The Rouge Wave

The Rouge Wave is Moving!

2009-09-02T11:53:00.000-07:00

Good morning, Wavers! Well, it's the dawn of a new day, and the Rouge Wave is moving to a new URL as of today at 2pm. Any Wavers who have RSS feeds on TRW should change the URL to: http://www.justeffing.com as of NOW if you want to continue to be alerted of blog updates.

The Rouge Wave is also changing its name to Just F-ng Entertain Me - or just, you know, Julie Gray's blog. It's a new look, a new location but the same good ol' advice and information you've come to expect. Hell, I also hope to get back to blogging with (almost) the same frequency I used to! I think I spoiled you Wavers for a long time with daily updates! No worries, the Rouge Wave archives will still be available for your reading pleasure and the good news is that the archive is being condensed, compressed, converted and somewhat re-imagined into a screenwriting book which should hit bookshelves sometime in the latter half of 2010.

I hope all my loyal Rouge Wavers are just as pleased with the new blog - again, don't forget to update your RSS feed so you don't miss a thing. And remember - the mailbox is always open so I look forward to receiving scintillating questions you may have vis a vis the entertainment industry, personal hygiene, recipes or mechanics.

So head on over to www.justeffing.com and check out the new digs!

Silver Screenwriting Semi-Finalists

2009-08-31T17:03:00.001-07:00

Hi Wavers - here is the list of the semi-finalists in the Silver Screenwriting Competition. These writers represent the top 4% of all entrants which is something to be very proud of! Now, somewhere in this list, there are the top ten finalists and somewhere in that list - is the winner. So it's really fun. Congratulations to the top 4%!

BET ON BLOOD by Patrick Barb (horror)

CHIMANA by Paiman Kalayeh (romantic drama)

ENDOWMENT by Ian Samplin (drama)

EVERLASTING by Brent Spencer and Jonis Agee (drama)

FERTILE ATTRACTION by Mariah Wilson (rom-com)

HAIR TODAY by Dennis Douda (comedy/family)

HERO QUEST by Joel Dorland (action/comedy)

HORROR COMIC by Stephen Hoover (thriller)

HUNTING PICASSO by Marlene Shikegawa (thriller)

INUGAMI by Rich Figel (thriller)

LIFE AMONG THE RUINS by Anthony Fisher (heist thriller)

MEADOWLANDZ by Moon Molson (drama)

MECHANICSVILLE by Jason Thornton and Chris Thornton (drama)

MY BROTHER MICK by Kim Nunley (drama/thriller)

OFFRAMPS by Patrick O'Riley (comedy)

ONE NIGHT STAND by Ian Coyne (horror)

PLUS SIZE by Jacob Roman (comedy)

RAEFORD'S GRILL by David Meyer (drama)

SHIFT by Kodjo Akeseh Tsakpo (thriller)

THE BASEMENT by Scott Shackleford (drama)

THE COOL KIDS by Cliff Zimonowski (thriller)

THE GREAT AMERICAN LOSER by Jess DiGiacinto (dramedy)

THE HAPPINESS EXPERIMENT by Alex Darrow (dramedy)

THE WARRIORS OF WESTGATE by Michael Harriel (drama)

UPGRADE by Louis Rosenberg (sci-fi)

WAY TO THE CAGE by Richard Michael Lucas (drama)

WHEN IN LIMBO by Adam King (thriller)

From the Mailbag: TV Spec Writing

2009-08-26T11:14:00.000-07:00

I am writing a television spec and am perplexed about a few things.

First, how long should a show have been aired before writing a spec for it?

Second, I heard I should wait until the show is in its third season, but then I find that the third season will be its last. So, how fast should I be churning these specs out? Maybe I am writing too slowly? I come up with ideas and then read in the trades that the show is being cancelled. I try to cut myself some slack since I am still learning (as a newbie, not to be confused with the pros and the continued learning curve).

At this rate, I fear I will have no current episodes by the time I get there.

-Perplexed in Pennsylvania

ANSWER:

This is a great question. Having current samples as TV writer is a constantly moving target.
Yes, a spec of an existing show should be the first place to start. Especially if you are new to TV, you should attempt to spec a current show first to help you understand TV pacing and structure, as well as voice.

