Friday, March 30, 2012

PItching to Disney - when you're "there"

So a friend of mine sent me a website from a writer, Stephanie Palmer, and her experiences about pitching to producers and what it's really like once you get to have meetings. As I read her experiences, I realized, oh yeah, that is what it's like! And it made me realize that at one point, I didn't know what it was like and I always wondered what it would be like once you do get to start pitching for "real". So I thought I'd share my experiences for those who are curious and getting ready to be at that point someday on their own. At first I thought I'd write them all in one blog post, but then I realized giving them each their own post might be better so you can see how they were all different and my experience with each.

So here's my first. Pitching to Disney. This was the short film I had sold. Luckily I had a writing partner at the time that had worked on several sitcoms so he had the experience already of being in these kinds of meetings. I noticed that at first I was intimidated by these nice producers. But when you first get that meeting you don't know if that's what your experience is going to be. So the first meeting I kind of just smiled and listened to my writing partner, a lot! LOL

Once the first meeting was over, I realized, okay, that was soooooo not a big deal. So the next time I was able to relax and shine as a writer. It was no different than any other meeting I'd had in advertising, where you really just talk, and share ideas, and listen. Listen! These producers are the ones that will hopefully hire you someday, so listen to what they want, what they feel strongly about, and be willing to take their feedback. You don't have to do everything they want. In fact, don't. They are hiring you for your style and your ability as a writer. So if you don't take their feedback, don't say that then and there. Take in all their notes, nod, do a lot of uh-huhs, and then next time you meet if you think there's a better way to address their notes, then tell them why and how you dealt with it. But only if you really see a better way. Don't do it to be difficult! If you are, they'll never want to work with you again. And you'll get a rep for being difficult.

My friend at FOX who works in research told me that once you get that rep of being difficult to work with, people will talk, and then you won't have meetings any longer. If you're a good writer and have a reason for not using their notes and can make the story strong, then yes, that will always keep you working.

So after a few meetings with Disney, I really started to feel comfortable. That's the key to working with producers. They want to know that you're someone they'd hang out with, be friends with. Let your personality shine. I write comedies, so I also like to joke around with friends. So making the room comfortable by being easy to talk to is how I handle working with producers. It's sort of like a date. If I can make them want to spend time with me, then there's a good chance they're going to want to work with me.

So as weeks went on, we found out that we were one of the few writers left out of like 60 teams. That was kind of cool! Then we had the meeting of, "yes, we're buying your idea!" Which was even cooler. Then got to go to the department where we sign the contract and get paid. Even cooler!

It never got made, as it turned out Disney Feature had two similar ideas being made. But that's okay too. It just showed that we had an idea worthy of their Feature department. And it was my first sale. All good.

So here's Stephanie's website on pitching. http://www.goodinaroom.com I think there's some pretty good stuff there. So check it out when you have a moment. Next blog I'll write about, my pitch to a big TV Network. Now THAT was cool.

Thursday, March 29, 2012

Do you get a manager or an agent?

That's the age-old question for writers who are getting into TV and film. When is it time to get a manager or an agent? We feel the pressure that if we're a real writer, we must need one of those. People who we tell we're writers, always ask, do you have an agent? Well, it's not as important as you think, and not as simple to answer if you need one, just yet.

First, something I've said before, is that if you haven't been writing probably about 10 years, 5 years minimum, with a stack of about 10 scripts under your belt, you're probably not ready to get either. I hope this doesn't discourage anyone. It just means the chances of your material being ready for the industry, means it probably isn't. If you doubt me, then by all means submit to some contests and see how you do. Of course contests aren't the end-all-be-all answer. But it's at least a barometer. I mean I placed in Nicholl's with one of my earlier scripts that I wouldn't even say was good any more. Yet more recent scripts that are way better, haven't. So it's kind of a judgement call on if the contest can predict if you're ready. If you enter a few different kinds of contests you might get a better idea.

The good thing about entering contests too is you might make contacts that could just help you get an agent or manager any way. But, if that doesn't happen, then how do you decide? Well, I'll put it to you this way, if you haven't sold a script for six figures, you're not ready for an agent. It's that simple. They don't want you, unless you can make them a lot of money right away, because they have enough writers that can. And they have enough writers that aren't making them money and they don't need more that won't.

