat sheet' for the exec to describe your project, and allows them to recall you, your project, and whether it is a project they want to pursue further. It is the movie poster for your script. It is visual, and communicates the idea in seconds. I also helps them to re-pitch it to their supervisors. Whatever you can do to help make their jobs easier is definitely in your best interest.
That being said, a onesheet is always optional. It is not a requirement to have one. It is just a sales tool that can help to communicate your concept in a visual way. And as great as a onesheet can be, it will never replace a great story or a brilliant pitch. The most important things you can do is have a great concept, a well crafted script, and a decent pitch. A onesheet is just icing on the proverbial writer's cake.

Bay area dubbed the "new" hollywood!

2009-11-03T09:18:00.000-08:00

Just found out that there's a new organization formed about 6 months ago in the bay area called the Northern California Screenwriters. The Bay area is deemed the "new" Hollywood! Woohoo!! Screenwriting expo and pitch fest coming March 2010 in Napa Valley. I hope I'm in the country so that I can attend! Go to http://www.norcalscreenwriters.com/ for more info.

Being a Script Supervisor

2009-10-20T15:27:00.000-07:00

I'm so excited to be the script supervisor on my very first short film. It's actually a short written by one of my fellow screenwriting buddies who is on his way to being the next Million Dollar Screenwriter! The shoot is this weekend so next week I'll post more about my experience of being on an actual film set. I imagine it will be fun yet a lot of hard work and two long days of shooting; however, I'm looking forward to the experience. I've actually operated a camera before when I was a part of the Television ministry at my church...back in the day when I had more time...but this is the first time that I'll actually be behind the scenes watching a screenplay go from page to film. So exciting!!

Scriptapalooza Calling all TV Writers

2009-07-29T09:34:00.000-07:00

Scriptapalooza Television Writing Competition CALL FOR ENTRIES

Hey all you TV writers, this is your chance to change the way you watch TV! Scriptapalooza TV has seen major success in their 10 years...2 writers won Emmys, numerous writers have gotten agents, managers and meetings. The four categories include existing 1 hour shows like True Blood and Merlin.Existing half hour sitcoms like The Office and Two and a Half Men.Original pilots and reality shows. (for reality shows we would like a 1-5 page synopsis only)

Supported by the Writers Guild of America west and the Writers Guild of Canada. www.scriptapaloozaTV.com 323.654.5809 officeinfo@scriptapalooza.com
FINAL DEADLINE October 15th

Profiling Up and Coming Writer-Director - Julian Breece

2009-07-21T09:50:00.000-07:00

I worked with Julian on one of my scripts a couple of years ago when he had just finished graduate school and was in the producer's program. I'm happy to see that Julian is well on the road to success. Way to GOOOOOO, Julian. Perhaps we can work on another project again one day in the near future.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`

JULIAN BREECE
Writer-Director

Writer-Director JULIAN BREECE is a graduate of Harvard University (AB '03) and USC's Graduate School or Cinema-Television (MFA '05). His debut short, THE YOUNG & EVIL, received grants from Panavision, The Reginald F. Lewis Foundation and the Frameline Completion Fund. The short has screened at major festivals around the world and is an Official Selection of the 2009 Sundance Film Festival.

Breece's first feature screenplay BALL won a Slamdance Feature Screenplay Award and went on to become a 2007 Finalist for the Academy of Motion Picture Arts & Sciences Nicholl Fellowship in Screenwriting. Currently, Breece is the creator, executive producer and director of BUPPIES, the first web drama to present an African-American cast. Featured as one of IndieWIRE's "Ten Exciting New Voices in Black Cinema," Breece will direct his first feature film, HEARTLAND, in Fall 2009.

Profiling Screenwriter: Diane Thomas

2009-07-21T07:53:00.000-07:00

Although Diane's life ended far too soon, hopefully, the way that she broke into the industry will be an encouragement.

Write on and never give up.
Natasha

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Diane Thomas
From Wikipedia, the free encyclopedia

Diane Thomas (January 7, 1946–October 21, 1985) was a screenwriter. She was working as a waitress while writing scripts and then had the opportunity to pitch the script for Romancing the Stone to customer Michael Douglas who then bought, produced, and starred in the film with Kathleen Turner and Danny DeVito.

Diane Thomas died in a car accident in October 1985;[1] this was only about six weeks before the sequel to Romancing the Stone, The Jewel of the Nile was released. Ms. Thomas was busy writing for the movie Always for Steven Spielberg and was not available to write Jewel of the Nile.

In the Special Edition of Romancing the Stone DVD, Michael Douglas stated in an interview that he had purchased a Porsche for Thomas as a present for her work with him on Romancing and help with scenes on Jewel of the Nile. Thomas was a passenger in the Porsche, while her companion driving it caused the accident, killing her instantly. The accident, according to Michael Douglas, occurred on the Pacific Coast Highway. The companion was identified as male and was driving while intoxicated.
Following her death, UCLA created the prestigious Diane Thomas Screenwriting Awards in her honor. Original judges included Steven Spielberg, Michael Douglas, James Brooks and Kathleen Kennedy.

Wanna write for TV?

2009-07-14T07:51:00.000-07:00

FYI. Scriptapalooza is having their 11th annual TV competition. 4 catergories: scirpts based on 1 hour existing TV shows, existing 1/2 hour sitcoms, original pilots and reality shows (1-5pg synopsis only). Go to www.scriptapaloozatv.com for details and interviews with last year's winners. Deadline 10/15/09. Entry fee $40. I'm thinking about entering something, perhaps a reality or original TV pilot. Pass it along to anyone you know who wants to write for TV. May be worth a shot.

Write on!
Natasha
www.NatashaFX.com

Dreams on Spec

2009-06-26T15:38:00.000-07:00

I found this article and found it very inspirational and is more evidence that perserverance pays off...eventually. Here's to never giving up!

Write on!
Natasha

PS. Check out my revamped website if you haven't already. Thanks.
www.NatashaFX.com

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Dreams on Spec
By Daniel Snyder

I was sitting in a well-furnished office on the 20th Century Fox lot, asking James L. Brooks (“Terms of Endearment,” “As Good as It Gets,” “Broadcast News”) about the art and craft of screenwriting.

“I never knew anybody,” he was saying, “who ever got a Writers Guild card who didn’t have a hard time when somebody said, ‘What do you do for a living?’ saying, ‘I’m a writer.’ Your voice always catches on ‘a writer,’” Brooks said. “From the earliest stages, it’s what your secret thought was that you wanted to be and what of course you knew was impossible to be.”

Brooks was one of a dozen luminaries I talked with for the screenwriting documentary, DREAMS ON SPEC. The film follows three aspiring writers as they try to turn their spec scripts into movies – and intercuts wisdom from a “Greek Chorus” of superstar scribes including Brooks, Nora Ephron, Gary Ross, and Carrie Fisher.

I repeatedly saw the love of writing that Brooks was talking about as I followed those three struggling writers for the better part of a year. None of them had a Writers’ Guild card – or an agent – but it was undeniable that they had desire.

I watched David give up his nights and weekends to write and re-write his scripts. I watched Deborah share a cheap apartment in a not-so-great part of town so she could afford to try to get her romantic comedy script into production. And I watched Joe sacrifice valuable time with his wife and autistic daughter to write what he thought could be the great American screenplay.

These screenwriters – just like James L. Brooks and tens of thousands of others across the country – weren’t writing just for money or fame. They had a story to tell – and they’d do just about anything to turn it into a movie.

This Quixotic quest is what first inspired me to take a documentary look at the agony and the ecstasy of screenwriting. Living in the Los Angeles area, I had known scores of friends, acquaintances, and co-workers who’d written screenplays and would pitch them to anyone who would listen.

In fact, I learned first-hand about the screenwriter’s travails when I was a teenager, working alongside aspiring writer/directors Quentin Tarantino and Roger Avary at the famed Video Archives video store in the Los Angeles suburb of Manhattan Beach. This was years before they became famous.

From Quentin and Roger, I first saw the passion people have for their screenplays – and how much work it requires to get them made into films. Quentin, for example, doggedly pitched his screenplays for “True Romance,” “Natural Born Killers,” and “Reservoir Dogs“ for four years before he hit pay dirt.

In DREAMS ON SPEC, I set out to look at why so many people around the country spend so much time writing screenplays – and why some writers succeed while so many others fail. The big-name writers I quizzed on this subject had some insightful answers to this last question.

PAUL GUAY (“Liar Liar” and “The Little Rascals”): “The thing that separates more successful writers from less successful writers, the most important thing, is the perseverance. There are a lot of people who are lucky. There are a lot of people who are born with connections or have the kind of personality to easily make some. But if you don’t have that, you have to keep pushing, you have to keep generating ideas, you have to not take rejection personally, because almost everything you come up with will be rejected, and even the scripts that eventually sell will probably be turned down by a number of people first. So you’re constantly hearing ‘No.’ And in the face of that, you have to you have to persevere.”

ED SOLOMON (“Men in Black” and “Bill & Ted’s Excellent Adventure”): “The best formula I ever heard about writing, I think was attributed to Oliver Stone, and I think it was something like ‘Ass plus chair.’ That was it. Sit there and do the work. The problem is, so many writers think ‘This screenplay, this one screenplay is gonna be the thing which, you know, gets me out of my day job, or which finally gets me enough money where I can, you know, pay back my loans and – or it’s gonna, you know, it’s gonna sum up my entire world view.’ … Whatever they put, this weight on these – these very delicate, fragile little things which are these stories trying to – trying to grow and become alive and – all that pressure does nothing but, you know, really hurt your chances of actually creating something like that.

GARY ROSS (“Big,” “Dave,” and “Seabiscuit”): Success is sort of an elusive word. Were you satisfied? Do other people see the movie and are they satisfied? Does it evoke something strong and powerful? Not everybody – and this is not about consensus. This is about were you able to communicate something specifically to somebody and move them? You’re not always gonna be able to do that, and some people are not gonna like your stuff, and other people are gonna like your stuff, and that’s okay. The real issue is, you know, there’s a great line in J.D. Salinger when he talks about writing, he says, “The ultimate question is not ‘Were you successful or weren’t you successful?’ and ‘How much money did you make? How much money did you make?’ The real question at the end of your days when you’re judged as a writer is, ‘Were all your stars out? Were all of your stars out? Did you live up to your potential? Did you say everything you had to say? Whatever was in you, did you let it out? Did you censor yourself? Did you have the guts to realize those things?’” And if so, you know, I think in a lot of ways that is the definition of success.”

One of my last interviews was with Nora Ephron, the writer of “Sleepless in Seattle,” “You’ve Got Mail,” and “Bewitched.” Thinking about those many writers who do not enjoy success, I asked Ephron how long a writer should try before giving up.

It was clearly a difficult question for her to answer. Ephron started out haltingly, but finally responded, “I wouldn’t go near that question with a ten-foot pole because you never know if someone who hangs in there isn’t gonna turn out to be fantastic. It’s just a question of can you feed yourself in the meantime?”

When Ephron finished her answer, I thought back to a writer I used to know when I worked at Video Archives. Jeff Maguire was a frequent customer, one of the nicest guys in the world, and always struggling to pay the bills that he, his wife, and his young son racked up every month.

