An amiable assortment o’ items

March 31, 2017
study group

Everybody’s keeping busy, so there’s lots to talk about!

First three months of the year wrapping up today, which makes it the perfect opportunity to offer up your Project Status Update! Feel free to step up to that virtual microphone (aka the comments section) and announce the latest developments for whatever is currently occupying your attention.

My list is pretty short:

-Work on the pulp spec continues. Currently around page 83, with a projected final count of 120ish. Strongly suspect FADE OUT will be typed sometime in mid-April, give or take a couple of days.

-Dipped my toe into the waters of rewriting the low-budget comedy courtesy of some helpful notes. Not a total page-one rewrite, but definitely taking my time with this one.

-My western was named a finalist at the WorldFest-Houston International Film Festival screenwriting contest. (Editor’s note – yay) Further details (i.e. how it placed) won’t be announced until the awards ceremony at the end of April, but still quite proud to have made it this far.

And a couple of items tacked on to the bulletin board, which spotlights creative-type folks and their even more creative projects well worth your time and attention:

-Filmmaker/screenwriter Eric Claremont Player has launched a crowdfunding campaign for his courtroom drama film project. Make sure to check out the colorfully captivating and absolutely true backstory that led up to it.

-Writer-director Dianna Ippolito is running a crowdfunding campaign for her new project Robb’s Problem: A Horror Short. As Dianna puts it, “Our goal is to bring you a really smart, beautiful and thought-provoking horror film, produced, written and directed by women.”

As with all crowdfunding projects listed here, donate if you can!

If you’d like to get the word out about a project of your own, feel free to drop me a line. Operators are always standing by.

-Ran the San Francisco Rock & Roll Half-marathon this past weekend. Made it just under the 2-hour mark with 1:59:11. Next race is in July, so hoping to shave a few minutes off of that.


A writer does what again?

March 24, 2017
typewriter

Just another schmuck with an Underwood

In case you haven’t been following me on social media (which is easily rectified), I’ll post semi-daily updates regarding my progress in writing the latest draft of my current spec.

(Incidentally, just passed the page-75 plot point on the pulp spec)

After I post an update, my network of fellow creatives will offer up their very supportive and encouraging comments.

“Great job!”

“Keep going!”

“I don’t know how you do it!”

I do, and it’s actually a pretty simple formula: I try to write every day. Even if it ends up being just a short amount of time, or all it yields is a single page. Sure, sometimes life gets in the way and I’m not able to write, but there are definitely more days of writing than not-writing.

Writing scripts (preferably my own, but I’m not picky) is what I want to do. More than anything. So I continuously work at it, trying to improve my skills and produce quality material. It’s the only way I know how to get there.

Some might say I currently have the luxury of just writing specs. No pressure. No deadlines. No conflicting sets of notes. But I don’t really see it that way. I treat this like a job because I’m working on making it my job.

To reinforce the whole “marathon, not a sprint” concept, maintaining a daily regiment of writing helps me prepare and get in shape for when it’s time to take on the real thing.

And when that actually happens, I’ll be able to keep up.

(Speaking of which, I’ll be running my first half-marathon of the year this weekend. Once again hoping to hit the 1:55 mark, but breaking 2 hours will be just fine and dandy.)

Mini Bulletin Board time!

-Writer/friend-of-the-blog Mark Sanderson is proud to announce the release of his new book A Screenwriter’s Journey to Success. Mark is also an accomplished screenwriter and script consultant.

-Script consultant/literary manager Whitney Davis will be teaching an 8-week Introduction to Screenwriting course through the Writing Workshops Dallas program beginning on April 4th. Even though the course will be conducted in Dallas, attending via Skype is also an option. Bonus for attending in person – Whitney’s homemade cookies.


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.


The goodness of just over 50 percent

March 14, 2017
writer

That was just the warmup

A most pleasant update to report regarding progress on the pulp spec: the point of no return has been reached (and even slightly surpassed).

Something incredibly significant has just happened to my protagonist, and everything between here and the end of the story is not only about answering the central question and everything connected to it, but also dealing with this important new development, which is also tied in to the main storyline.

From here on in, the stakes are consistently rising and my protagonist’s situation will continue to get more and more difficult.

As it should be.

Fortunately, a lot of these details were mapped out during the outlining process, which has once again proven to be extremely helpful. But even that’s not written in stone; one big sequence was deemed too similar to another, so the relevant elements of both were combined, which actually helped tighten things up on several levels.

To be perfectly honest, there’s not much I can gripe about regarding working on this script. It’s in a genre I love; this was always “something I would want to see.” I’ve made a real effort to make this an exciting read, both in terms of story and how it actually reads.

Like with some of my previous projects, I’m continuing to have a fantastic time writing it, and hopefully that excitement and enthusiasm will be evident on the page.

Sure, the ongoing plan of 2-3 pages a day has been slightly off, so it’s taking a bit longer than originally anticipated, but that’s par for the course for me. But every writing session, no matter how long or short, gets me a little more further along.

Today, the midpoint. Next up – pushing my way forward to the next plot point, which is about halfway through the second act of Act Two.


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