So that leaves managers. They are a bit easier to get, but they're still not as easy as you would think. So if you choose to query them, start with the small companies. Again, if the manager you want to go after reps Terry Rossio who wrote Pirates Of The Caribbean, then he doesn't want you because you were a semi-finalist in Po-dunk Hollywood Contest. They just don't. So start with the small companies, and perhaps, you just might get their attention. With the economy I think even the small ones might not, but you might as well try.

But the easiest way to get a manager? Keep writing and keep entering contests. If you start placing in the top really important contests, the managers and agents will find you. Nicholl's is one of the best ways to get a manager or agent, and so is Austin Film Festival. There are probably a few more that are worth entering, but there aren't too many. I did mention in an earlier blog that I found the script I'm producing through Burbank Film Festival. So there are always other things that can come of entering other ones. But you just don't want to spend all your money entering every contest because most of them won't do a thing for your career.

I learned a lot about finding a manager by listening to ScreenwritingU's free phone conference on the topic about finding agents and managers. It was really insightful and if he does it again, I highly recommend it. Of course their real goal is to get you to sign up for Hal Croasman's courses. But they seemed pretty valuable and perhaps worth taking. He keeps posting how many people have made sales and found managers due to taking his writing courses, so maybe it's worthwhile? I haven't taken any, so I'm not saying you have to. But I was intrigued. http://www.screenwritingu.com/

So what does a writer do who doesn't have an agent or a manager and how does he/she get noticed? Well for me, I just keep writing. Keep making contacts in this business. Keep making friends in this business. Friends will always get your further in my opinion, than just networking. Build your resume by working hard and making opportunities on your own. Before you know it, you'll be ready for that manager and agent. Good luck!

Wednesday, March 28, 2012

Can you live your greatness?

So when reading an article on Huffington Post today, I came across an article in the Healthy Living section by Jeanette Cajide. I was instantly struck by what she had to say for many reasons. One, she mentioned Lady Gaga and how even in college she was telling people she knew she would be famous. I know many people personally who have thought this way and seen them go on to greatness themselves. I've also known people through people who have done this.

For one, Steven Tyler of Aerosmith. Jeanette even quotes something he used to say. And I know this not just because I read an article. But because my husband worked with him for a year as a producer on their Aerosmith Behind The Music. And why my husband ended up the producer of that show, is all about placing his faith in his own greatness. Because when he started on the show he was only the assistant producer. But the real producer was busy and didn't have time to go back and forth to Boston. I knew right then and there, that this was going to be the start of my husband's successful producing career. And I was right.

My husband wasn't sure he was ready to live up to the challenge. But I told him, "If you believe in yourself, you will watch a wonderful life unfold for you." He had the talent. He just needed to be given the opportunity to shine. Sure enough, after only one time meeting Aerosmith, they loved my husband and asked that he be the one that does the rest of the interviews. Just as I suspected it would happen. And while he was working with them, filming them, following them, Steven told my husband that before they were famous, he told himself, "Fake it till you make it." And Steven Tyler did. And look at the career he ended up with.

My husband too. He's worked with so many high-up musicians, it's been a dream come true for him. And each year he works with more and bigger artists. It's all about believing in yourself, even if you don't see the opportunities yet. It's all about having the faith and living as if it's coming.

And that goes for us writers. If you believe it, then it will happen. But put the work in. I always emphasize this. It's not just believing it and then going out to the gym or taking a nap. You've got to have the talent and the hard work to back it up. And then, have the faith to make it all come together.

http://www.huffingtonpost.com/jeanette-cajide/self-worth_b_1385226.html?ref=mindful-living&ir=Mindful%20Living

Tuesday, March 27, 2012

What's all the drama?