Maguire had helped write the Sylvester Stallone film “Victory” in the early 1980s but for most of the next decade, he had little luck in the screenwriting trade. He was so desperate for work at one point that he turned to writing dialogue that dolls said when kids pulled their chord!

Finally, in 1992, he decided he’d had enough and was about to move his family back to the East Coast and start life anew. As Maguire was finishing his last spec script, he received a shut-off notice from the power company due to unpaid – and, at that point, unpayable – bills.

Then almost over night, his life changed. That last spec script was called “In the Line of Fire” and Clint Eastwood liked it so much that he wanted to star in it. Maguire was nominated for an Academy Award – and as many as a half dozen of his old spec scripts (which no one had wanted just a few days before) sold, bringing him millions of dollars.

So Ephron is clearly right – some writers will eventually succeed beyond their wildest dreams if they can just figure out how to feed themselves in the meantime.

I ran across these very same issues as I made DREAMS ON SPEC. The further I followed my three aspiring writers, the more I realized that I was struggling to overcome many of the same hurdles – of creativity, inspiration, and solitude – that my subjects were encountering.

It’s not easy making a film about the world inhabited by screenwriters – it’s not exactly an action-filled extravaganza! But it is enormously rewarding – both for me and, I hope, for the audience.

In the end, I believe I captured these three writers’ journeys – and I hope I’ve succeeded in portraying the artist’s struggle in modern society. It’s not an easy struggle – because not only do you have to keep working and pushing and striving, but you also have to stay focused on your vision and your goals.

“Dave,” “Big,” and “Seabiscuit” writer Gary Ross perfectly summed things up in the last interview I did for DREAMS ON SPEC. When I asked him how screenwriters should define success, Ross offered an answer that is true for everyone who has a dream on spec.

“I think that it’s easy to give it away – give the definition of success away, empower other people in determining whether you have talent. The Catch-22 is that the more you do that, the less you’ll be able to write. That’s the hard part – writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think or you think or you think as you go, you’ll have less to say and then [your inner voice] will go away entirely.”

Why High Concept?

2009-06-25T13:55:00.001-07:00

Chris Soth has written a very good article about how to come up with high concept ideas. It's simple and straight to the point and I think will get your creative juices flowing in new directions. By the way, Chris puts on a great one-day seminar if anyone is curious.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Getting High: How and Why to Write High Concept Screenplays. And How to Make Sure They Don't SUCK.
By Chris Soth
June 11, 2009

Summer is here, the season of the blockbuster, and like so many summers before it, the “blockbuster” fare will be mainly driven by two things:
- Sequels.
- High Concept Fare.
- And Sequels to High Concept Fare.

Ok, that’s three things. But I wanted to point out that there’s a significant overlap between the two AND that the High Concept rules the summer, Hollywood’s biggest money-making season.

High Concept: What IS it?
Simply put, a High Concept movie is one … driven by … its concept. The concept — or idea of the movie predominates almost every other element in it — is the reason the movie got made, and probably the reason you’re going to see it, right?
Yes, it may have a movie star or two, it may have delightful product tie-ins, but the reason you came to see it, want to see it, need to see it, is …
… that idea.

It’s so cool. You have to see that movie. Maybe you’ve always wondered what a movie on this premise would be like, maybe you’d never think of it in a million years, but the moment you heard, you realized “Yes! Wow! Why hasn’t that movie been made? It’d be so cool to see that! In fact, I never knew till now, but I’ve GOT to see that!”
It was the concept — the idea of the movie that brought you to the theater.

So …
Why Write High Concept?
As a novice screenwriter, chances are your concept, the central idea of your screenplay, is your best chance to get it read. It’s unlikely you have a major movie star attached to your screenplay, or Steven Spielberg wants to direct, or that you’ve brought $100 million in financing to the table along with a fat deal for European distribution and a deal for Burger King to distribute toys based on your main character with their happy meals … but kudos if you have.
If you are like most of us, however …

… tapping into the above “that’s so COOL” feeling is your best chance to get read, getting read is your best chance to get represented, and getting represented is your best chance to get your screenplay optioned, sold, developed, shot, and distributed. Being ready with that “one-line”/”elevator pitch” opens the door.
So, am I saying, "Throw away all your personal stories that you love, and write only High Concept Hollywood crap?" Am I telling you to “sell out”?
No, I am not. Let me ask you:

Have you ever liked a High Concept movie? Were you one of the millions who flocked to Iron Man last summer? Did you like it? Did you like Raiders of the Lost Ark, Independence Day, Men in Black, or Spiderman? Back to the Future, Roger Rabbit, Liar Liar, Transformers? The list goes on and on …
If you had written any of these movies, do you think you’d be proud of the accomplishment? Could you sell out and take pride in your work? To me, they seem mutually exclusive.

So, would it be selling out to write a movie you actually love? The key: Find an idea where the High Concept and what you love as a writer overlap. And write something that could be one of your favorite movies one day.
And how do we come up with the High Concept idea?
Short answer: Look to the supernatural. That is, pick something that doesn’t actually occur in the real world because it would go against the laws of physics or nature. Look at the examples above: There aren’t really space aliens as far we know, teenagers don’t gain spider powers in our own world, we can’t time travel, robots are not using our planet as the final battleground in their eons long war, and cartoon rabbits stay pretty much to themselves. But in the movies …

… we get to see those things!

And that alone is often worth the price of admission. There’s no real Jurassic Park, but if we could go and see dinosaurs, we’d sure want to … and till they manage to clone them for us.
Another thing? Movies depicting the supernatural will have to use…Special Effects! Because you just can’t shoot that stuff, it doesn’t really happen. And we love seeing special effects! Especially since they got good. Blockbusters are made on them.

While not ALL High Concept is supernatural, MOST supernatural is High Concept. So that’s a pretty good place to start.

And … how do you make sure that your new High Concept idea isn’t selling out?

THE TRICK:

Make the supernatural phenomenon, whatever it is … a metaphor for a human condition or weakness. You can do it. Think about it: Peter Parker is coming into his own as an adolescent, as all of us do, but is lagging a little behind on his maturity, so he must learn: “with great power comes great responsibility”. Iron Man has a weak heart and so covers his weakness in armor, as his alter ego protects himself with superficial relations with the opposite sex. The hero of Liar, Liar depends on dishonesty to make his living, but it’s leaked into his personal relationships and needs correcting.

So. Come up with a concept that is a “must-see.” If it’s not readily apparent, start turning your mind to the supernatural … magic, charms, superpowers, time travel, werewolves and vampires, abominable snowmen, aliens, and Loch Ness Monsters. Then connect them via metaphor to something inexorably human and emotional.

Chris Soth, creator of the Mini-Movie Method, has had many years of success as a Hollywood screenwriter. He has had his work produced by major studios, holds an MFA in screenwriting, and is the author of Sold! How I Set Up Three Pitches in Hollywood.

And the project is SOLD!

2009-06-02T14:51:00.000-07:00

Well, it finally happened. I finally sold a project, not just another option but an actual real life sale! Contract is signed and the wheels are in motion. The idea was originally pitched years ago and had been optioned previously but nothing really happened. There had been interest off and on over the years but finally last week, it sold. I feel a great sense of accomplishment. I'm hoping that this will be the domino that starts the chain reaction. So, I guess it's true that perseverance eventually pays off. What I've learned most from this experience is that we can't control when we sell. We can only control whether or not we give up.

Best wishes to you all and remember to hold on to your dreams and never ever give up.

Natasha

Don't give up on your dreams!

2009-04-17T15:45:00.000-07:00

The following is an excerpt from Coach Rachelle's daily wisdom:

Dreams Are Fragile

I know of nothing else that is as fragile as a dream. Dreams can shatter in an instant if we do not believe in and care for them. Dreams are the soul reaching out to manifest our true selves. Dreams challenge us to reach higher and be more than we are right now. Your dreams are the pathways to who you are meant to be. Unfortunately, our dreams frighten many of us. They seem too big, too difficult, or too unrealistic. We talk ourselves out of them before we can even begin to start creating them. The voice of doubt inside our heads begins defeating us before we can even begin to create the possibility.
Before we can create the dream, we must believe in our abilities and in ourselves. We must trust that we have what it takes to manifest our dreams. This takes courage, fortitude and, most of all, faith. When we allow our dreams to capture our passion, the world will open up to support us. We don't have to know how to create the dream. We simply must focus on what the dream is. The rest will reveal itself.

Coaching

Dreams are fragile and can be destroyed in a heartbeat. Your doubts, fears, and lack of trust can stop a dream before it even gets a chance to see the light of possibility. To create a dream you must first believe in yourself, trust that you have what it takes, and move forward on faith that you can do it. Faith is most important in creating a dream because, in the beginning, it may be very difficult to see how it will all work out. You must have the faith that if you put yourself 100% into your dream it will come true. Once you commit yourself to your dream, possibilities and miracles will begin to happen.

Coaching Question
Are you ready to create your dream?

Daily Coaching
Today, take your dream out, dust it off and take action! It is time to make your dream come true.

Quotes

"Nothing is as real as a dream. The world can change around you, but your dream will not. Responsibilities need not erase it. Duties need not obscure it. Because the dream is within you, no one can take it away." Tom Clancy
"Reach high, for stars lie hidden in your soul. Dream deep, for every dream precedes the goal." Pamela Vaull Starr
"The future belongs to those who believe in the beauty of their dreams." Eleanor Roosevelt
"There are 3 choices: You can either give up, give in, or give it your all!" Anonymous

10 Screenwriting Tips from Billy Wilder

2009-02-06T15:12:00.000-08:00

Billy Wilder was one of the greatest writer/directors in film history, having co-written and directed such classics as Sunset Boulevard, Some Like it Hot, The Apartment, and Double Indemnity. What screenwriter wouldn’t want a little advice from him?

Here are some of Wilder's screenwriting tips: *
1. The audience is fickle.
2. Grab ‘em by the throat and never let ‘em go.
3. Develop a clean line of action for your leading character.
4. Know where you’re going.
5. The more subtle and elegant you are in hiding your plot points, the better you are as a writer.
6. If you have a problem with the third act, the real problem is in the first act.
7. A tip from Lubitsch: Let the audience add up two plus two. They’ll love you forever.
8. In doing voice-overs, be careful not to describe what the audience already sees. Add to what they’re seeing.
9. The event that occurs at the second act curtain triggers the end of the movie.
10. The third act must build, build, build in tempo and action until the last event, and then—that’s it. Don’t hang around.

Top 10 Screenwriting Tips

2008-05-01T14:02:00.001-07:00

Steve Kaire posted these screenwriting tips to an advertisement of his screenwritingseminarsbyphone site. I thought these were simple but much needing of reminding.

Screenwriting Tips
1. Scripts should be 90-100 pages, not 120.
2. Dialogue should be fresh & authentic. No cliches or chit-chat.
3. Have blocks of description & only snippets of dialogue.
4. To make your story original. your logline needs a hook which is a detail that makes your premise unique.
5. The order of pitching is: Title, Genre, then your Logline.
6. Pitch what your story is about, not what happens in the story.
7. By the end of your script, one of the main characters should change, also known as the character arc.
8. The best time to call & reach a Producer is 5-8 PM when his secretary has gone home.
9. High Concept scripts sell for more money than non-High Concept scripts.
10. Do not give a Free Option on your material. Accept at least a few thousand dollars as a show of good faith.