An ideal spec script will be in a genre similar to a show you'd like to write on, in a tone similar to a voice you can write well. The old adage is true, never spec a show you want to write for; those showrunners will RARELY (mainly NEVER) look upon your idea of their show with warmth and open arms.

So, if I want to write for "The Mentalist," having a solid "CSI" or even "Medium" as a spec will help me. If I want to write for "It's Always Sunny In Philadelphia," having a good "Weeds" or "South Park" come in handy.

Because shows aren't around as long anymore, it's safe to say that if you choose to spec a show it should have had a successful first season, and at LEAST a second season order. The trick here is just to write something that executives and showrunners are likely to have seen. An obscure show does you no good.

Also, I'm a big believer in taking a risk and trying to write a spec BEFORE something is a massive hit, because then everyone has a spec of that show. From what I've heard, executives are sick of "Gray's Anatomy" and "The Office," - and now's the time to bury that "My Name Is Earl" spec, while you're at it. Right now the market is also flooded with "The Mentalist," "Mad Men," and "30 Rock specs.

I wrote a spec of "Gossip Girl" early in the first season of the show, knowing and hoping that it would change some of the tides in terms of tone and genre of CW programming. I got lucky. I could have just as easily been wrong, in which case I would have learned a valuable lesson and maybe that's about it. That's the nature of spec writing. Sometimes you hit, sometimes you don't. It happens to everyone.

You should be updating your spec pile every year. If working writers think an old "Friends" or "Alias" spec is going to help them, they're probably not working on a show right now. Keep current. Which shows are coming up the pipeline? May is when the majority of orders happen for new serieses; a majority of those will fail in the fall. But, quietly over the summer, both "Nurse Jackie" and "True Blood" got picked up for another season - two for "True Blood." Read the trades and learn which shows are getting good ratings, good reviews, awards nominations, etc. Understanding the business will help you get better at predicting the turning of the tides. Choosing a spec should involve finding a good creative match for you in a relevant show.

Also - and not to add any stress to a confusing situation - the emphasis these days is more on original material than spec scripts. Don't get me wrong, you have to have a spec script or three in your back pocket. You never know what will come in handy when. They are a necessary evil in TV. Also, don't quote me on this, but the majority of TV fellowships require a spec script as an entry for their programs. So mastering a solid spec is absolutely necessary.

But once that's done, the real work begins. Lately, you can't get an agent anymore on a spec script. Actually, from what I've seen with my circle of up-and-coming writer friends, getting staffed FIRST is the only real way to get an agent. But don't worry about that yet.

What you've got to do is write an original pilot. Again, write in a genre that you'd like to write in in the future. Don't write a procedural murder show if you really want to write half-hour comedy. The point of the pilot is to distinguish yourself from the pack. Show that you understand the form and structure of TV at its basic level, and then use the platform of the pilot to make your voice shine.

What's a personal story to you? A world that you have great access to? What's different/special about your voice, your take on things? All of that should come through in your pilot. Showrunners want to hire VOICES in their rooms. Executives want to find new TALENT. Audiences want to see a WORLD they've never seen before. They can't tell all of that from a spec of "Criminal Minds," so help them out. Write a pilot that makes it undeniable what a gem you are.

If that feels too daunting at first, try your hand at a one-act play. I've gotten more than my fair share of mileage from a one-act I wrote. It's a simple way to get your feet wet in the land of original writing. Keep it simple, and let your characters and their voices shine. Again, another opportunity to show who YOU are.

Yes, it's a lot to take in. Being a current TV writer requires an arsenal of projects and getting that built up is not easy. But if you think that's hard, try writing a 60-page script in a week, because that's the job you're signing up for.

Happy writing!

Margaux Froley

Are Studios Open on Saturdays?

2009-08-20T14:10:00.001-07:00

This great post is from our friend John August, who always hits the nail on the head. First, here's the question:

When trying to sell a screenplay, does it have to be accompanied by a logline and/or a synopsis? Or will just handing someone a script suffice?

And I would also like to know the general work hours of movie studios. I want to maybe personally hand my work to someone at a studio since I am uncertain of whether or not they read unsolicited work; however, I have a very unflexible work schedule, and I usually get off late. Are studios open on Saturdays?

– Evelyn
New York City

...and click here to see John's response. It's good stuff.