Of course we always hear we need drama in our movie scripts. That there always has to be conflict. But try as we might, screenwriters don't always get that. I have what I feel is a really strong group of writers in my group, and we still sometimes forget that drama and conflict are what people want to see. Keep that goal far away from the protagonist. Make him try and try and try, and still not be able to get it. Well, a fellow writer sent this latest blurb from David Mamet's Master Class on a memo he wrote to the Writers of the show The Unit. It really hit home. Really made sense about how to get that conflict in our stories and why it's needed there. He is talking to TV writers, but of course, this applies to all writing. So here you go. I hope you enjoy it as much as I did. I think it might be my new Bible.

CBS's drama The Unit, about the lives of the highly trained members of a top-secret military division, was canceled last year, but a memo to its writing staff from its executive producer David Mamet has just surfaced online. (The source appears to be the online writing collective Ink Canada.) If you think you know where this is heading, you might be wrong:
Besides the fact that it's written in all-caps, there's nothing particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet lays down an extremely sensible case for what makes good television, imploring them to avoid expository writing for what he characterizes as authentic "drama." Along the way, he refers repeatedly to the "blue-suited penguins" (probably the copious-note-givers at the network), while passing along some very useful advice ("any time two characters are talking about a third, the scene is a crock of shit") and helpful writing exercises ("pretend the characters can't speak and write a silent movie"). Screenwriters, take note: You may think you knew this already, but there's nothing like Mamet for a good kick-in-the-ass reminder.

"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET

Saturday, March 24, 2012

Let it be - Part 2

So yesterday I posted about letting your screenwriting career happen as it's supposed to. That when we accept whatever timeline that happens, it will actually happen sooner. I've also been waiting for a lunch meeting with a really high-profile producer. In December he called me and said call him in January because he wanted to take me to lunch and pitch ideas to me and let ME pick what I wanted to write for him. That was a dream come true! January came around, and he got so busy, that here we are in March and it still hasn't happened.

I've been patiently waiting. Nicely and persistently checking in with him and his assistant every so often. Learning to accept that when it happens, it's the right time. And then yesterday I write the blog about trusting that when the time is right, your screenwriting success will happen.

So last night, I'm at a friend's with a group of mom's just having a nice, fun night in. I get home around midnight. And see there's a message on my cell. And lo and behold, it's from the producer's assistant to call his office! It's obviously to set up the said lunch! I was so ecstatic! I'll call on Monday of course. But look, just as I write that blog about accepting the timeline of screenwriting success, that's when I hear from him! That's no coincidence, ladies and gentlemen. Or, perhaps you think it is and you want to go on fighting against your own success. Then well, that's fine, you can do that too. But personally, I'd rather not get upset when my screenwriting success doesn't happen when I want it to. But to embrace the timeline of when it really is supposed to happen, to be patient, and see it happen sooner by not fighting it. But hey, that's just me.

Friday, March 23, 2012

Let it be

How many times as a screenwriter does the "perfect" opportunity pass us up and we just think, how come?! Why me?! Why didn't this wonderful opportunity happen for me!!! Well, I'll tell you. It wasn't your opportunity to be had. I think the sooner we realize that, the better a writer we can become. See, there is a time for when our success will happen. But if we fight that, we are actually almost like the salmon swimming upstream. Only that salmon actually makes it. But for us, we're fighting against our current of success. And it's taking us much longer to get where we want to get. So instead of deciding what success is supposed to be yours, just witness the opportunities that come your way without judgement. And witness the ones that go away, with the same non-judgement. I guarantee you, you will find more success happening sooner when you do that.

Let me give you an example. If anyone has a kid, you'll understand what I'm about to tell you. My son wants these video game toys that we haven't been able to find since before Christmas. I don't care where we look, they don't exist. Online, toy stores, video games stores. Don't exist. So yesterday we found out about a shipment coming in. We were so excited. My son made his list. My husband got there two hours early before the store opened. We were like, yes, we're going to get some! But the store opens and the guy says, "Oh, they actually came a day early and they're all gone." Okay, I know, it's just a toy. But it was what it represented for my son and how many months we've really been looking for these darn things. So at first I'm way bummed. I tell myself, it's just a toy, but I'm still way bummed. But then after a few moments, I really accepted it. I realized, if it's meant to be, we'll find them. If not, there are worst things in the world.

