You can count ’em on one hand (plus an extra finger)

April 28, 2017
six fingers

This many

In years gone by, when I was seeking feedback on a script, I would ask just about any writer I knew if they’d be interested (along with an offer to reciprocate, of course).

At first that number was in single-digit territory, but eventually crossed into low double-digits.

Definitely way too many. But I was still learning and trying to get as much feedback as I could.

That in itself soon became a double-edged sword. As much as I appreciated everybody’s notes, the amount of conflicting opinions (Person A: Do this! Person B: Don’t do this!) kept getting bigger and bigger.

It got to the point where I couldn’t stop second-guessing myself, which was definitely not helping.

So after the last set of notes came in on the latest draft, I decided on taking a different approach next time. For my own sake.

Taking a look at my list of names, I evaluated each person on it. How were their notes? Insightful? Just okay? Even if I didn’t agree with everything they said, did their notes have merit?

Doing all those reciprocal reads also played a big factor. Does their writing indicate they have a solid grasp on the craft? Simply put – do they know what they’re talking about?

The number of names was soon whittled down to a respectable half-dozen; six writers I think are very talented and who have each made good headway developing their own careers. The notes each one has provided me have been extremely helpful in improving both my writing skills and my material.

It’s also gotten to the point where it’s not an uncommon thing for one of them to ask me for notes on their latest project before they send it out.

When I wrapped up the first draft of the pulp spec this past weekend, my first instinct was to immediately contact the group. But time and experience has taught me that patience pays off. I opted to go through it again, editing and making appropriate fixes. This way, I’m sending them a better draft, which means less work for them. Their time is valuable, and I want to respect that.

I’ve seen writers on forum groups asking the community if anybody would be interested in reading their latest draft. That’s fine, but I think it’s a little too risky. Without knowing how much experience the other person has, you might end up hindering your progress, rather than advancing it.

I can’t stress it enough: take the time to build up you network. Establish your own core group of writers you think are exceptionally good. Be more than willing to read their stuff. Take their notes to heart. In turn, both of you will be better writers for it, each creating better material.


A small gesture with big results

April 14, 2017
cheer squad

Yay you!

Something a little different today.  A humble request from me to you, which will hopefully become a regular thing for you (provided it isn’t already).

I’ve been exceptionally fortunate to have been on the receiving end of compliments and encouragment from my network of fellow writers (thanks, chums!), but have also gotten an immense amount of satisfaction in being the one doing the giving.

Nothing too gushing or overly effusive; simply words along the lines of “Way to go!” or “You can do it!” Maybe a little more if I know the writer and/or the project.

It may not seem like a lot, but that sort of thing can be much more effective than you’d imagine. Any writer appreciates knowing there’s someone out there rooting for them.

So what does this have to do with you? Easy. Take it upon yourself to do that for other writers you know; probably would take you all of ten seconds. And I bet you can think of least a dozen people for whom you could do this.

I’m not necessarily a big believer in “good deeds build good karma”, but there’s nothing wrong with just being a nice person, right?

And speaking of being nice to people, a couple of items added to the bulletin board this week:

-Author Cali Gilbert is happy to announce the release of her 8th book, the historical fiction Timing the Tides. The book is available for pre-order in both hard copy and Kindle versions.

-Writer/webcomic creator Gordon McAlpin has launched a crowdfunding campaign to create an animated short based on his webcomic Multiplex, which recently wrapped up a very entertaining 12-year run. Donate if you can!


Much ado about…you know

April 11, 2017

angry writer

Nope. Not that either. How about…?

That’s it. I’m stumped. I honestly have no idea what to write about today.

It’s not necessarily writer’s block; more of a “want to try something new, but not sure what.”

Sure, I could once again bore you to tears with the latest update on how the pulp spec is going, but that implies a lack of originality (along with feeling stuck in a bit of a rut), and I definitely don’t want that.

Or I could regale you with a written account of my latest encounter, virtual or face-to-face, and the events that transpired, followed by the lessons learned. But my social calendar on both fronts has been on the quiet side lately, which subsequently has given me more time to write, so there is that.

Yet another alternative is to share the latest developments for that ongoing goal/dream of “someday I’m gonna be a working writer”. Not exactly a tired old chestnut, but there’s no denying it’s provided me with a lot of material over the years. One might even go so far as to say it’s inspired others to forge their own path. But then again, that’s not for me to say. I’m too busy trying to come up with an interesting topic.

I’ve been working on this blog for quite a while now, so thinking of new material can occasionally be a challenge. There are admittedly times I feel like I’ve covered as much as I can, and I don’t want to bore anybody with a dip into the pool of well-trod screenwriting topics. Seriously, how many times can you read me extolling the values of networking, analyzing the elements of a logline, or discussing what should and shouldn’t go in a query letter?

But counter to all of that, there are days where inspiration comes in and whacks me upside the head, resulting in a few paragraphs of pleasing prose/advice/assorted folderol about something affiliated with screenwriting, or at least how I stumbled onto the point I’m trying to make. That’s when the words flow like you wouldn’t believe. Before I know it, I’ve cranked out a post that could inexplicably be helpful to somebody. Without sounding too egotistical, even I’m impressed when I can pull that off.