Hollywood Calendar 2009/2010

2009-08-19T18:20:00.000-07:00

Like the millions of school children buying Pee-Chee folders at Walmart, like the leaves beginning to turn, like the fog moving under the Golden Gate Bridge and the gray whales migrating to Mexico for the winter, we are shifting into a new Hollywood season.

That's a long way of saying that this is the beginning of the Hollywood school year - when it comes to writers. Here is the latest Hollywood Calendar for 2009/2010, which my intrepid assistant arduously compiled for your writing benefit. These are the events, festivals and holidays that I think you should be aware of.

Make sure you pay yourself first and set aside some family monies so you can attend the CS Expo this year - it is honestly one of the best annual events for screenwriters out there. Besides, I'll be teaching a class this year so yowza that. Many of you will notice the Expo is one day shorter this year, which is probably a good thing. Jam all of that intensity into a shorter time span.

Some items you may ask why I am specifically noting the Jewish High Holidays. That's because a fair number of people in Los Angeles and in Hollywood (including me) observe these holidays; it's respectful to be informed of a holiday - especially one that means some will not be doing business during this time.

Get out your red pens and your blank calendars out and jot this stuff down:

Fall/Winter 2009:

Toronto Film Festival
September 10-19, 2009

Rosh Hashana
September 18-20

Emmy Awards
September 20

Yom Kippur
September 27-28

Creative Screenwriting Expo
October 16-18

Austin Film Festival
October 22-29

2010

Sundance
January 21-31

Academy Awards
March 7

Tribeca Film Festival
May

Silver Screenwriting Competition
May

BlueCat Screenwriting Competition
May

Cannes Film Festival
May 12-23

Disney/ABC Television Writing Fellowship deadline
May

Great American Pitch Fest
June

Nicholl Fellowship deadline
tbd

Warner Bros Television Writers' Workshop
July

Mad Men: Dirty Martinis and Ant Farms

2009-08-17T11:43:00.000-07:00

So how many of you watched the "Mad Men" season premiere? Go ahead--raise your hand. I’m counting. Nice. I think your Facebook statuses indicated this and I am happy to report that you’re not alone out there, my 1960s slick suit wearing, brandy in the office sloshing and non-filtered Marlboro loving friends.

Most of my fellow entertainment brethren agree that the writing, acting and art direction of the show is beyond stunning. Many shows try to layer in all the most important aspects of storytelling, but few succeed like "Mad Men." No detail is left behind. But within all the layers of storytelling comes something I usually rarely find in worthwhile television...

Symbolism.

How many of you noticed the hidden (or not so hidden) symbolism that the writers and directors use to convey theme and emotion as an integral part of the show? Yes. You in the back--from Dubuque, Iowa. You noticed? Bravo! Julie, go ahead and call Sprinkles stat! Dubuque gets a cupcake.

Images provide the audience with something I love about storytelling: Show, don’t tell. The subtext that is not only visual, but also visceral. And of course, sometimes a cigar is just a big ole fat...well, cigar.

Sure we see symbols in great movies. They can be conventional (fire, water, wind, the puppets in BEING JOHN MALKOVITCH). Or unconventional (the briefcase in PULP FICTION, the blue box in MULHOLLAND DRIVE, the loons in ON GOLDEN POND). But symbols are often left unexplored on most airing TV shows.

"Mad Men"’s premiere offered many eye-catching, provocative symbols. Season three starts with birth. Don is at the stove, boiling something that he then leaves unattended while reflecting on birth. And that something boils over, which gives us the sense that something ELSE will boil over this season. What could it be?

And when Sal engages in a kiss with the male bellhop - who somes up to check the overly warm (boiling) temperature in his hotel room - his pen explodes, leaving his starched white shirt pocket dripping with oozing ink. Sal’s tension fueled by a deep desire to be with another man bursts phalically and symbolically forth onto the screen.

And then there is the more nuanced symbol of Cooper’s ant farm. Did anybody else tune into that? It sits in the old Head of Accounts' office; when the new British boss (Pryce) and his underling (Hooker) meet, one of them comments, “This place is a giantocracy.” Hooker and his British boss will watch their ant farm of an ad agency from upon high. Then, they’ll command their little worker ants to grow their new empire with a fiery controlled chaos they surely will delve up by the truckload this season. Just like how they have already begun to pit Pete and Ken against each other as the new co-heads of Accounts.

