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
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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.”
Friday, June 26, 2009
Thursday, June 25, 2009
Why High Concept?
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.
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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.
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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.
Tuesday, June 02, 2009
And the project is SOLD!
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
Best wishes to you all and remember to hold on to your dreams and never ever give up.
Natasha
Friday, April 17, 2009
Don't give up on your dreams!
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
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
Friday, February 06, 2009
10 Screenwriting Tips from Billy Wilder
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.
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.
Thursday, May 01, 2008
Top 10 Screenwriting Tips
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!
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!
Wednesday, March 05, 2008
Creating a Pitch Bible
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.
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.
Wednesday, December 19, 2007
Striking Writer Martini
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."
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."
Thursday, February 09, 2006
About Articles in Creative Screenwriting
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
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
Tuesday, January 31, 2006
Recap of Lew Hunter's talk on Monday, January 30, 2006
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
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
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
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
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
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
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.
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.
Friday, November 18, 2005
EXPO'd out!
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.
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.
Monday, November 07, 2005
Let's get ready to EXPOOOOOOOOO!
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.
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!
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
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
Friday, May 27, 2005
Million Dollar Screenwriting yahoo group
Wednesday, May 25, 2005
Teleplay Tips & Tricks
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!
**********************************
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!
**********************************
Friday, May 06, 2005
How to Sell to Hollywood!
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.
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.
Tuesday, April 26, 2005
Got an option for my script!
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.
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.
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