I'm telling you, the moment I did that, something just changed and lifted in the universe. I could almost feel it. So then I start searching online, and I find two of the ones he put on his list! So now I'm like, awesome! I'm feeling better, but still feel the need to find the others. But at this point, I really had let go of the judgement of whether we found these toys or not.

So then we go to the mall just because my son loves walking around there. I tell him, we're not buying anything. He agrees. We go to our usual stores that never have these toys. And at the second store, guess what?! They actually had a whole display of them! That never happens! They literally must have just gotten their shipment in! So we grab two more on his list. I couldn't believe it! Now, before you think I spoil my kid, there's something you need to know, he has to save allowance to pay for these.

But that's besides the point. The point is, I let go of any judgement that went along with it. Would those toys have been there if I had held my judgement? I don't know. That's not what happened though is it. I could just tell that something aligned with me, that the minute I let go of some strong belief and anxiety over this darn toy, that it all worked out for the best.

And that's how we need to think of our screenwriting career as. Yes, we have to work hard, take classes, do the rewrites, join the groups. But...we have to not assign any judgement over when or where our success will happen. If we keep moving forward. Keep learning. Keep working hard. It will happen.

So to inspire you, I'll leave you a few wonderful Beatles lyrics from Let It Be. Every time something in your writing success hasn't happened, really feel and believe these words.

And when the broken hearted people living in the world agree
There will be an answer, let it be
For though they may be parted, there is still a chance that they will see
There will be an answer, let it be
Let it be, let it be, let it be, let it be
There will be an answer, let it be

Thursday, March 22, 2012

Writing visually for screenwriting

How many times do we hear "show don't tell", "don't write on the nose", "be more visual". But do we really know what that means? And are we able to do it 100% of the time? I know for me, sometimes I have scenes where I'm really good at doing that. But then other times, I seem to not. And then friends will suggest better alternatives and then I think, "Oh yes! That's so much more visual!"

I think the key is asking yourself once you've written a scene, "How many different ways can I write this scene by not using dialogue at all?" Or if you do use dialogue, see if the characters can get away with saying anything but what you're really trying to say.

Even when I think I'm using subtext, sometimes I'm still not using the most visual way to explore a scene. Stephen Duncan writes an article for The Writers Store's website and he writes this,

Pick one idea (or make up your own) and write it in three different ways:

1. The first approach is using only spoken dialogue. Keep it short, around two to three pages.

2. Next, write the same scene using only actions and non-verbal dialogue. You need to translate the spoken words to recognizable visual actions and reactions.

3. Finally, rewrite the same scene focusing on improving the visuals, but this time write a single line of dialogue to capture the subtext (theme) of the scene.

You can take this exercise to an advanced level by writing a six to eight page sequence based on the same idea. Each scene should use the seven elements and the overall sequence should use the seven elements. First, try it using only the spoken dialogue, then using a single theme-defining line of dialogue, and finally write a sequence combining spoken and non-spoken dialogue with visual action.

I think those are all great ideas. When it's time to do a rewrite, why not try these exercises and see what happens. I always remind myself, doing a "Save as" always keeps the old scene. So why not push yourself as a writer and see what you come up with? I bet, just bet, you'll like the new scenes even better.

Tuesday, March 20, 2012

When is a script like another?

What do we do when we are in the middle of writing a script and then find out a movie is coming out that seems waaaay similar to what we're writing? First off, we cry. Okay, maybe not out loud. But of course your heart sinks. Then remind yourself, this is a good thing. You're obviously coming up with Hollywood type material, and that's never bad. Then really figure out if it's that similar and if you really have to scrap what you're writing.

Perhaps it's only a tad similar, as if in the world, but not story. I mean, there are a million ways to tell a love story. A million ways to tell Romeo and Juliet. But you probably can't redo say, Godfather if it's exactly THAT story. So it's up to you, how much is it the same? Of course turn to your trusted writer friends and ask for their honest opinion. If there's some wiggle room to keep writing, then do.

You never know. Even if it is way too similar it could end up being a good writing sample and perhaps get you some attention at film contests and land you a writing gig eventually. But if you think it's a waste of your time, which is might be, then that's when you decide to throw in the towel.