It’s very simple, but, if interwoven well, symbols can really help reinforce your stories and premises throughout each and every scene.

How do you know it’s done on purpose in "Mad Men," Mr. Mike? Well, the frequency an object or character is mentioned is uber vital. I think "Mad Men" is subtler in its approach. But, if it is mentioned often, it is probably important. Another way to find or write about a symbol is to look at how much detail is used in describing it. Do your characters talk extensively about the object? These two methods give clues that the writer wants you to infer something about a particular object. You should do the same!

Please, writers (especially TV writers) – watch for this as you scribe your specs and future cable or network hit pilots. It enriches the world in which your characters play and thrive. And ask yourself, “Is there something more I can do to include symbols, images and icons to heighten my story and better convey emotion, theme and conflict?”

Now punch up that DVR and watch the season premiere again. Then, whip out your stogies, dirty martinis, underwire bras, skinny ties and enjoy those subtle as well as not so subtle symbols all over again...

Michael Perri is a writer/producer/comedian/techno-geek and partner with Yes No Maybe Productions in Los Angeles. Mike has produced and written plays, content for game shows, short movies, features and some scribbling on bathroom walls as a small child. He successfully helped create and launch some of the most critically acclaimed web series online including Citizen Kate and the latest smash hit - Weed Shop. Mike is currently developing original film and animated content that will soon hit the net and airwaves this year.

Whitest Kids U Know

2009-08-14T09:39:00.000-07:00

Morning, Wavers! If you haven't caught any of the WKUK (Whitest Kids U Know) videos on Fuse or You Tube, you're missing out on some great sketch comedy. This one is particularly relevant and hilarious. Enjoy!

Readers Don't "Get" Comedy: Truth or Myth?

2009-08-13T21:32:00.000-07:00

I received a disappointed email from a writer a few weeks back; he was upset that once again, his comedy script received low marks from a reader. Readers just don't get comedy, he postulated. I'm not sure one can make a sweeping statement like that, but at the same time, comedy IS pretty subjective. What if a reader reviews your script and as it turns out, he or she has a totally different sense of humor and gives you low marks because of that subjectivity? What is a writer to do? I asked my friend Peter Russell, a long time reader at some of the most illustrious production companies in town and a teacher of story analysis at UCLA, to chime in:

*****

The writer who complains bitterly that readers don't 'get' comedy, especially low comedy, is half right.

Readers who don't have a sense of humour will not get comedy. Readers who love drama are legion, and they probably do have a harder time with lowbrow comedy than they do straight drama, in the same way comedies get fewer Oscars and less respect -- comedy is considered, by such readers, as a 'lower' form, and that probably does leach into their ratings.

But a good reader with a sense of humour will get comedy thoroughly and perspicaciously, and can judge a comic script, low or high, with accuracy.

That's the rub. How many good readers have a good sense of humour? An anecdotal guess would be less than half, if you define sense of humour as the ability (and I mean this sincerely) to judge the merits of a fart joke. And there are merits to a fart joke. Many.

Anecdotally, more men than women are puerile, and being puerile is a huge advantage when it comes to judging low comedy (whether it's Seneca, Plautus, or Apatow.) Of course there are exceptions. One of the foulest, most hilariously scatological writers/readers I know is a female.

So, yes, low comedy gets short shrift from script readers without senses of (puerile) humour. But a lot of readers do have a sense of humour, and an astute story editor at a studio can often guide the script to the right reader.

Half the time the writer will get a fair shake.

In Hollywood, those are good odds for a writer. If it's a good script, and it goes out enough, it probably will be noticed.

That's all any writer ever gets in this town.

Mega Shark vs. Giant Octopus

2009-08-13T14:51:00.000-07:00

I am what you might refer to as a totally omnivorous cinefile. An equal opportunity movie lover.

I love Lasse Hallstrom as much as I love Fellini, Woody Allen and John Waters. I love action movies, drama, adaptations, science fiction (Danny Boyle's SUNSHINE was the last sci-fi movie that really rocked my world although I'm quite excited to see DISTRICT 9), rom-com and...and...you name it. I love the movies. Passionately.

