Sample scripts - always a good time to write more

I heard from a female actress/producer this weekend who needs a writer to help her and some friends who look like they'll be getting funding for a sitcom they're writing. From what I can tell they're more like comicedians and need a sitcom writer who gets the ins and outs of writing an entire sitcom, along with a series. They wanted to see samples that represented their idea to find the right writer.

As I was gathering samples to show I could write what would fit their show, I realized, I actually had a lot of samples with female comedy leads. Who knew! It's funny when you write piece after piece that eventually you actually have a lot of things that fit in the same category. I think because I wrote so many guy pieces at times, I didn't realize how many female pieces I really had.

So I sent them along to her and her partners and now I wait. But it just goes to show, keep writing. Because you never know when those things you're writing can actually turn into a gig!

Whenever I see a contest that asks for a certain sample piece, if I don't have it, I try to write it, especially if it's for a short film. It doesn't take much time to write something that if it doesn't win you the contest, could at least be a sample piece later on. So, compile those samples! You never know when you'll use them next.

And maybe, just maybe, you'll get hired from them. Fingers crossed!

Well that was a good meeting

So I've been creating a show with another writer I've been recently working with. I met him through my neighbor who was a director on a family sitcom. My friend said hey, you need to partner up with this guy who works as hard as you to become a full-time writer, see if you guys want to work together! So we met, we clicked, and thought, okay let's try to write together! We wrote, liked each others' style of writing, had fun working together - this team was working! We had different styles of approaching the writing, but like any good partnership, you allow the other writer to do what they need to, if in the end, you wind up with something good. And, we thought we just might have that!

So today, the director and writer met with their executive producer friend to get notes back from him. (I couldn't make it as I was on another gig). We had already heard that the exec prod. really liked it too! So we knew it would be at least a fun lunch, not painful with, "This sucks!" kind of lunch. So they got notes and they were all very positive and helpful. And now looks like he might be interested in partnering with us! So, he's going to let us know for sure in a week! We're all overjoyed. This is someone with lots of connections and really could make this happen. We're going to tackle his notes in this week and plan to have it rewritten to him before he makes his decision. We're thinking maybe it will help him say yes to us! We sure hope so!

On a side note, the reason this is even happening is the director is my neighbor I've known for years, just as a nice neighbor. He hasn't always been a director but I knew he produced different shows, not sitcoms but more event shows. We've always chatted about what we were working on, but really never thought I'd be pitching a show with him! Till one day he suggested I team up with him and the other writer. And here we are! So it just goes to show, you never know where a friendship will lead to. So make friends in LA! It can't hurt.

Don't shove theme down my throat

So I went to a short film festival a few weekends back. Okay, maybe more than a few weekends back. But you understand what I'm getting at. I go almost every year to this festival. Usually there are some good ones, okay ones, and some even close to bad ones.

This year, I went to an earlier time/hour than normal. So maybe that's why I wasn't really loving any of the films. Maybe they save the best ones for the later hours. But, what I did notice that wasn't working in pretty much all of them was that they all were forcing theme in our faces. Hitting us over the heads with it. But guess what? Theme is only supposed to be obvious to the writer! Not the people watching your film!

If you're watching a film and you come away thinking, "This movie was obviously about the family bonds", then that writer did not do their job. For instance, when you watch The Godfather, did you walk out going, wow, what a close family! Probably not. You probably just loved the drama and the fighting between the mob and all the Italians. It's not until you probably took a film class did you really think about wow, that was really about family and the loyalty between relatives and the loyalty with the mob family. Nowhere in the film did any of the characters say out loud, "I"m loyal to you." No! That would have been awful.

Some people swear that you have to have theme at the start of writing your script. Others say you don't and say it's okay if you stumble upon it and then pepper it throughout once you realize what it is. I say as long as you find the theme and put it in, who cares when you put it in. I personally put my theme in after I've started. Sure, I might have what I think is theme at the start. But sometimes, another real theme emerges and then that's what it becomes. The fact is, it doesn't matter when you find it. It just matters that you don't hit your audience over the head with it. Or I promise, your film will not resonate the way you think it will.

So get to writing that script. Add your theme. But just don't be so obvious, okay?

Happy writing!

You win some, you lose some

First the good news. I heard from a producer that's been involved in some decently sized movies and he emailed to ask if one of my shorts was available because he might be interested in producing it next year. That's great news, right? I was excited to hear, of course. But...