Just remember, it's never waste to write something that makes you a strong writer. Every script you write, gets you closer and closer to making it in the real world. If it's not this one, then perhaps it's the next. Just keep moving forward. That's all you can do.

Monday, March 5, 2012

You can never have too many screenplay ideas

How many ideas do you come up with for screenplays? Do you do new ones each week? Or just when they come to you? Well, I read somewhere recently that this writer submits a new screenplay idea to her managers each and every day. Every day! Sure they're not all great. But it's wonderful practice to have to force yourself to keep coming up with new ideas. So I've decided to adopt that as my daily practice too.

If I'm reading a news article I like, I jot it down into something that could be a film. Or if someone mentions something funny I could see as a germ of an idea, I jot that down. I keep an ongoing list of ideas that might be my next script, or who knows, even something I could pitch to a producer. I've had many screenwriting teachers tell me to keep a list of ongoing ideas you can write or pitch. So I've always been good about it. But now I'm really getting good at it.

And you never know how or when you'll need it. For instance a working screenwriting friend of mine had a pitch meeting for certain comedy talent. And these talent were so specific, that most of the other writers that went in all pitched the same ideas. But my friend had such a list of ideas in his back pocket that they were the only ones that pitched something truly original that these guys could be in. And guess, what? They got the project and it was his first film actually made and put in the theaters.

So it just shows you how important it is to have a plethora of ideas. Even in advertising, my day job, I spend my whole day coming up with new ideas, seeing things in new and interesting ways. And when I worked with a TV producer on docudrama ideas, I had so many for him, he didn't know what to do with them all. But it's because I've had years and years of practice of always coming up with more and new ideas. And guess what? He loves working with me. And now it looks like we're going to start producing things together. So it just goes to show, keep germinating those ideas. You never know if you'll use them. But somehow, somewhere, you will.

Thursday, March 1, 2012

Feedback: friend or foe?

Part of being a writer is getting and giving feedback. Both can sometimes not be the easiest thing, especially for new writers. Getting feedback when you're a newbie can be tougher than anything you've ever been through. I've been through childbirth, so I would know! But over the years, you develop a thick skin and learn you can survive even the most brutal feedback.

But to give feedback, that takes skill too. And it's not something people really tell you how to do. See...giving notes is more than just making the script better. Shocking right? It also means as a writer you can learn how to pump up the writer so they can hear the bad notes along with the good notes. And that means, giving positive feedback too. I had one of my favorite screenwriting teachers once put it this way, "Say at least one nice thing at the start of your feedback." Even if that means, "Wow, I love how you used three brads!" Okay, maybe not a huge compliment. But if that's all you can find nice to say, it's better than nothing. Here's Corey's website if you're curious to get on his email list and read some of his other thoughts on screenwriting. He's a talented writer with lots to teach. http://coreymandell.net/

But back to giving positive feedback. First of all, there usually is something good about the script to say. But for some reason, we readers want to tear into the script. It's like we see these good scripts, or are surrounded by good writers, and we have this "Ah-ha!" moment when we catch mistakes. It's almost like we think, "I knew you weren't better than me! And now I have proof!". Of course we don't consciously think that, well, I hope not! But it's just our way of naturally trying to even out the odds when we feel, darn, that writer is better than me! But the truth is, one, maybe they are and that's okay. Or two, maybe they're not and that's okay too. The thing is, we're not in a competition with others writers. We should only be competing with ourselves. Always trying to make ourself a better and better writer. So it's not our goal to forget to focus on the strengths of other writers.

The good thing about focusing on positives when giving feedback is that they of course love hearing it. It also helps them realize, they don't suck. Even a newbie writer must be doing something good. So tell them! And then even the best writers are insecure. So pump them up with the good feedback too. Then once you've told them all the good things you like about their script, when you go to give them constructive notes on how to make their script better, now they will be more open to hearing the feedback. And doing a rewrite won't feel so daunting. Doesn't that sound better? Wouldn't you like writers to give you feedback like that? I suggest you tell your writer's groups to start doing this if they haven't already. I promise you, you'll all come out better for it.