And I love a good B-movie as well. Why? Well, because I love to see what filmmakers do with a limited budget and a wild imagination. I love the stilted action, the hilarious FX and the whoopsy daisy continuity problems. I love the wink and the nod that is a B-movie. Click here to read up on the history and definition of B-movies. Suffice it to say that like cockroaches, strong martinis and hot nights, B-movies are a long and lively tradition in Hollywood. The indisputable king of the B-movie is of course Roger Corman, who gave many an accomplished filmmaker a start in his movie-making boot camp. And by accomplished film maker I of course mean people such as Ron Howard, Jonathan Demme, Francis Ford Coppola and the like.

One of my favorite B-movie makers is The Asylum, producers of movies like MEGA SHARK VS. GIANT OCTOPUS, 100 MILLION BC, TRANSMORPHERS, and SNAKES ON A TRAIN (yes, you read that right).

MEGA SHARK is among the most entertaining B-movies I have seen lately (although SHARK SWARM still holds a place in my heart), featuring a shark so mega that once he is released from a glacier, where he was locked in battle with a giant octopus, and is free to roam the modern day ocean, he leaps 30,000 feet into the air and bites an airliner in half. IN HALF, people. That's one bad-ass shark. If you think the entertainment ends with bad-ass sea monsters from the Ice Age, think again. It also stars Debbie Gibson and Lorenzo Lamas. Rent MEGA SHARK, invite over several friends as I did, make blue cocktails, make plenty of popcorn and enjoy.

One day recently, I decided to write a fan email to one of the principals of The Asylum, David Latt, and find out if the Mini-W and I might be able to take a field trip over to their offices and pay them a visit. Little did I know what a treat we were in for. Latt agreed readily, and when my daughter and I arrived at his mini-studio lot in Burbank, he greeted us on roller blades. Apologizing because he was in the beginning stages of a cold, Latt nonetheless took my daughter and me on a tour of Asylum's new digs.

The company, co-founded by Latt, has been in business since the '80s; they start production on a new film every four weeks. Every. Four weeks. Most everything is done onsite. Pre-production, post-production and principal photography. The commissary is a microwave and some folding chairs. A dinosaur leg and part of a whale carcass lie stacked in a corner.

I had so many questions for Latt about his business model, how he got into making B-movies, if he found the term offensive (No, that's a compliment. Our movies have been called Z-movies, he said with a laugh), where he gets the ideas, who writes the scripts, what his movies cost to make, etc. And this is what I learned:

Most films produced by The Asylum have a core budget of $150K. MEGA SHARK cost $250K in part due to the cost of casting. Why that particular film became a viral online phenom, Latt is not sure. Netflix rentals were 70% higher on that title than in general but due to their business model, no more copies or profit were made.

The scripts all come from ideas that are then assigned to a small stable of non-guild writers. The ideas are inspired by what is renting well at video outlets like Blockbuster. If 10,000 BC is renting well at Blockbuster, Asylum sets up 100,000 BC. It takes about four months from the inception of an idea to the movie hitting the shelves.

Marketing is nonexistent. Asylum films are sold directly to Netflix, Blockbuster, Hollywood Video and some foreign distributors. Zero marketing costs mean predictable profit. Latt has never lost money on a film made by Asylum. In fact, every film has made a profit - which makes The Asylum more successful, per project, than Disney, Fox, Paramount, Sony, Warner Bros and Universal combined.

Many more questions were asked and answered; I didn't record the interview because it wasn't as formal as that. One question I wish I had asked is if Asylum had ever been threatened with lawsuits by the makers of the mainstream movies that they riff on if not...dare I say it...rip off. Eek. The answer would appear to be no, since one such lawsuit would bury Asylum but good and with permanence. And yet they just upgraded to newer, larger facilities. I'm not sure what the writers are paid, or if their pay scale is in keeping with the usual WGA 3% rule.

Latt is, in many ways, living the dream. He makes movies. A lot of movies. Quickly. And he sells them predictably and he pockets enough profit to keep Asylum in production mode at all times and to float his personal life as well. He knows the films made by Asylum are not great art and he doesn't care. He is good humored and realistic and has a great generosity of spirit. He may be looking for some fresh writers down the line, so we exchanged business cards.