While there are numerous other bloggers with significantly more experience than me, it’s rather surprising to see so many readers take a look at my latest offering, possibly make a comment or send me an email, and then keep coming back for more. I can’t possibly imagine what it is about me and/or my writing that would motivate anybody to read something here and then, of their own free will, return for more. Especially on a regular basis.

And then to take it one step further, they enjoy a particular post or two to the point of being so motivated as to then dig through the years of archived material in the hopes of finding anything else I’ve written that they’d consider worth reading.

Dare I even suggest that coming up with new material for this blog is in itself comparable to screenwriting? The ability to create some original material that would be considered professional, informative, and entertaining using nothing but the thoughts in my head and a moderately decent typing speed?

I don’t know if I’d go that far. But since you’re here, you can probably relate to my frustration of trying to write something when you can’t think of what to write.

That can be tough when it happens, but somehow we find it within ourselves to rise to the challenge we’ve given ourselves and actually figure out a way to come up with something and put some words down on the page.

Give me time. I’m sure I’ll think of something.


Psst! Your desperation is showing

March 21, 2017
liz

Liz knew the value of taking one’s time

Seeing as how I post links to this blog on a few social media and networking sites, it’s inevitable that word about it will continue to spread across the globe (even more than it already has, apparently).

So along with global recognition (which is always nice), this also attracts attention from those with an idea for a story, a dream of hitting it big, and pure, unbridled ambition.

Those that have all of the above seem to be actively seeking me out, as I have once again received an out-of-the-blue request/plea for some screenwriting assistance.

A writer asked if I would take a look at their script, adding that English wasn’t their first language, so that part might still need some work. Even though this was their first script, they felt it was ready to go and if I liked it enough, they’d be willing to share the rights or even give full ownership to me.

They also included the logline and a few personal details about really, really wanting to move to the US so they can make it in the film industry.

One of my guiding tenets is to never insult or belittle somebody, nor do I have any desire to ridicule somebody for pursuing their dream. Tough as it was, I felt I had to explain a few hard truths to them.

-First, about the script itself. “Everybody’s first script is always bad. Always. I say this not to be discouraging, but from experience (both mine and from others). DO NOT expect me to read it and say it’s perfect, because it won’t be. When you’re starting out, you have to realize what you don’t know and be willing to learn from your mistakes.”

-About wanting to move to the US. “It takes a VERY long time to have anything happen. Focus on studying and improving your craft. Fortunately, that’s something you can do at home. Join some online writing groups. Network. Be friendly. Don’t just start with “Hi. Can you help me?” Nobody likes that.”

This was their response:

“Thanks for getting back to me. I really appreciate your advise. I know that everything you said is true. So I understand. I know you are trying to help me. I know it’s bad to ask help at the first moment I get to know someone. So I won’t do that again. I’m really grateful that I got to know you. Thanks again for your support.”

If you’re like me, you totally get where this person is coming from. They want it so bad it hurts. And that this is something that takes an excrutiatingly long time for anything to even happen just makes it that much harder to endure.

We all know this is not an easy or overnight process; there are no short cuts or quick fixes. It takes time to learn how to this right, so patience is an absolute necessity. But if you’re willing to put in the time and effort, then you’ll eventually start to see results.


Q&A w/Phillip Hardy about Hosting vs DIY

March 17, 2017

Phil Hardy

Phillip E. Hardy is a four-time optioned screenwriter who also runs The Script Gymnasium script consultancy. His work has recently been presented to Jay Roach, William Morris Endeavor, Tyler Perry Productions and A&E Network. He has placed and won at 45 film festivals and contests including Page International, Austin Film Festival, Cannes Screenplay, Shore Scripts, Screencraft, Beverly Hills Film Festival and Sunscreen Film Festival.

Today’s post stems from a discussion between Phillip and myself regarding the benefits and drawbacks of posting your script on a hosting site or taking a more proactive role and doing the work yourself.

You’ve had some experience with both handling your own material and hosting sites. Do you find one to be more effective than the other, or is it more of a case-by-case basis?

I’ve had varying degrees of success with different hosting sites. But it’s a total crapshoot, especially with paid hosting and pitching sites. One of my colleagues swears by Virtual Pitchfest (VPF). And, at 10 bucks a pop for a pitch, they look attractive to writers on a budget.  I’ve done ten pitches at VPF and though I received some very good feedback on one of my period piece dramas, nobody at that website has requested a script read.

When I first started out, I used Project Greenlight (PG), which was expensive and the responses I received were very sloppy and unprofessional. I did get one read request from a video game company. But I would never use PG again. I know of nobody who has scored with them.

Don’t ask me about the Black List. Okay, I’ll tell you. I hate them and everything they stand for. However, if you wish to pay their reviewers (frustrated writers with their own axe to grind) seventy five dollars a pop to review your script, then that’s the site for you.

International Screenwriter’s Association is fairly inexpensive for a premium listing. However, anyone that uses them can call themselves a producer or director. I’ve made several connections there but they led me nowhere and have netted no financial remuneration.