Write on!

Creating a Pitch Bible

2008-03-05T10:55:00.000-08:00

The Pitch Bible: Just The Essentials
Jan Nagel lays out the essentials when putting together a show bible before you get to the big pitch.

In pitching animation, not only do you need the passion, have a thorough understanding about your property and know the broadcaster and their needs, you need to demonstrate what your story it about. Your pitch materials are your sales tools.

The Pitch Bible is a tool that helps convey your concept. It is a tool to help you present and is a leave-behind to trigger the decision maker’s memory.

There are no hard and fast rules about what form a pitch bible should take. At it’s very best, it should reflect the concept of the project, whether it is a television, feature or home entertainment project, to help the buyer visualize the story as you pitched it. The size, color, number of pages, how it is put together is up to you, the creator, to determine what best conveys your creation.
What are the basic elements and what should not be left out? This is the question that most creators ask. Sometimes we can get hung up in terminology and get lost in what is important. Let’s review a glossary of common pitching terms.

Glossary For The Pitch Bible
Character Descriptions:
Written descriptions of each character, what are their characteristics and how they interact with the other characters in the story.

Concept Art:
Drawings, illustrations or images of the characters and the environments of the story.

Episode Synopsis:
See “story springboards;” One-paragraph description of episodic plots that spring from the original concept; each episode’s synopsis should contain a beginning, middle and end.

Images:
See “concept art;” Drawing, illustrations of the characters and the environments of the story.

Key Art:
A drawing, illustration or image of the cast of characters in significant action poses in their environment that best visualizes the characterizations and story.

Log Line:
A one-sentence description of the story often similar to the one-line description in a television scheduling guide.

Pilot:
A fully produced episode to show as a sample of the animation and story.

Pitch Bible or Pitch Book:
A compilation of premise, story, characters, images in a form that can be presented during a pitch, as well as left behind with the prospect.

Premise:
A written foundation that explores the establishment, conflict and resolution of the story. The premise helps to support the story and the characters for the writer.

Script Treatment:
A treatment covers the full story, its basic ideas, and production issues in a condensed form, containing key scenes, locations, main characters and plot.

Story Springboards:
See “episode synopsis;” One-paragraph descriptions of episodes plots that spring from the original concept. Each episode’s synopsis should contain a beginning, middle and end.

Story Treatment:
A compelling narrative about the story in a page or two for television, longer for features; is used to sell the story.

Synopsis:
A one-paragraph overview of the story, plot and motivation of the characters.

Teaser:
Produced animation, either a sequence or animatic, which best illustrates the main characters, their actions and the premise.

Trailer:
A produced synopsis of the animated story, which helps to sell the concept.

Building A Pitch Bible

You as the creator will determine the look, feel and weight of your pitch, but there are a few essentials that you want to be sure to include in your pitch materials.
First and foremost, when developing your pitch package, make sure that it functions well in a presentation. Know where in the book you want key images of characters, environments and key art that you can use in presenting. Make sure that it is easy to follow in a book form, as well as usable in the sales pitch. Some creators like to bring in separate presentation boards of the art for the pitch only, with the pitch book as the leave-behind.

The pitch book is the document that is left with the interested party for their referral. It is your sales tool when you are not there. Keep it brief and to the point.

Be sure to have a log line, premise or synopsis included in the front of your pitch for easy reference. Include a story treatment, which gives a more in depth perspective of the concept.

Unlike any other pitch in entertainment, images in animation are the “heart” and soul of the story. The pitch book should reflect the artistic design of the project. Some creators use a visual theme throughout their pitch bibles to reinforce the concept. Visual consistency is a way to insure the property is remembered. Developing a logo for your project is an effective way of tying all the pieces together.

Main characters should be displayed in action poses and with attitudes. These are the actors you “hired” for the story. Images of the environment help to establish the story’s world. Great key art, in which the characters are in action, per their description, within the key environment, further support the concept.
Episodic synopses are essential for every television pitch. Episodes will show that the story and characters sustains in other situations and circumstances. Be sure that the episode synopses are short with a beginning, middle and end of the story.

But There’s More…
The above are the essentials that every pitch needs, but there are other things that can be added.

Some times a concept comes from an existing source, such as a book, toy or legend. Include a history of the story to give the decider a further understanding of the concept’s potential. Perhaps show the extended licensing and merchandising opportunities that this new version can bring. If you wish to add samples of these products to the pitch package, make sure they have your contact information added.
For some pitches (see AWN article: “Pitching Animation: Rules of the Game from the Pros That Play It”) it might be important to include an outline of the educational benefits of the concept and the resources that support the educational mission of the show.

Don’t forget to include the biographies of the creators. The decision makers like to know whom they are working with. In the case of some networks, they are interviewing the creator, as much as evaluating the concept, during a pitch.

Must Haves
Have your pitch book bound. Spiral, comb binding or three-ring, there are so many ways to have your pitch book assembled with covers. Doing this insures that your concept will be secure. No one likes loose pages, nor does it reflect well on you.

Select a method of duplication that allows for change without too much expense. Color copying or printing from a computer will give you the flexibility to adjust your presentation for the individual broadcaster or decision maker.

You need to protect you and your property. Your copyright is essential and should be printed on every page of a pitch book. If you have a trademark or a WGA (Writer’s Guild of America, go to www.wga.org to register your property) number, add these, too. Add a page number just to be safe, as well. Pitch books do get copied.

When adding your pilot, teaser or trailer DVD or videotape to the package, make sure that it has the same appearance as the pitch book and has your contact information. Some presentation folders have a holder for these media being included. You don’t want these to stray too far from the pitch book. On the opening and closing slates of the DVD or VHS, be sure to have your name, contact information and copyright, as well.

Contact information is essential. Have your name, phone number, email address, along with that of your representation, in the pitch book as well as on all other ancillary materials, such as your trailer, or any samples you will be leaving behind.

Payoff
The pitch and the pitch bible are limited only by your own imagination. The look and the feel are up to you. Just be sure to keep the essentials in the package and you will have a pitch bible that stands on its own.

_________________________________________________________________________________
Jan Nagel, the entertainment marketing diva, is a consultant involved in the business of animation and visual effects since 1991. She represents creative producers and productions companies worldwide, including j9 Productions and AGOGO Corp. Hong Kong, as well as being a frequent guest lecturer on the subject of the business of animation. She is also a founding member and current president of Women in Animation International.

Striking Writer Martini

2007-12-19T16:25:00.000-08:00

Hey Everyone,

I found this on a screenwriting blog and thought it was cute. Think I may have to go home and make one for myself. I do have all the ingredients and plus, it's hump day. I'll let you know how it turned out.

Enjoy and happy holidays!
Natasha

High Time For 'The Striking Writer Martini'
The drink created by screenwriter Nian Aster was first offered at “The Backstage Bar” then “La Campanile,” “M Bar” and “Chan Dara,” with discounted rates and menus for Writers Guild members. "Cinespace” on Hollywood Boulevard is hosting a complementary evening Wednesday for striking writers with free beer, shots, and Striking Writer Martinis. Here’s the recipe:

The Striking Writer Martini
2 oz vodka "to fortify against the cold Strike Winter"
2 oz cranberry juice "as the writers are seeing red"
1 oz sweet and sour mix "they’re grateful for solidarity in this bitter struggle"
4 drops vanilla (or use vanilla vodka) "to symbolize the 4 cent raise they asked for"
"There’s no cherry in this drink, as writers aren’t getting a piece of the pie. Garnish with a half a redvine, as they hope to be back on the set soon."

About Articles in Creative Screenwriting

2006-02-09T09:06:00.000-08:00

Hi MDS'ers,

I was reading my latest issue of Creative Screenwriting last night and there was an article about a woman who is finally getting recognition in Hollywood just when she decided to quit. I actually saw her at the EXPO last November...never thought I would be reading about her in a national magazine and I never knew her struggle to get to the top. It had been 10 years and 16 scripts but she finally got a break last year. I was like "Wow!" But I guess the important message is to never ever give up and it will happen. I'm hanging on to that but I hope it doesn't take me 10 years! Then again, I'm already 5 years into the game so what's another 5.

So, everyone, QUITTING IS NOT AN OPTION!

Oh, there was another article about the girl who was at the EXPO who
had won one of the Nicholls Fellowships. I posted some information
about her a few months ago. That article shows how dedication and
belief in self can see you through. There was one sentence that
said she ate Top Ramen and generic Mac and Cheese for two years in
order to sacrifice and write full time. I did the Top Ramen thing
for an entire semester in college so I know what that's like but I
think my Top Ramen days are over! But it did make me realize that I
am not writing as much as I should be and I know I have a pressing
job that helps me not to have to do the Top Ramen thing but I
shouldn't let that stop me. I should be writing every night after
work even if it's a page. I may post that article, too.

Bon weekend mes amis.

Write on!
Natasha

Recap of Lew Hunter's talk on Monday, January 30, 2006

2006-01-31T11:52:00.000-08:00

Hi MDS'ers,

Meeting Lew Hunter, screenwriting guru and teacher, was so fantastic. I forgot my camera, as usual, so I didn’t get to take a picture with him or of him which is a bummer because I could have posted it. Oh well.

Anyhoo, there was a lot of stuff I didn’t know about Lew outside of him teaching in the MFA program at UCLA for a number of years and writing the book Screenwriting 434. I didn’t know that he worked directly with Walt Disney and was a studio executive at not only Disney but ABC and NBC from 1975-1986. Also, more than 20 of his former students have gone on to win Oscars. That’s phenomenal! He’s also a very nice and funny person. Very generous. He has a new edition for his book but I purchased the book like four years ago so I wanted to know if it was only a new cover or was there enough new information to justify paying $15. Yes, I asked this question. He has a new book coming out called Naked Screenwriting where he interviews all those Oscar winners. To my surprise, he told me that there was only about 10 pages of new material and to not buy it that he will email the updated pages if I would give him my information. Can you believe it? I’ve never had anyone offer to do that. So, of course, I gave him my business card and he gave me personal advice on breaking through. (See 1-5 below) Everyone wants to sell their book no matter what. He isn’t like that. I guess he’s made so much money he doesn’t need the book sales. He did mention that he wrote the book for people who aren’t able to take his classes or seminars, not to make a profit. He even stayed almost an hour after his talk to answer personal questions. I didn’t really learn anything new because I’ve been studying on my own, taking classes and seminars, reading every book out there for 5 years now. What I did get out of the two hour talk was the encouragement to keep on pressing on. People do make it but it’s not easy and only the persistent survive. I walked away with more determination than ever and belief that it is possible. I can make it and I can be an Oscar winner just like those 20 other people who were once unknown.

Lew’s private suggestions given to me:

Very simple and nothing I didn’t already know but coming from him was like confirmation that there is no other way. Success comes with persistence and hard work.

1. Be persistent, never give up.

2. Get the Hollywood creative directory and query agents and managers who have an asterisk by their names because those are the people open to accepting new clients.