If you have a sense of humor and appreciation for ingenuity, stop by your local Blockbuster or Hollywood Video or go online and rent some of The Asylum's titles and enjoy.

Natalie Portman's Online Resource

2009-08-12T13:38:00.000-07:00

Wow, this is a really neat resource, Wavers. I know, I know, you have a lot of stuff to do today. But check out Making Of!

No, Seriously, Just F*ng Entertain Me

2009-08-11T13:57:00.000-07:00

Good afternoon, everybody! And now...bite those fingernails...the quarterfinalists have been narrowed down significantly to the contenders for the top spots. I just had the scripts printed and labeled and took them to my office. So now I gaze upon the pile of scripts in which I will find my winner.

The title, writer's name and genre are written on each. Who will it be? This is the fun part, this is the part I love. I know of the hundreds of scripts received that these are the cream of the crop. Is the grand prize winner the script with the hilarious title that I can't wait to read? Or is it the script with a very unassuming title? Which genre will it be? I'm like a kid in the candy store; I love the anticipation. I wonder what the writer's like? I wonder if this will kick off a career?

Amidst all of this, life continues to roll on. As I mentioned a couple of weeks back, I went on vacation in Key West and Miami for a few days. While on that trip, I met a young, aspiring writer who took my business card. A few days ago, he emailed me a few pages of his novel, wondering why he cannot get any interest in a read from editors or agents. I'm too busy for this, I thought! Gah! I have a competition to run! But - I'm in a good mood so I read the few pages he sent.* And because I don't want to leave you Wavers hanging for entertaining distractions to read today, the slightly modified (for privacy and entertainment) email I sent the writer is below. I figured there's a kernel in here for everyone, screenwriter, novelist or short fiction writer though you may be:

*What is the lesson there? If your email is polite, not too ass-kissy but with just the right amount of flattery, the recipient might just be in a good mood, have a free five minutes and read what you sent. You never know, right? I get emails like this all the time -requests that are rude, blunt or demanding go straight to the deleted folder. If you've ever sent me a question or some pages and you never heard back it's because I'm busy up to my eyeballs and your email did not move my spirit to stop what I was doing and read your unsolicited question, script or manuscript. Hint: I like flattery and cupcakes.

*********

Hey Young Writer X - wish I could look at this material much more in depth, alas, I am way too swamped with the competition right now. I did read over it very quickly though and my very surface comments would be that the premise - where this is all going - is unclear as heck and the main character is not very likable or relatable. That's all fine; many fine main characters in fiction have been less than charismatic but that said, a reader needs something they can hang onto - something they can relate to, and some reason they would want to read on.

Now, you know that I primarily work in entertainment, i.e, film scripts, but in my travels I was also frequently hired to read novels for possible adaptation. I have a book coming out this spring called Just F*ng Entertain Me and the main tenet is that material needs to be fundamentally engaging and entertaining. While literature has a lot more room for wheelie-popping, character development and reflective musings, at the end of the day, as attention spans are growing shorter and shorter and the demands on our time have become crowded with things like Twitter, You Tube, gaming, television and movies, you have to be particularly adept at grabbing your reader immediately and keeping them reading your pages. And for that, your premise must unfold and present itself fairly quickly and the main character, even a dissolute anti-hero as yours, must be relatable in some way.

Now, a story about an anti-hero who gets sick to death of it all and hatches some plan or other is not a new premise. What do you bring to the table that is fresh? The beginning pages (including prologue) do not yet highlight or showcase why I should read on. Read the first 10pages of The Lovely Bones and tell me you're not completely hooked. Hell, the first two sentences of the book hooked me: My name was Salmon; like the fish, first name, Susie. I was 14 when I was murdered on December 6, 1973. This is brilliance, just FYI. She was murdered at age 14?? Then - who's narrating the book?! Hooked solid.

Put yourself in the shoes of an editor who receives piles of manuscripts each week. Read the first few pages of several authors whom you admire. Reread your first few pages. Why should I read on? What am I going to learn from a bitter, dissolute character that I haven't already read before? Your job as a writer is to ENTERTAIN your audience - writing a novel is not an exercise in gazing at your navel and picking the literary lint out of it while showing me what pretty words you know - your job is to entertain me. It's bread and circus. Thumbs up or thumbs down.