Then minutes later, I get an email from an even bigger producer who I've been working on a few projects with over the years, and he says, he loves my new draft, it's really funny, loves the setup, but the comedy is out of his wheelhouse and he's so busy on movies going into production next year he won't be able to work on this with me. What??? No! This has been a relationship I've literally been developing, writing scripts, pitching ideas, meeting. I thought for sure, this was going to happen! And now, nothing? Ooh boy. Not what I wanted to hear. That's a huge blow for sure.

So of course I'm bummed. It's part of this business, I'm sure. I get it. But no one wants it to be them when it happens. So, instead of remaining bummed, which would be an easy thing to focus on, here's what I'm going to do to get out of this funk.

1. I'm going to focus on the first great news of the day, that the other producer is interested in producing my short! Yay! That's great news! Let me enjoy that for some time! It's not a definite, but it looks likely. And even if god forbid it didn't happen, this producer still did email me that he's interested. That's good no matter what happens.

2. If I wasn't working with the other producer, maybe I wouldn't have gotten this script into the awesome shape it's in. I plan to get it out to whomever I can next year. So who knows what great things can come from this.

3. I worked with Pilar Alessandra, story analyst, like I wrote in a previous blog, and she is getting me on one of her podcasts. If I hadn't been getting my script to that producer, maybe I wouldn't have hired her. And then that great thing of being on her show wouldn't have been an opportunity.

4. And let's not forget, the really big producer really did love my script and found it very funny. Funny! That's huge! I can't let that pass me up. He works with huge writers, and yet, he still did love my script. sigh. And even though it might not happen with him, I'm not going to ignore the compliment.

I'm sure there are more great things too I'm not quite ready to see. So, instead of sulking. I'm going to work on the outline for my newest script that a huge production company has already said they want to see the script for. Because one of the most important things about being a writer is to always work on the next thing. So that's exactly what I'm going to do instead. On to the next great thing!

Ready for a script consultation with Pilar?

I've always wanted to use a script doctor or have a script consultation from someone professional in the industry. I've been in many writing groups and also have many trusted writer friends to give me feedback. But this time, I have a certain really great producer that's waiting on my current script. So even though my talented writer friends helped me get my script to where it is now, I just felt I needed one more special set of eyes to take me the final way.

So, I listen on a regular bases to On The Page, the podcast with Pilar Alessandra. If you don't know her podcast and you're a writer or anything in the business, you need to listen to her podcasts asap. I've been listening to them for a year or so now. She's had the podcast much longer than that. But I listen to them daily, sometimes a few a day. She records them weekly, so I'm slowly catching up! But what I can say is that everyone in the industry seems to have used her writing guidance at one point or another. Her guests and those that have used her services are professional TV writers, film writers, directors producers, and everything in-between. Every time I listen to her podcasts, I've learned something so invaluable.

So when it was time for me to decide who I would hire to look over my latest draft, I knew it had to be Pilar. You can either pay for rush feature notes at $500 or regular turnaround at $400. Sitcom notes are $350. I had a feature. You can also meet her at her office, on skype or on the phone. I wanted to meet in person because I've been a fan for so long that I wanted to meet the gal behind the podcast. And all I can say, is she's as sweet as she seems on the podcast. Not fair! lol No, really it was such a pleasure meeting her. Of course, then I was thinking, what if she rips my script apart? I'll be so excited to meet her and have my hopes dashed in the same instance. Luckily for all my hard work, even though she had notes throughout, there weren't any, "Start from page 1 rewrite" notes. Phew!

And all her notes were amazing and I agreed and saw how they were going to punch up and improve what I already had. That's exactly why I wanted to her hire. On one of her podcasts she even said how friends usually try to give notes based on what they want your script to be, not based on the script you already have. (By the way, I never do that). But, I will say, most writers I know do that. And so even with good intentions, you sometimes get lead astray. But with Pilar, she only gave me notes that I knew would improve my script.

I'm so super excited. I am half way done with my rewrite from her notes. And after the holidays I will get my script to the producer ready to read this. With her notes, I feel really confident to get my script to him. Before her notes, I'm not sure if I would have. Of course, as writers, we always hope we've turned out something great. But can we always be so certain? But Pilar really gave me a lot of confidence in what I wrote. And now I can't wait to finish my latest rewrite! I will definitely use her on future scripts.