3. Enter contests that are notable and have a good reputation to get exposure.

4. Be patient. If you stick with it, one day your time will come.

5. And always keep writing. Once you break in or get someone’s attention, they always ask, “What else do you have?”.

Oh, he was also not very fond of script consultants that charge hundreds of dollars to review your work especially if they don't have a well-established name in the industry. He also said to be careful of screenplay contests that charge an entrance fee of over $50 and only go with reputable ones since anyone can start a contest these days. That's actually a rule I incorporated for myself years ago. If a contest entry fee is over $40, I probably won't enter. Heck, the Nicholls contest is only like $20 for early bird entry and it's the most prestigious one out of them all since it's run by the Academy of Motion Pictures! Why would I want to pay $50 plus dollars on an unknown one that has no connections or prestige. However, to each his own and whatever works for you.

Write on!

Natasha
PS.
While waiting for the talk to start, I met some of the other people. One guy was looking for writers in the local area to work on a TV show. He has a pilot that has gotten some interest and his partner’s daughter is getting married to a studio executive in LA. So, I guess it is sort of who you know. Anyhoo, the guy’s going to pitch it to his daughter who will pitch it to her husband who will pitch it to his colleagues who hopefully will order the pilot and a few episodes. To make a long story short, he has the pilot and 12 episodes written but they need more writers to make up the writing staff incase it’s a go. He asked if I would be interested. Since I was there early…far too early…I read the Show Bible. It’s a comedy…kind of tongue-in-cheek. Don’t know if that’s my style. It was a cute idea but I didn’t get that “I gotta be a part of this feeling…if anything happens.” He went on to say something to the fact that the writers will be paid something like $4,000 weekly for the first season..blah blah blah. Money doesn’t move me especially if it’s "potential" money and not a check with my name in the “Pay to the order of” line. I was like, here’s my card, call me if something is a go but I told him that I am not overly enthusiastic about quitting my well paying job to jump on a television series that’s just starting who may get cancelled after 2 episodes. Not that I was being pessimistic but realistic. TV shows get cancelled before anyone every sees them. I know someone that happened to and I like my job especially because Friday is pay day and I know there’s a check coming with my name on it. So, since I’m not eager to just up and quit my stable job that pays well even if it’s not $4,000 a week…I would consider writing episodes as a freelancer. He understood. So we’ll see what and if anything happens. I’ll just go with my gut.

PSS (Okay this is getting too long so I’ll wrap it up)

I spoke by phone with the Producer of Focus Entertainment last week that I had met earlier that week. He requested to see both my drama, “Sisterhood of Secrets” and the adult comedy, “Dogged” that’s just come from under option and I’m not renewing with the same producer. He was okay about it and very professional since it’s my prerogative anyway. I sent the new interested party synopses for both scripts. He called me last night and offered to meet with me on Friday when I will bring hard copies of both scripts. Thank goodness I just bought more ink on Saturday!

Also, I meet with the entertainment attorney tonight.

More later.

Write on!

Tash

Free Screenwriting interviews on IPod Prodcasts

2006-01-31T09:53:00.000-08:00

Hey everyone,

I recently purchased the IPod Nano and noticed that there is a
Prodcast called The Treatment that can be downloaded for free.
On THE TREATMENT, film critic Elvis Mitchell turns the tables and
gives the "treatment" to some of the most influential and innovative
forces creating movies and popular art and entertainment.
Each week, Elvis speaks with an amazing array of guests, discussing
everything from their inner conflicts to their interior design. With
a straightforward style that understates his vast knowledge, Elvis
is able to extract insights, issues and inspirations from even the
most introverted guests. Conversations on THE TREATMENT are mostly
comfortable, sometimes contentious, but always fascinating.

There are eight available now. I'm listening to the following while
I'm at work:

1. In the dark comic thriller, The Matador, writer-director Richard
Shepard uses British crime films, Graham Greene, and his star,
Pierce Brosnan, as both context and subtext. He'll talk about giving
a hit man a soul.

2. The Wedding Crashers is a wild risqu-- comedy about players who
are finally played. Its authors, Steve Faber and Bob Fisher, are
also very clear about its political commentary, too. It's all about
subversion.

3. Backdraft, A Beautiful Mind, Ransom, and now Cinderella Man.
Films by director Ron Howard are dramas that deal with fear -- fear
of being stripped of your tools. It's as if the artist fear being
left bereft.

Check it out if you have an IPod. I'm going to search to see if
there are more for screenwriters. So far, it has been interesting
listening to these directors, producers and screenwriters tell how
their projects came to be.

Write on!

Tash

2006-01-31T09:50:00.000-08:00

Hey MDS'ers,

Brief update. I have three more training classes and I have been
assigned to operate Camera One February 19th and February 26th. I'm so
nervous and I'm really hoping to make the best out of the remaining
training classes but you only learn by actually doing it. We have a
meeting right afterwards to talk about what went right and what went
wrong. Aie! Wish me luck because I don't want to be the girl who
screwed up the film for those weeks especially since there's only like
4 of us and the rest are dudes. However, Camera Two is the main camera
so if I mess up, all won't be lost but I plan on doing my very best.
Girls can have a good eye for the camera as well...I'm hoping to prove
that. Girl power!

I'll keep you posted. If I don't get scheduled in March then we know
why! :)

Write on and I guess shoot on, too!
Natasha

Adventures in Television Production

2006-01-31T09:48:00.000-08:00

Hey MDS'ers,

I joined the television production department at my church. (I think I
mentioned that before) Anyhoo, I'm learning to operate a movie camera.
It's so much fun and I feel like I'm actually part of the film
industry. I can't tell you how exhilarating it was when the director
said, "Camera One," (that's the camera I was operating) crawl in to the
girl in the red jacket...half body shot!" And I did it completely in
focus and everything. I'm so excited. Who'da thunk it! Last night was
my second week and this time I was on Camera Three which it ws the same
Sony camera but the angle was totally different and I didn't like
shooting from that direction as much as from where Camera one is set
up. They also have a stock pile of tapes that need to be edited so I
will be learning how to edit film in the upcoming months once I get the
camera stuff down. The director of production wants everyone to start
on cameras...those with camera experience move to the control room
activies etc. It's fun but it's not for everyone. One girl who
started with me has already quit.

The best part is that I ended up meeting an entertainment attorney and
a guy who has his own production company. I believe he's shooting
videos and commercials and is pursuing movies. We didn't have time to
talk but exchanged cards and will meet for dinner in the next week or
so.

The entertainment attorney mostly represents musicians and individuals
in the music industry, however, he is partnering with another attorney
who splits her time between here and France and is focused on the movie
industry. I may be going to France later in the year, so perhaps I
will meet her if she isn't coming to the states before then. Don't
know what good it will do if she's mostly repping international films
since that wasn't my intention but you never know. It all started
because I overheard the conversation between the attorney and the
producer...no, I wasn't eavesdropping! They were right behind me and
werne't exactly whispering. Later, I approached them separately, told
them I was a screenwriter blah blah blah. So, I'm setting dinner
meetings for later to find out if we can somehow help each other.

I'll keep you posted.

Tash

PS
I'll post any other interesting things that happen in the television
production gig and where it leads, who I meet etc. They did mention
something about a big convention where industry people go to sell shows
so I'd love to go to that...just to see how it all comes together.

EXPO'd out!

2005-11-18T10:58:00.000-08:00

Hi all,

I've returned from the 4th annual Screenwriting EXPO in LA. There were over 4000 screenwriters in attendance, none stop activity from 8am until midnight or longer if you could hang. Very exhausting but the air was filled with so much inspiration and motivation. If you didn't have a chance to go, I would seriously consider going next year. I have a lot of information that I need to transcribe. When I do, perhaps after the holidays, I'll share it with you. What was so great about this conference is that you were able to meet face-to-face working screenwriters and producers in the industry. It's not every day that you can participate in a 1.5 hour talk with an Emmy nominated television writer or chat over cocktails with one of the writer's of Scary Movie or be able to rub elbows with a top producer who just may say, I like that idea, send me the script or spend the day at Fox Studios where you actually feel like you are one of the ones who have earned the priviledge of being there. What about meeting Shane Black and prescreening his latest movie? All of that and more happened at the EXPO. It was an unforgettable experience and has given me the extra umph to continue to pursue the dream and the motivation to do it.

Best wishes in all your creative endeavors.

Write on!

Natasha

PS.
Would you believe that at one of the cocktail parties, I actually met Chris Soth,a produced screenwriter and teacher who has hit the million dollar mark. When he sat down at my table, I had no idea that he had been where I hope to be...on the screen and a million dollars richer. The odd thing is that he has a website called Milliondollarscreenwriting. Who'd a thunk it? We hit it off immediately. He's such a nice guy and has a great method on sequencing called the Mini Movie Method that will be revolutionary to the entire screenwriting process. This guy is the McKee for our generation. Check out the site when you have a chance: www.milliondollarscreenwriting.com

PS.
Be sure to check back after the first of the year for my notes from the workshops I took.

Let's get ready to EXPOOOOOOOOO!

2005-11-07T14:34:00.000-08:00

Hi all,

It's EXPO time again. I'll be there in La La Land socializing and
networking with the best of them. I arrive on Thursday late afternoon
and have my first party that night. Then it's a busy busy schedule for
the entire days on Friday and Saturday with a party each night! My oh
my! I guess I won't be getting any writing done especially with a
deadline fast approaching at Dec 31st. Oh well, at least I will have
learned something new that perhaps I can incorporate into the script
and hopefully I will have met someone who I can send my next script
project to.

At any rate, I'll be sharing what I learned for those of you who are
unable to attend.

Best wishes in all your creative endeavors,

N.

To Be High Concept or Not...That is the question!

2005-11-07T14:27:00.000-08:00

Here's an article featured in Hollywoodlitsales.com. Unfortunately, for an idea not to be High Concept is not an option if you want to make a sell in Hollywood. Sure it's possible but with the competition out there, it's easier to break-in and get noticed with a high concept script that sizzles than a well written drama. Sad but true.

Since people in H-town are always beating us across the head about the HIGH CONCEPT! Here's a great article to understand exactly what in the world a high concept idea is and how it differs from a regular idea.

Happy reading and learning!

N.
*******************************************
HIGH CONCEPT
FINALLY EXPLAINED

by Steve Kaire

High Concept has been a Hollywood term that's been misunderstood and used incorrectly more than any other I can think of. Ask most writers how they would define it and most will say it's any project that can be pitched in one sentence. A boy searching for his lost dog is one sentence but it's not even close to being High Concept.

The premise or logline is the core of High Concept. The premise is a condensed summary of what your story is about. My definition of High Concept is comprised of five requirements. They are in descending order of importance. Numbers one and two are the most difficult requirements to meet. But meeting only several of the requirements is not enough. All five requirements have to be met for success in trying to achieve the "slam dunk" project everyone is looking for.

First Requirement:
YOUR PREMISE MUST BE ORIGINAL
A logline is generally one to five sentences with the average being around three. Therefore, you have to pitch your material in a compressed, economical manner which captures the essence of your story and highlights its originality. Writers should practice pitching their work by boiling down their story into only one sentence regardless if their story is High Concept or not.