I’ve also hooked up with a few folks on Craigslist (CL), which can be a real pain and you have to answer a lot of adds to get any action. One of the best connections I made on CL was with one of the stars of the TNT show “Falling Skies”. So you never know who you’re talking to but you should vet them out before sending them your scripts.

I’ve had my best luck at Inktip, which allows you to list a script for four months at a price of sixty dollars for four months. Producers at Inkitp shop loglines and will read your summary or request a script read if they’re interested in your spec material. For example, I had multiple logline reads today and two of them read the synopsis as well. However, a lot of Inktip clients troll loglines and do little else. I’ve had a number of script downloads, which have also netted zippo. However, the Inktip Newsletter has been much more effective for me. The price is the same as the listing. The difference is you can pitch producers looking for specific genres and concepts. I’ve also written pitches for these clients, which led to a script option and three right-to-shop agreements with a producer that got my work into the hands of some big time production companies and cable networks. I’ve also bullshitted people and told them I had scripts I hadn’t written yet. And then banged them out in a week. This method is not for the faint of heart.

I’m sure most writers know that Amazon Studios has an open door policy about submitting television and feature screenplays. Unfortunately, that door leads to oblivion. And if you can locate one unproduced writer that has something produced by Amazon, I’ll buy you lunch at my local Sonic drive-thru. Several months back, I did some research on this and could find no unproduced writers who have made it out of development purgatory. And by unproduced, I mean you’ve never had a big budget movie made from one of your screenplays.

Lastly, I’ve used Stage 32 for paid pitch sessions and gotten script requests from four major players including Ridley Scott Productions and Good Fear Management. But if you do a written pitch, you better make sure your logline is catchy, your synopsis is clear and concise and you include the character arc for your protagonist.

The bottom line is use any means possible to get your work into the hands of people you are looking to make movies.

If you’re going the DIY route, what methods have worked for you?

Smack-talkin’, bold action has worked best for me. I hooked up with several producers looking for projects by telling them I had scripts already written about things they were looking for, including a story about Michael Rockefeller, who disappeared in the Papuan Islands more than fifty years ago. In this particular instance, the producer was advertising and I wrote a logline and synopsis in three hours and pitched it to the guy. He optioned the screenplay I wrote in six days.

In another instance, I did the same thing with another producer looking for an Angela Davis screenplay. However, when the producer asked me if I had a script, I said “sure, it’s sitting on the shelf with my screenplays about Huey Newton and Eldridge Cleaver.” He got the joke and we wound up working together on several different projects. The DIY Method should include whoring your wares at any given moment and making as many connections as you can. Also, make friends with writers like Paul Zeidman.

Never heard of him. Keeping that theme going, what do you recommend when it comes to using hosting sites?

Passive hosting sites where you don’t aggressively work the leads may be a waste of time. Just listing a script without supporting efforts offers little chance for anything happening to further your career.

What’s your opinion of hosting sites overall?

If you’re not living in Hollywood and getting meetings with producers, hosting sites, along with promoting yourself vigorously and IMHO, competing in film festivals and script contests to relentlessly build your brand, can be a very useful tool to get you access to producers and agents. As a direct result of hosting sites, I’ve had material read by A & E, History Channel, Emmett Furla, William Morris Endeavor, Jay Roach, Tyler Perry Productions, Ridley Scott Productions, Zero Gravity, Good Fear Management, Zane W. Levitt and many others.

After putting your script on a hosting site, what should you NOT do?

Don’t nag the contacts you make. Don’t be a pain in the ass if someone’s interested in your work.

As an experienced writer, what tips would you like to pass along?

-If you’re a delicate, sensitive woodland creature, then scriptwriting isn’t for you.

-Learn to suck up constant rejection. Never spend more than a few hours wallowing in rejection or failure. Remember, opinions are like assholes, everyone has one. With each setback, learn how to sally forth with renewed vigor.

-The best cure for rejection is writing; particularly if it’s better writing.

-Sometimes a script just sucks. Everyone thinks they have a great idea for a script. More often than not, they’re wrong. Sometimes a script just sucks, no matter how many times you rewrite it. Therefore, don’t attach yourself to any one effort too much. It may take writing fifty scripts before you find something that really resonates with readers.

-If you see writing scripts as a path to riches and fame, you may wish to consider other options.

-There ain’t no such thing as writers block. There are only writers that write and ones that don’t. Look at Bukowski. Drunk or sober, he did great work every day of his life.

-Writers who build relationships, maintain their humility and help their colleagues will do better than ones who don’t.

-If you keep losing script contests, then write better scripts until you win one.

-Read books, take classes, seminars, and good advice about scriptwriting and then march to your own creative drummer. If I listened to every asshole who told me I couldn’t do something, I’d never accomplish anything.

What are some absolute “Do NOTs”?

-Don’t tell anyone “this is my first script”. But don’t think you’ll set the world on fire by writing one script.

-Don’t write something because you think it will have commercial appeal. Write something you believe in.

-Don’t worry about what everyone else is doing. Endeavor to be an original.

-Don’t ever rest on your laurels. Keep writing until it becomes second nature AND you can produce even under the most adverse or stressful conditions. You may one day have a job that presents you with just that set of conditions.


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