Here's her website for classes and consultation if you're interested too. I highly recommend! http://www.onthepage.tv/script-consultations/script-consultations/

And then it happened

So, I was hired over 10 years ago by a producer to write a script idea of hers. She had me write the script in two weeks. That was hell. Two weeks?! But she needed it, so I got it done. Here we are, over 10 years later, many, many rewrites later, many writers brought on and left, and it finally got made! So what did I learn from all of this?

First, when you're done writing a script, forget about it and start something new. I heard that many times from professional writers. It's true! I've written so many scripts since and thank god. Because if I waited for this to get made, I would have pulled my hair out.

Second, things can take time in this business. When I went to a WGA event with some big wig writer speaking, he said it took him over 10 years for his career to blossom. I was like, oh hell no, it better not take me that long! It's taken me longer. But if you're in this for the right reason, which is because you love to write, then just keep writing and stay in for the long haul.

Third, it was fun seeing my movie get made! I only went to one of the days on the set. They filmed three days in LA. I stayed as long as I was allowed. Then they go to India to film the rest. I'm not going. I was on sets years ago when I was in college and before I knew I was interested in being a writer. Back then I used to think being on a set was boring. Now that I love screenwriting, seeing my film was the coolest thing ever! Hearing actors read your piece, very cool. Seeing crew set up to film your movie, cool! Seeing craft services set up, for your movie, even cooler! Those are donuts, for my movie. Those are chips, for my movie. Those are apples, for my movie!

Fourth, seeing actor's faces and names in your movie imdb is really fun! I keep looking. Like wow, people!

Fifth, meeting the stars of your movie is pretty fun! Knowing people signed up because they liked your story and want to be in it, pretty darn cool! Okay, I've said cool a lot, I get it. But what else says that?

Sixth, waiting for the final piece is scary as hell. I have no idea what the movie will turn out to be. As a writer it sure is scary trusting that others will see your vision. You hope it's in the script. But directors and editors might have something else in mind. But, it's getting made. And everyone keeps telling me, that's all that matters. I hope! So in the meantime, I trust the others. And in the meantime, I keep working on all the other scripts I'm writing. Because...I'm in it for the long haul.

He said, she said

So I've got a few projects in the works. They're all pretty exciting. One, if it works out, will be getting to one of my favorite comedian actor's production company. That same project will also be getting to one of the biggest agencies in Hollywood. "IF" it works out. See, the other two people involved in creating the story with me, there have been issues with making an agreement. I don't have an agent, so that's really the problem. If I had an agent, none of this would be a problem. That agent would say, here's your contract. End of story. So meanwhile you have me, the only writer, and two people who aren't in the business who are working on the story with me.

So what you find out when there's the possibility of a movie getting made, money happening, things get interesting fast. Nothing bad. No one meant any harm. But trying to get three people to agree on who should get what credit and what % if and when it sells/made. Is not that easy. Tensions get high. People's feelings get hurt. Oh the drama!

For me, I just keep trying to get everyone to talk. Keep trying to make everyone happy and make sure everyone felt like they were getting what they wanted. I was even willing to give people more than maybe they deserved, if it meant the script would get made and to the right people. For me, as a writer, getting it to these big Hollywood people was the brass ring I wanted to grab. A lot of our conversations happened through texts and emails, and I can say, that I learned that was a mistake. So yesterday, I got on the phone with one of the people, and amazingly, that seemed to be the trick. It didn't happen immediately. At one point, maybe many times even, I felt the project was going to be dead in the water. But by the end of the conversation, we actually found a way to make everyone happy. For the first time in weeks, it seemed things were moving and back on the table.

Then he spoke to the other person today. Yes, talked to her on the phone today. And he texted me after. And now, guess what, I think we agreed on a deal we can all be happy with! It's amazing what a phone call can do. Sometimes, picking up the phone is just what needs to happen. Graham Bell knew what he was doing, I guess!

So I also have a movie getting made this month, and just today more drama with one of the writers. I don't think it was anything he said intentionally that caused problems with the producer. I tried to gently let the producer know this. But she's not hearing it. Oh, again, the drama! I talked to the writer later and let him know I'll see what I can do to iron things out. I'm not sure I can. I'm not sure how or why I seem to be ending up the mediator in all these situations? All I can say, and if this helps you, is through all this, just remain calm. Try to see it from the other person's side. Be the one that's the calm in all of the mayhem. But boy, all of this is exhausting me. I may be calm on the outside. But I sure look forward to having an agent do all this for me someday!