In seeking originality, we are not talking about reinventing the wheel. We can take traditional subject matter that's been done before and add a hook or to it which then qualifies the material as original. There have been dozens of films which covered the subject area of kidnapping. In the comedy, "Ruthless People". Danny Devito plays a wealthy man whose wife, played by Bette Midler, gets kidnapped. Challenging convention, Devito refuses to pay the ransom because he hates his wife and sees this as the opportunity he's been waiting for to finally get rid of her. Now, the bungling kidnappers are stuck with an impossible woman that they have no idea what to do with. It's that unique hook that makes this a High Concept film.

Second Requirement:
YOUR STORY HAS TO HAVE WIDE AUDIENCE APPEAL
That means it's possible to meet Requirement #1 by creating an original story that's never been done before. But its appeal exists only in the mind of the writer who created it. An example would be a man who thinks everyone in the world is out to get him and refuses to leave his home ever again. While it's true that it's never been done before, who cares? Wide audience appeal means that virtually everyone you pitch your story to would pay ten dollars to see your movie first run. You have to decide either you're writing for your own enjoyment or you're writing to sell.

Third Requirement:
YOUR PITCH HAS TO BE STORY SPECIFIC
That means that within your pitch, you have to have specific details which make your story different. Let's take the bank robbing plot. If you came up with a story about three people who want to rob a bank by digging a tunnel underneath it, the response would be, "So what?" A twist on that genre is the old James Bond classic, "Goldfinger." The pitch would be, "What if a villain interested in world domination decided he was going to bankrupt the U.S. economy by robbing Fort Knox of all its gold."
Now that's not only unique but it contains specifics within the pitch that are not generic.

Fourth Requirement:
THE POTENTIAL IS OBVIOUS
If you're pitching a comedy, then the potential for humor should be obvious within your pitch. People should smile or laugh when you tell it. If you're pitching an action movie, the listener should be able to imagine the action scenes in his head as your pitching. I sold a screenplay to Interscope called, "Worst Case Scenario." It was an action thriller about a government think tank that comes up with worst case terrorist and disaster scenarios. Its most brilliant member turns traitor and plans to pull off the worst terrorist act in American history using all the inside information he's gathered. The potential for action, thrills and big set pieces is obvious to anyone who hears that pitch.

Fifth Requirement:
YOUR PITCH SHOULD BE SHORT
Most pitches should 1 to 3 sentences long, five maximum. You are not telling what happens in Acts 1, 2 and 3. You are giving the essence of your story.

I've had thousands of projects pitched to me in over twenty years and writers mistakenly think that the longer the pitch, the better the story. No one wants to listen to a rambling pitch that goes on and on without any direction or focus. When you're pitching, you are telling what your story is about, not what happens in the story. The reactions you want to hear when you pitch is "Wow! Why didn't I think of that?" or "Why hasn't somebody made that movie before?" When the faces in the room light up after you deliver your pitch, you know you've got them. That's the sought after "slam dunk." That's what High Concept is all about.

STEVE KAIRE is a WGA screenwriter who has sold/optioned 8 projects to the majors including Warners, Columbia, United Artists and Interscope without representation. He's been featured in various industry publications and is a sought after speaker on the lecture circuit. He's also taught writing classes at the American Film Institute.

For more articles by Steve Kaire or to find out more about his groundbreaking CD entitled, "High Concept: How To Create, Pitch & Sell To Hollywood," go to: http://www.SteveKaire.com

Million Dollar Screenwriting yahoo group

2005-05-27T15:26:00.000-07:00

Hi MDS'ers,

Just wanted to let you know that I created a new yahoo group so that we can more easily share files and information. Please sign up to be a member of this exquisite club at: http://groups.yahoo.com/group/milliondollarscreenwriters.

Looking forward to sharing with you.

N.

Teleplay Tips & Tricks

2005-05-25T13:57:00.000-07:00

Hi MDS'ers,

Here are some television pilot tips I pulled out of the tvwriters.com newsletter. These could be very helpful. I would sign up to get the free newsletter if you're serious about writing for television.

N.

TELEPLAY TIPS & TRICKS #19

Regular visitors to TV Writer.Com know that Larry Brody's "Teleplay
Tips & Tricks" appear in the Art of TV Writing section as cryptic
suggestions for better writing. Now you can find expanded versions
of these merry morsels of dramaturgy began appearing right here in
the TV Writer.Com Newsletter, as well as on the Final Draft software
website. Here, without further ado, is the latest installment in our
exciting monthly series:

One-Hour Teleplay Construction & Plot

Over the years certain types of story construction have proven to work
more effectively than others on TV. By "effective" I mean that series
that plot their stories this way have gotten consistently higher
ratings than others, and during the usual course of an episode fewer
viewers have gone surfing away.

For one-hour shows, start with a Teaser that illustrates the premise
of the episode. Make sure it shows us this week's central problem. And
make sure it really does "tease" us by ending on a note of tension -
with danger (physical or psychological) either impending or rearing
its fascinating head.

Act One should start with a response to what's happened in the Teaser,
and works best if it too ends with tension. Depending on the kind of
series this is, the tension can be personal and involving a series
"regular," or it can be something the hero has to handle professional
and be happening to a "guest."

Act Two should begin with the aftermath or resolution of the previous
tension and conclude with MAJOR trouble for a regular, most likely the
main hero him or herself.

A successful Act Three often starts by resolving the previous danger
and saving the hero and ends with the hero and his/her allies putting
together all the pieces of whatever puzzle they've been trying to
solve so that they now know what to do. It ain't over yet, though.
The end of Act Three is where the major crisis and climax of the whole
episode strikes because even though the doctors, lawyers, or Indian
Chiefs know the answer they still have to put that knowledge into
action.

Act Four then can become the good guys racing to the rescue and saving
their client, patient, or themselves just in time. What should you do
with the Tag? Why just let the gang relax about it. (And if they can
relax poignantly so much the better.)

There we go, another one-hour drama or action show perfectly plotted!

**********************************

How to Sell to Hollywood!

2005-05-06T11:55:00.000-07:00

Hi MDSer's,

How to sell to Hollywood? This is the question of the century! At any rate, books can be great as a resource but the way to do it is as follows:

1. Make sure your script is written the best you can write it and in the proper format. Create a strong, interesting logline and a brief synopsis. I had someone request a synopsis that was no longer than 1/2 a page! It's a challenge getting your 100 page script summarized in an interesting and "you want to buy me" way in 1/2 a page but I did it. Trick is to focus on the high points of the story and conflict and not tell everything. Think of your synopsis as the trailer. Oh, on script length I've read that 90 - 105 pages is the best page lengths then somewhere else I read 95 -110. Which one is correct, who knows but what I do know is nothing over 120 but now 120 is pushing on the "long" side. My advice, aim for 100 pages...you can't go wrong with that.

2. Get a job in the industry so you can meet people.

3. If you can't do that then network like crazy. This may be hard if you are not in the LA area but wherever you live, go to all film and movie events, lectures, parties, seminars, conferences etc that you can find. You never know who you might meet and sometimes at lectures, the guest speaker may be a producer, agent, manager, story analyst or someone in the industry. You have to try to meet people and get your name and work out there. Hal Crosman has a thing on the www.scriptforsale.com site that gives advice on how to break into Hollywood. You can also find information in Fran Harris' book "Crashing Hollywood" that can be found on Amazon or ordered from Barnes and Nobel etc. You can also read my interview in there if you're interested.

4. If nothing goes on in your area then you can do the online thing. Visit production companies' websites. Signup for screenwriting newsletters like inktip which is great because they tell you who is looking for what and even have their credits that you can verify on imdb.com.

5. You can post your script after it's registered of course on a database that producers visit. Be careful and make sure they have a good reputation of some sort. I've used inktip because I've had my scripts requested when I used the free newsletter and didn't even have them listed on the site. I've also heard them mentioned by industry people at seminars I've attended so that made me feel confident that they were legit. I've since listed a script on the paid listing site but your scripts can get requested from using the free newsletter as well. There are others like script shark and script blaster but I haven't used them before so I can't speak on their services.

6. So, if you don't have an agent, the best way to get your stuff into the studios is to find a producer who is on the studio lot or has a development deal with a studio or some sort of connections to get your project in the door. Make sure the producer you are sending your query to is interested in your genre of script. For example, Dark Castle does horror. If you wrote a drama...they probably wouldn't be interested. Look at the credits when you go to the movies, search the web...imdb is a good reference. And don't think you can just send it to them anyway incase they are breaking out in other directions in the near future or you think your project will make them want to change courses because you don't want your name on the "bad list". I've heard that production companies keep track on a database of all queries/submissions etc with comments. You definitely don't want nasty comments next to your name because what if you think of this great horror film but you already ruined your changes by sending them something they didn't want. When you find out what production company and/or studio is known to specialize in a certain genre write it down. I've created a file of production companies who are looking for what at the time and credits if I had found any. I've sent a short three sentence query to a production company I found almost a year ago that simply said, "Are you still looking for a new material? I have a high concept comedy I think you might be interested in. Best wishes in all your creative endeavors." You know what happened, they asked to send a logline and synopsis which I did right away. Then they asked to read the script which I mailed right away. About a month later they had passed but gave me some notes and what they thought of the project which were very good and they did say that they liked the script and thought it was marketable but not for them. Go figure. Note: I took some of their notes and did a rewrite, sent it out to another producer who requested it off the logline and synopsis that I didn't change from when I sent it to the first producer and it got optioned. Now this producer has minor requests for changes that I'm working on now. So what one person thinks they can't do anything with, someone else will.

7. Speaking of contest, don't enter just any ole contest because it's a contest. Contests can't guarantee anyone will want to read your script in Hollywood unless it's like the Nicholls, Chesterfield etc. Check the details and enter a reputable one who gives the top 10 or whatever exposure or maybe the semifinalist can get read by a production company, agent or manager. I personally don't do but one or two contests a year. The Nicholls is always on the list and it doesn't cost a lot like some others and is the most prestigious one. I would beware of contests or really think hard about those that cost more than $40 to enter...just my opinion. Also, the same goes for contests that don't have a track record. Moviebytes.com has a list of contests and you read what other's think of them that have entered.

8. You can also apply for a writing fellowship but most of them require you to move to LA except the Nicholls, you can write where you are and mail in your script pages.

9. You can try to send your query to a star who you think would love your project. You can find their management/agent information in the Hollywood creative directory or online at contactanycelebrity.com. You can also find out roles they are anxious to play by reading interviews with them. I found out two actresses who has their own production companies who want to do more romantic comedies. I read that in a magazine article at walmart...wrote down said actress name on my receipt..didn't want to buy the magazine after I read the article in line (note to walmart, don't put mags by the checkout if you want to sell them). I also wrote the quote from the magazine so that when I transfer the information to my idea book I keep, I'll know why I wrote her name down. Actually, I wrote the note next to the blurb of the future script I don't have time to write because I'm working on something else. Now, I have to find her contact information. You get the picture. So, as I read stuff in books, magazines or on the internet if I find out a star's production company or what kind of material they are looking for, I make a note. Same goes for studios and production companies. Recently through a conversation I found out exactly the kind of script a studio is looking for for a particular actress...I'm working on it now. When someone drops a hint of what a studio is looking for but can't find, it would be great if you have the exact script in a file...if not, you can write it and then submit in a month or two if you are a fast writer. I can write a draft in a month, rewrite in a few weeks and have it ready to go...having colleagues who are writers and a mentor helps with polishing effforts. Having motivation to write helps a lot especially if I know someone is looking for a script I have or am working on.

10. You can take a screenwriting class either in person or on the net given by someone in the industry because if you do the assignments and they like your writing, they can tell someone else to read your stuff who can make a decision to buy or get it in front of the right people. You never know.

11. Try to surround yourself with positive people who are doing the same thing you have done or have had a script optioned and/or produced because you never know. The positive energy could rub off on you or if they hear something that someone is looking for and know you have it, they may just tell you.

12. Post your ideas about screenwriting (not ideas about scripts you are working on unless you want feedback) on forums and writing loops. Share information if you have it because you never know who may be on them. I've actually met a former sitcom writer who lives in Hollywood so I've gotten some inside information on how things work...can be discouraging but knowing what happens going in makes you not totally surprised when things happen that may not be pleasant. I've also been invited to visit a set, he is now working on independent films. All knowledge is good knowledge and you never know when you'll need it or the contact.

13. Create a website and/or blog. These are great for exposures and can be done very inexpensively or even free. Blogger.com has free blogs.

14. Try to do some interviews. I know what you're thinking, who would want to interview me because I haven't done anything yet! Stop being negative...you just never know. I'm not talking about big interviews like on ET or E! or Inside Edison, duh! I'm talking small ones. Amazingly, I've been featured in Fran Harris' book Crashing Hollywood and I did an interview for an online newsletter sistadiva.com. Hey, it's a start. I was actually flattered and honored that Fran chose me to be included in the book although I hadn't been produced but I think she liked my spirit and my personality.

15. Get business cards made up with your email address and website so that you can hand out when you meet people. I also send these when producers requests to read my script. I used to put phone numbers on it but now I only list my cell because I moved to California from Texas last year and had to throw away all the remainder business cards because they had the wrong number and I hate to scratch off old info on cards. That's totally unprofessional and don't look very good. So I have my cell which I don't have any intention of changing. Also, even if you move 10 miles away, your home number will change so it's better to list a cell besides, if someone wants to buy your script, you don't want to wait till you get home and check your messages to find out! Especially if you are like me who forget to check messages on my home machine for days! Cell messages get checked at least 3 times a day.

16. Have a great personality because that will help you to meet people more easily and if they like you, they may want to help you. No one wants to help mean, nasty, negative people. Then keep your chin up, stay positive, keep persevering, never give up no matter what and keep hope alive. If you do that along with as many of the other 13 things, you'll succeed. Guarantee it.

Other than that, I don't know whatelse to tell you. Hope this helps. I've done all of this except get a job in the industry (however I did get an offer from a producer that came as a referral from my mentor to do a rewrite) and got two options from two different producers with offices on two different studio lots in the past 2 years the most recent a month ago..but no sale yet. I'm hoping it'll happen this year.

I can't think of anything else but if I do, I'll put it on my blog. www.milliondollarscreenwriter.blogspot.com

Best wishes in all your creative endeavors and keep me posted if my ideas helped you.

Natasha

www.NatashaFX.com

PS.

I'm starting a forum called Milliondollarscreenwriter. Make a note of it or book mark my website because I'll have a link on it. I haven't had time with the rewrites and my book project to work on it but it'll have information like the above on it.

PSS.

If you live in the bay area, a one day screewriting workshop is being given by a woman who taught herself screenwriting and has had 2 movies produced! Should be very inspirational. Go to www.writingsalons.com for more info. It's next Sunday, the 15th...don't know if the class is full or not though.

Got an option for my script!

2005-04-26T09:35:00.000-07:00

Hi MDS'ers,

Just wanted to pass on the great news. My urban comedy screenplay, DOGGED, has been optioned by a producer in L.A. Yeah!!!! One step closer to the prize...a real movie deal. Fingers, eyes and toes crossed for a sale this year! We can dream can't we? This is Million Dollar Screenwriter! Just when I was about to give up, this happens which goes to show you to never ever give up! No matter what!

Happy writing and movie watching.

N.

Free Screenwriting Seminars!

2005-04-21T10:58:00.000-07:00

Hi future MDS'ers:

Below is a post I received from Creative Screenwriting about free seminars! The only catch is that you have to be in the LA area since that's where they are taking place.

Check it out. I know one of the lecturers personally and he gives a lot of information and is very personable and can really help you develop your projects and to get that for free is even better. I had to pay for the seminar I took with him but it was well worth it.

Enjoy,
N.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CS Publications, Inc.
6404 Hollywood Blvd., Ste. 415, Los Angeles, CA 90028

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Comp Seminars for Screenwriters in Los Angeles (ONLY)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Creative Screenwriting magazine will be videotaping 30 of the most popular seminars from the Screenwriting Expo over the next two weeks and you're invited.

The seminars will take place on a sound stage in downtown Los Angeles. You will need transportation by car to get to the sound stage.

There are two sessions (morning and afternoon) each day and attendance is limited to 100. You can sign up for multiple sessions and multiple days, but PLEASE DON'T SIGN UP for a session you can't attend.

Your attendance is complimentary (no charge).

Morning Session: 7:45 AM to 1:30 PM

Afternoon Session: 2:15 PM to 7 PM

There will be a 1-hour lunch break at approximately 1:30 PM. Lunch is NOT included, but sodas and water will be available.

You must be prompt, or you won't be allowed to enter the stage.

Release Form: You will need to sign a release form allowing us to videotape you when you arrive at the stage in order to become an audience member. There will be some down time while cameras are loaded/moved and new shots are set up. So please plan on being patient during the shooting of the DVDs. The information these speakers impart is worth the wait.

Current Schedule (individual speakers and topics are subject to change)

Sunday April 24th

Morning Session: Richard Krevolin (8:45 AM Start)

Stories that Touch Your Soul

Advanced Structural Analysis

Afternoon Session: Richard Krevolin (3:15 PM Start)

Prof. K's Master Class Scene Workshop

Monday April 25th

Morning Session: Michael Hauge

Writing Romantic Comedies And Love Stories

Creating Powerful Movie Scenes

Afternoon Session: Michael Hauge

Mastering the 2-Minute Pitch

Pilar Alessandra

Writing The Three Minute Pitch

Tuesday April 26th

Morning Session: Karl Iglesias

Mastering the Essential Habits of Highly Successful Screenwriters

Evoking Emotion on the Page

Afternoon Session: Karl Iglesias

Evoking Emotion in Your Concept

Wednesday April 27th

Morning Session: Robert Kosberg

Selling Your Idea To Hollywood With Pitch King Robert Kosberg

Afternoon Session: Michael Hauge

Grabbing the Reader in the First 10 Pages

Thursday April 28th

Morning Session: Jeff Kitchen

36 Dramatic Situations for Brainstorming

Jeff Kitchen's Class on Sequence, Proposition, Plot

Afternoon Session: Jeff Kitchen

Jeff Kitchen's Two Tools for Advanced Screenwriters

Friday April 29th

Morning Session: Michael Ray Brown

A Structure Checklist: How to Plug the Holes in Your Script

Afternoon Session: Jeff Kitchen

Jeff Kitchen's Screenwriting Seminar

Jeff Kitchen's Class on Classic Structural Technique

Saturday April 30th

Morning Session: Jim Mercurio

Killer Endings

Afternoon Session: Ken Rotcop

Perfect Pitch: How to Sell Yourself and Your Movie Idea to Hollywood-The Lecture

Perfect Pitch: How to Sell Yourself and Your Movie Idea to Hollywood-The Workshop

Sunday May 1st

Morning Session: Jeff Kitchen

Jeff Kitchen's Full Day Seminar

Afternoon Session: Jeff Kitchen

Jeff Kitchen's Full Day Seminar (Pt. 2)

Monday May 2nd

Morning Session: Jeff Kitchen

Jeff Kitchen's Full Day Seminar (Pt. 3)

Afternoon Session: Jeff Kitchen

Jeff Kitchen's Full Day Seminar (Pt. 4)

Tuesday May 3rd

Morning Session: Karl Iglesias

Evoking Emotion: Characters

Evoking Emotion: Story

Afternoon Session: Karl Iglesias

Evoking Emotion: Scenes

Evoking Emotion: Description

Wednesday May 4th

Morning Session: Richard Walter (9:45 AM Start)

Attitude vs. Gratitude: Strategies for Securing an Agent

Screenwriting: The Whole Picture

Afternoon Session: Richard Walter

Reader's Backflip

Thursday May 5th

Morning Session: Karl Iglesias

Evoking Emotion: Dialogue Subtext

Afternoon Session: Karl Iglesias

Pitching to Sell: Engaging the Listener Emotionally

Friday May 6th

Morning Session: Jim Mercurio

The "T" Word: Theme

Afternoon Session: Devorah Cutler- Rubenstein

Ten Sure-Fire Ways to Raise Money for Your Film

Scott Rubenstein

How to Write Your Script and Deduct the Expenses Off Your Tax Return

Saturday May 7th

Morning Session: Paul Gulino

Sequences: The Hidden Structure of Successful Screenplays

Afternoon Session: David Freedman

Screenwriter's Guide to Making Money

******(DO NOT HIT REPLY TO THIS EMAIL OR YOU WILL NOT BE ON THE LIST)******

Use this link to RSVP and follow ALL the instructions:

www.creativescreenwriting.com/events.html

If you can't find the session you want on the RSVP form, that session is already filled.

If you are going to attend, please save this e-mail as it will be your only listing of what topics will be covered by the speakers each day.

I look forward to seeing you at the seminars.

Erik Bauer

Publisher

Creative Screenwriting

Contact Information
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
email: info@creativescreenwriting.com
voice: (323) 957-1405
web: http://www.creativescreenwriting.com

"Crash" a new movie dramatizing urban reality

2005-03-30T10:16:00.000-08:00

The article featured below was posted on the www.scriptologist.com. They have good information there. Feel free to check it out now and then. I bought one of their ebooks about screenwriting and it was very good and very affordable so much that I had it bound at kinkos so that I'll always have it as a screenwriting reference. [And no, no one's paying me to say good things about them but I'm always open to free gifts especially if they relate to screenwriting...ink would be good because it gets very expensive printing out all those pages. :)]

CRASH Dramatizes Urban Reality

By Glenn Bossik 3/28/05

Writer/Director Paul Haggis based his upcoming film, CRASH, on a personal life experience in which he "was car-jacked at gunpoint" in Los Angeles, California. That experience inspired the screenplay for CRASH, which he co-wrote with Bobby Moresco.

In the story, the lives of several racially diverse characters in Los Angeles collide with each other during a 36-hour time period before Christmas. Among the characters are a Brentwood housewife and her husband, a district attorney; a Persian store owner; two police detectives; an African-American TV director and his wife; a Mexican locksmith; two car-jackers; a rookie cop; and a Korean couple.

At the heart of the story is a car-jacking. Actress Sandra Bullock plays the character, Jean Cabot, a Brentwood housewife who is a victim of the car-jacking.

Bullock explains that Jean lives in a protected world. "[Jean is] an example of someone who has really built her life around things that are incredibly trivial and empty," she says.

Bullock feels that people don't understand what the real world is like. "Our reality is so detached that I think it requires a catastrophic event to make us either feel or acknowledge what's actually going on," she adds.

According to co-writer/producer Bobby Moresco, people don't always come in contact with each other in Los Angeles because they use cars for transportation. Producer Cathy Schulman agrees. "We protect ourselves in our cars It's highly simplistic, but surprisingly true," she says.

CRASH shows how fragile our feelings of safety are. "None of the characters escape unscathed," says filmmaker Paul Haggis

The characters in CRASH deal with racial problems, and Haggis's co-writer, Bobby Moresco, defines racism as a societal problem. "I think that on some level everybody in America is touched by the question of race and racism," he says.

When CRASH debuts in movie theaters on May 6, 2005, audiences will see how racism has compromised our society.

Has diversity finally reached Hollywood?

2005-03-14T13:56:00.000-08:00

I was forwarded this article from a colleague and thought it posed an interesting question so I've decided to post it here. Not sure which mag this was featured in though.

Happy creating.

Has diversity finally reached Hollywood?
By KEVIN HERRERA, Staff Writer 09.MAR.05
HOLLYWOOD

Movie industry insiders and independent filmmakers
agree, 2005 has been a banner year for African Americans in cinema.

Jamie Foxx and Morgan Freeman both took home Oscars in an awards
ceremony featuring more minorities nominated than ever before; three
of the year's highest-grossing films â€” "Coach Carter," "Are We There
Yet?" and "Hitch" â€” all star black men; while the "hottest" movie at
the Sundance Film Festival, a barometer for what's hip in Hollywood,
was "Hustle & Flow," a film by John Singleton, an African-American
director from South Los Angeles.

While few would call this recent success a renaissance in African-
American film ("Hitch," "Diary" and "Are We There Yet?" are not
considered great cinematic achievements), industry experts said it
is certainly significant, for it signals an evolution in an industry
that has long resisted attempts to diversify.

How long this will last, and what impact it will have in terms of
getting more minorities in front of and behind the camera is
anyone's guess.

"There has been a huge climactic shift," said veteran director Mike
Schultz, whose films include "Car Wash," "Krush Groove," Berry
Gordy's "The Last Dragon" and most recently, "Woman, Thou Art
Loosed." "When I came on the scene, I think there was only Gordon
Parks, Melvin Van Peebles, who had been ostracized by Hollywood, and
Sidney Poitier was doing his `Uptown Saturday Night' thing and that
was it.

"Today there are all kinds of movies coming out with very talented
young directors of color. I see a critical mass of trained black
professionals in every aspect of the business, which I think will
translate into more quality stories being told."

"Blacks are getting offered more mainstream roles now and the
Academy [of Motion Picture Arts and Sciences] and critics are
recognizing what these actors can do outside of `Soul Plane'
or `Booty Call,'" said Laurence Washington, co-publisher of
Blackflix.com. "Soul Plane" and "Booty Call" were films heavily
criticized in the black community for portraying African Americans
as buffoons or sex-crazed fools, with director Spike Lee and the
Rev. Jesse Jackson speaking out against them.

Washington is skeptical of course, never willing to trust the
motives of major studios. "Today blacks are the flavor of the
month," he said. "Tomorrow, who knows? And in Hollywood, the bottom
line is the bottom line."

Because Hollywood is all about "the green," meaning money, producer
Reuben Cannon, who was behind "Diary of a Mad Black Woman," which
debuted at number one, stunning industry experts, said he would like
to see a movement towards more collaboration between black
filmmakers and black producers, not with major studios, who Cannon
feels exploit minority audiences desperately craving quality
entertainment. If studios will not hire minorities in positions of
power, it makes sense for blacks to support themselves, Cannon said.

"Real progress will happen only when we finally combine our creative
talents with our financial resources," he said. "I want to see a
movement toward black independent films because that is the only way
to keep the integrity of the art intact. If we do business the
traditional way, through major studios, we are only going to get
frustrated or disapprove of the finished product because there are
no black executives monitoring the process. We will not see a change
until we become the change. We can't wait for studios to come to us."

To finance "Hustle & Flow," Singleton spent $3.5 million of his own
money. Now studios are offering him four times that amount to
distribute the film, he said.

"What you have are black people taking charge," Singleton said from
the set of his new film "Four Brothers." "You have Tyler Perry
[creator of `Diary'] financing that himself and Ice Cube produced
[`Are We There Yet?'] you know, so it is a really good time to be
making films independently. African Americans are really popular in
entertainment right now."

Or are they?

Some have questioned the importance of box office figures,
considering the release dates for "Diary," "Hitch," "Are We There
Yet?" and "Coach Carter," all fell in or around Black History Month,
which is considered to be one of the slowest periods of the year for
films, and a perfect time to release films appealing to black
audiences. That may have contributed to the high box-office returns,
some said.

"You are not going to put these movies up against your typical
Hollywood blockbusters and that is why you are seeing them all
released right now," said Ralph Scott, program director for the
Black Hollywood Education and Resource Center in Los Angeles, who is
very critical of the lack of minorities greenlighting films, which
he said creates movies based on offensive stereotypes. "Once it hits
May or June, you won't see these types of films except for maybe an
F. Gary Gray film."

Gray directed "Be Cool," "The Italian Job," as well as "Friday," and
like Antoine Fuqua, another black director who made "Training
Day," "Tears of the Sun," and "King Aurthur," Gray is considered a
filmmaker with that all-important "crossover appeal."

"I think you have seen the success of these films because they are
not niche films or black films or urban films, they are good movies
with crossover appeal," said Paul Dergarabedian, president of box
office tracking firm Exhibitor Relations.

"With the right actor, these films are not considered black films,
but just good entertaining films that people of all ethnic
backgrounds want to see," said Gitesh Pandya, editor of
BoxOfficeGuru.com. "Movies like `Ray,' `Diary,' and `Barbershop,'
where the majority of the cast is black, are showing Hollywood that
there is a big appetite for films like these and with the right cast
and story, crossover sales to their moviegoers can lead to very
strong profits. The color Hollywood really loves is green and if a
type of film can bring home the bacon, the industry will take
notice."

Scott warns to be weary of the hype. Major studios will capitalize
on it the best way they know how, and that is producing films that
lack honest portrayals and poignant content.

"Whites are comfortable as long as blacks are doing the things that
are stereotypical, shooting each other, degrading our women, not
being a father to our children," Scott said. "But once we are loving
and caring human beings, it doesn't fit and doesn't seem right. Of
course Denzel [Washington] is going to win an Oscar for playing a
bad guy [in `Training Day'] and Halle Berry for a hoochie momma
[in `Monster's Ball.'] Until the mindset that creates that outcome
changes, I think we are just seeing another peak before a deep
valley in black films. Hollywood is going to end up treating [this
recent success] as a trend and it will not be ongoing. I assure you.
These will be treated like flukes."

From DVD to Pay-per-view

2005-03-10T14:30:00.000-08:00

Another way to get your films out there.

Dear Filmmaker,

Westpark Foundries is now accepting product for use on our two new
pay-per-view channels. We are looking for feature length films,
documentaries, and television programs.

We have deals with two new IPTV networks and are currently negotiating our
deal with a cellular provider for your submitted short films.

Westpark provides an 80-20 split. That means for every dollar that your
film earns on Pay-Per-View, you will receive .80 cents.

This is a non-exclusive deal, so that you may sell your film in any other
fashion you choose, and may end your agreement with Westpark at any time, by
giving us 30 days written notice to remove your Content from our offerings.

Please visit: http://westparkfoundries.com/submit.html and fill out the
submission form and mail your films to:

Westpark Foundries

C/o PPV

1312 Yorkshire

Austin, Tx. 78723

We are only accepting DVD's at this time, no other format will be
considered. Please insure that your film is mastered as a DVD and NOT as a
VCD, they are very similar.

Million Dollar Screenwriting Club

2005-03-09T15:44:00.000-08:00

Hi all,

I took a screenwriting class that was totally fab and at the end of the class, the teacher/producer welcomed us as future members of the Million Dollar Screenwriting Club. Wow! Wouldn't that be great if it were to happen? At first my analytical mind thought that it was impossible especially since I haven't even made the first sale but nothing truly is impossible. People are doing the seemingly impossible every single day. Then I read two anonymous quotes the very next day that said, "Just because we haven't realized our potential doesn't mean it's not there." and "Don't judge your future successes by what is materializing in your life at the moment. Rather focus on what you do now that will create the future payoff." Those were so true and really spoke to my soul. I believe in signs and to me, having the instructor say that then finding the quotes was like a huge 'hello'. I realized that I was judging my future success by where I am today in my career. How ludicrous is that! Anyway, I'm creating a forum called the Million Dollar Screenwriting Club as a place to network and inspire future members of the million dollar club. Others have done it and so can we.

Sign up now.

I've created a link on my website: www.NatashaFX.com

African American Filmmakers

2005-02-16T16:14:00.000-08:00

Article from the Hollywoodreporter.com site.

African-American filmmakers
African-Americans are redefining Hollywood's landscape and the "new black" in the process

By Polly Delaney
Pictured: Jeff Byrd, left, and Darryl Taja on the set of
"I'm black and have been in some positions of so-called power for some time now," says Yvette Lee Bowser, with a smile in her voice.

Since grabbing the reins of ABC sitcom "Hanging With Mr. Cooper," Bowser has had a show on the air every year. Her latest creation, "Half & Half," anchors UPN's Monday night lineup, with some 3.1 million viewers tuning in on a good week. "We were hot in the early '90s and here we are, hot again," she says of black scribes.

A recent report by the WGA supports Bowser's optimism. Across the board, the number of minority writers working in primetime television is up 13% from 10% in 2001. In fact, in all walks of the industry -- from feature films to television to the executive suite -- a new generation of talented professionals is bursting into the spotlight.

Be it up-and-coming directors such as Jeff Byrd (the upcoming "King's Ransom") and Bryan Barber (HBO Films' upcoming OutKast project), or production and development professionals, entertainment attorneys and agents, the black outlook in the entertainment industry is bright.

Of course, there is still plenty of ground to cover. African-Americans account for approximately 12% of the U.S. population, but blacks in the executive ranks account for an even slimmer sliver of the pie. Arguably, the number of high-ranking black executives in the ranks of the entertainment industry lag behind other arenas, such as business and politics.

"I don't think African-Americans wield nearly as much clout in Hollywood as they wield in other disciplines," says public radio and talk show host Tavis Smiley, citing Merrill Lynch chairman and CEO Stan O'Neal, American Express chairman and CEO Ken Chenault, Time Warner chairman and CEO Richard Parsons, the members of the Congressional Black Caucus and National Security Advisor Condoleezza Rice as examples.

However, thanks to a recent string of boxoffice success stories, there's no question that blacks are wielding more of that all-important clout. Last year, F. Gary Gray's "The Italian Job" made more than $100 million and was Paramount's highest-grossing 2003 release. More recently, Kevin Rodney Sullivan's "Barbershop 2: Back in Business" (MGM) opened at $25.1 million, almost 22% higher than the $20.6 million opening of MGM's original "Barbershop" comedy in 2002. The sequel has since gone on to gross more than $62.6 million.

Antoine Fuqua helms producer Jerry Bruckheimer's "King Arthur," a July release that distributor Buena Vista is hoping will become a breakout hit on par with 2003's "Pirates of the Caribbean: The Curse of the Black Pearl." This fall, Newmarket will release producer Lee Daniels' follow-up to 2001's "Monster's Ball," "The Woodsman," the story of a convicted pedophile (Kevin Bacon) who looks to rebuild his life after being released from prison.

But there are just as many important developments away from the director's chair. Ask Matt Johnson, one of only a handful of black entertainment lawyers in the business, who juggles an impressive client roster including Ice Cube, Tyra Banks, the Hughes brothers, writer Jeff Rake and Michael Keaton.

"There are at least three of us who have seven-figure practices," says Johnson, who works at one Hollywood's biggest entertainment law firms, Ziffren, Brittenham, Branca, Fischer, Gilbert-Lurie, Stiffelman & Cook. "The business is getting more difficult. The money is getting tighter. The studios are getting cheaper and more aggressive in terms of what they want (regarding) rights and other obligations in terms of talent, so it just requires lawyers to be smarter and more creative."

Johnson recently cut a rare deal for Dave Chappelle that will see the comedian doing a comedy special for Showtime while retaining ownership and licensing rights for the DVD.

On June 25, Warner Bros. Pictures' new indie outfit, Warner Independent Pictures, is scheduled to release "Before Sunset," Richard Linklater's sequel to 1995's "Before Sunrise." Also on the slate are "We Don't Live Here Anymore," which WIP acquired at the Sundance Film Festival, and director Jean-Pierre Jeunet's follow-up to "Amelie," "A Very Long Engagement."

Tracey Bing, vp production and acquisitions for WIP, has the plum job of picking and choosing such films, working with Mark Gill, Paul Federbush and Michael Andreen. "For me, it is important to find original stories by filmmakers with unique voices from around the world," she says. "Of course, I am personally interested in finding those stories (from) filmmakers of color."

Although none of the above titles is overtly targeted to black audiences, some say that as executive offices become more ethnically diverse, by their very nature, they will help promote new ideas that appeal to traditionally underserved audiences. The sea change might be slow and subtle, but it's definitely happening.

"Everybody points fingers at the agencies for not taking on writers," HBO's director of original programming of comedy Jada Miranda says. "But when I look at the agencies right now, UTA has great agents of color who are going to bring in great writers of color. William Morris has Marcus Wiley. You have this new crop of young agents and executives who are really going to systematically start changing things just by virtue of being there."

Miranda oversaw the final season of "Sex and the City" and is part of HBO's core comedy development team, working alongside Sarah Condon and Carolyn Strauss. She currently has 30-plus scripts in development including projects by director and playwright George C. Wolfe ("Take Me Out") and Brillstein Grey production "East/West Values" by Sabrina Dhawan (2001's "Monsoon Wedding"), about two East Coast families assimilating from India.

Also in the queue are "The Entourage," a series based on Mark Wahlberg's pre-stardom Los Angeles experience, which started shooting Monday.

"I don't take it as a color thing," offers Bravo vp development and production Jamila Hunter, who is shepherding "Long Way Round," a documentary series following actor Ewan McGregor and best friend Charlie Boorman as they ride their motorcycles around the world. "If my perspective can add a different perspective to a roomful of people, fine. I'm from San Diego, so it's not as if I'm coming to work in dashiki. But, on the other hand, if there are things that I notice and I do have a different life experience, I feel like it's advantageous of me to bring that to the table."

The goal, according to most black production professionals, is to explode the notion that the only films that appeal to black audiences are titles such as Screen Gems' January release "You Got Served" and offer movies and television programs with a much broader range of content.

Urban is no longer black. The success of crossover films such as Universal's "2Fast2Furious" and notably, "The Italian Job," underscores the idea that real power comes with transparency, when African-American executives and creatives migrate between mainstream and niche.

Finding a balance can mean going from Compton, Calif. to Beverly Hills without missing a step. Many feel that what is represented in rap videos doesn't wholly encapsulate the black experience.

"I think there's a very urban but educated upper crust of African-Americans that are young and still upwardly mobile, and we don't get serviced," says Darryl Taja, who is currently producing "Ransom" and "Slay the Bully" for New Line and recently sold Ken Rance's "32 and Single," a romantic comedy with Gabrielle Union attached to star, to Universal. "You see movies like (MGM's upcoming comedy) 'Soul Plane' come out where they're quite exploitative. If a movie like that is successful, then it means that five more movies like that are going to get made. There are still very few African-American dramas that get made," he says.

Looking to effect real change, Taja recently left his Catch 23 Alter Ego division to launch his own production banner, Epidemic Pictures and Management Inc., and is in the process of forming the African American Regulatory Committee, an organization designed to monitor media content and change the often negative depiction of blacks in film and television. MGM vice chairman and chief operating officer Chris McGurk, Fox vice chairman Robert Harper and WMA's Nicole David have expressed interest in supporting the endeavor by serving on the advisory board.

"There are no black execs with greenlight power in this town, and the execs that (do) have it never lived in our communities, so how can one make an informed decision on what is or is not suitable to market to the black audience?" Taja says. "I once heard that a very powerful senior-level studio exec made the statement that 'he knew black people better than black people knew black people.' I just laughed. You gotta love the arrogance and absurdity of that statement."

Similarly, the National Association for Multi-ethnicity in Communications Creative Summit, which will take place April 15-16, was created to bridge the divide between industry executives and those looking to advance within the creative arenas of the cable industry. Participants included Lifetime's senior vp programming Kelly Goode, Paramount Digital's Leonard Washington, Paramount Network Television senior vp comedy Rose Catherine Pinkney and Overbrook Entertainment manager Miguel Melendez.

"I think at the moment the climate is very good," Bowser says. "I think the industry is very open to hearing what we have to say. Are they buying it every time we say it? No. But I think they're not buying it when someone not of color is pitching an idea. So, I think we're in a positive cycle right now, and it's on us to be prepared when ears are open."

Adds Bing: "It's a difficult job market with so few opportunities. But I truly believe that when you get a diverse group of people in the room that's when the innovative and exciting projects get done."

--------------------------------------------------------------------------------
Bright young things: Who you should be talking to at that next industry mixer

Tracey Bing, vp, production and acquisitions, Warner Independent Pictures. Bing has a knack for finding reel gems like Liev Schreiber's directorial debut, "Everything is Illuminated." Cherry Road Prods.' "Barnes" is another of her projects, and Bing previously worked on Jonathan Demme's 1996 release "Courage and Pain."

Gordon Bobb, entertainment attorney, Del, Shaw, Moonves, Tanaka & Finkelstein. Recruited by one of Hollywood's top legal minds, Nina Shaw, to join her practice. Bobb's clients include Jamie Foxx, Cedric the Entertainer and writer-directors Malcolm D. Lee (2002's "Undercover Brother"), Reggie Bythewood (2003's "Biker Boyz") and Rick Famuyiwa (2002's "Brown Sugar").

Tina Chism Penned Fox's drum-tastic 2002 release "Drumline," so the studio hailed her "Taxi," casting Jimmy Fallon and Queen Latifah in the project. Also in the works are Universal's "Nappily Ever After," starring Halle Berry, and Warner Bros. Pictures' "Jelly Beans," to be helmed by Chris Robinson.

Wayne Conley Formerly a writer-producer on Nick's "Kenan & Kel," Conley has "King's Ransom," starring Anthony Anderson, in production at New Line. His projects "Jive Turkey" and the untitled Uncle Buck film also are in development.

DeVon Franklin, creative executive, MGM Pictures. This 26 year-old is one of the youngest black studio executives in Hollywood -- plus, he works as a Christian minister and motivational speaker. Believes his studio's planned fall releases "Be Cool" and "Beauty Shop" epitomize what the "new black" should be in terms of material.

Jamila Hunter, vp development and production, Bravo. Works on Bravo's alternative series, specials, longform and programming strategy; influential in acquiring "Project Greenlight" from HBO. New series under her watch include "Blow Out" (the hair-salon answer to NBC's "The Restaurant"), "The D-List" and "Long Way Round."

Jada Miranda, director of original programming, HBO. She cut her teeth on a two-year stint at Orly Adelson Prods., then quickly rose through the ranks at ABC. Now, she is now part HBO's comedy development team.

Marc L. Moore, associate, White O'Connor Curry & Avanzado. This renaissance legal eagle is the man to call when you're having a "'Survivor' problem." CBS is the firm's biggest client, but it also reps the Walt Disney Co., Warner Bros. Pictures and Paramount.

Amber Pollard, television literary agent, Endeavor. Pollard helped seal the deal for Kevin Lima to direct the 2003 ABC telefilm "Eloise at Christmastime," for which he won a DGA Award in February in the children's programming category. Some of Pollard's other director clients are behind event television including USA Network's recently aired "Call Me: The Rise and Fall of Heidi Fleiss," helmed by Charles McDougall, and the upcoming CBS telefilm remake of "Helter Skelter," written and directed by John Gray.

Marcus Wiley, television literary agent, William Morris Agency. Formerly at Regency Television and Fox Broadcasting Co., Wiley last summer landed squarely in the TV department at WMA. Represents writer-actor Marc Wilmore (Fox's "The Simpsons"), director Jessy Terrero (MGM's upcoming comedy release "Soul Plane") and the Los Angeles Lakers' Rick Fox, among others.

Published April 06, 2004

Doing the Producer Strut

2005-01-26T11:08:00.000-08:00

My latest script is finished. I've gone over it dozens of times that I'm having dreams about it. So, I figured that it's time to get it out there. I did let a few people read it. Funny, though. All the women love it and the men aren't too thrilled. Not that it's a bale basher or anything! Promise! At any rate, one producer asked to read the script and 2 others asked for the synopsis so I sit and wait. I hope to hear something whether yeah or nay next month. Ah the pain of having patience! At any rate, it's out of my control for the moment so I'm starting on a new project.

I also signed up for a Creating High Concepts class. I hope it's worth the $150 bucks. I'll let you know.

The saga continues...

Natasha

My career's alive in 2005!

2005-01-03T10:13:00.000-08:00

Every year I create a slogan that's meant to motivate, no push me into action. I've been honing my screenwriting craft for 4 years now and have not made any progress. Not that I've tried. I was never focused or persued it wholeheartedly but that's all gonna change. Actually, in 2004 I made more progress than I had in the last 3.5 years. I wrote three scripts and started marketing which I never really did before. I guess because I didn't feel I had any high concept scripts to push. I've always sought out screenwriting groups and other hopeless souls on the path. Why do we torture ourselves like this? Probably because we can't help it. No matter what happens, we can never give up. As long as you try, there's an opportunity to make it. If you give up and quit then it's never going to happen.

I finished "Dogged" a comedy. I really enjoyed working on this project and think this could be the one to jump start my stale writing career. I've sent it out at the end of December 2004 to a producer who is also a director and has a movie coming out in 2005 with Vivica Fox and Bill Bellamy. Wow! I really hope he likes it. In case he doesn't, I'm researching who else I could send my script to. I honestly will be surprised if he doesn't like it because he likes comedies and this script is pretty funny and has a lot of heart. Fingers, toes and eyes crossed. I'll keep you posted.

The saga continues...