Nurses on the Battlefield of Life

2009-08-10T12:28:00.000-07:00

So over the weekend I had to review the notes and files for every single entrant for the Silver Screenwriting Competition - I'm talking about hundreds and hundreds of loglines, Wavers. As the loglines and scripts flew by, I found myself smiling. It was like a scene from A BEAUTIFUL MIND: the loglines flying by with a soundtrack of clicking and clacking keyboards and murmured voices...Look at all these writers. Look at all these ideas. Some were crazy and ridiculous, some were profound and serious and some were everything in-between. The collective energy that led so many writers to work so hard for weeks and months to write a script swept over me and I really got a bit choked up.

How wonderful it is that we write. How beautiful and awesome the energy that compels us to make stuff up and in doing so entertain others and provide catharsis for ourselves. Thank you, writers everywhere, for writing. You sit alone, in cafes, at home, in the car in your driveway (as Raymond Carver did) and you bravely face the blank page. You put your heart and soul onto paper knowing the odds are terrible, knowing there may be no payback or payoff or even any encouragement. But you do it anyway.

You make me laugh, you scare me, you make me cry, you make me think and your sheer creative energy renews my faith in the human spirit. I don't care if you advanced to the next round or didn't - you're all rock stars in my world. Thank you. You make my life richer just because you are out there, you crazy writers. Never stop. Do it for me. No, do it for every person who needs a laugh, a scare, a new point of view or just a distraction on a Friday night when their own lives are too overwhelming. Like nurses on the battlefield, you writers administer hope, candy and distraction from the toils and troubles of life.

The Special Project

2009-08-08T08:51:00.000-07:00

Script readers tend to use other films as examples to illustrate a point. Makes sense, right? I can only speak for myself when I say that I found that I was using the same examples over and over again. So I asked one of my readers, Gideon Cross, to do a special project for me. I asked him to list out the inciting incident, first plot point, midpoint, second plot point and battle scene of 10 movies. I wanted him to draw from the classics as well as much more current films. When Gideon was done, I distributed his list to all of our readers as a refresher and a reference point so we can be sure to be using current examples and/or examples that change up the tried and true. It took Gideon a few weeks and a whole lot of video rentals but he did it. I asked him to write about the experience and he has done so here today:

*************

In my experience as a screenplay analyst, I’ve found that structure is by far the most common “trouble” area in screenplays. Luckily, these mistakes are generally fixable, and structure is quite learnable. Sometimes a screenplay just isn’t very well written, or there’s no heart in it, or the dialogue doesn’t sound real – problems that are difficult to correct. I won’t say these aspects of writing are not learnable, but they can be very difficult to learn. Structure’s not like that. It’s pretty straightforward...yet, more writers mess it up than any other category.

I recently re-watched a number of classic and successful modern movies to create a reference sheet of key structural points for The Script Department. The experience reaffirmed for me how much of a formula structure really is. I know creative people generally don’t like the word “formula,” but think of it this way: The formula creates a framework that will support all of the exceptional, original, creative content that is going to fit inside. In CRASH, which seems on the surface as if it has a sort-of unorthodox free-flowing multi-story structure, I was a bit surprised to find all of the standard structural points not only arriving on cue, but arriving en masse.

You see, CRASH follows about 67 storylines (a rough estimate), and when these plot points hit, they hit in story after story. For example at the midpoint, there’s a reversal for every character: John (Matt Dillon’s racist cop) apologizes to Shaniqua, Graham and Ria (Don Cheadle and Jennifer Esposito) discover a break in their case that leads them in a new direction, Tom (Ryan Phillippe) gets reassigned, etc. Woody Allen’s WHATEVER WORKS, which I saw in the theater recently, also hits all of the standard plot points, sometimes with real in-your-face oomph. In that movie, lead character Boris (Larry David) is fervently against marriage and commitment, often ranting about what a horrible idea it would be for him to marry female lead Melody (Evan Rachel Wood). Guess what Boris does at the midpoint? If you guessed something other than “He marries Melody,” stop, take a deep breath, and re-read up to this point.

I’ve heard writers say, “I know all those big Hollywood movies hit the same structural points, but I want to do something independent and more personal and meaningful…more like (fill in the blank with Jarmusch, Allen, Altman, Stillman, Soderbergh, etc.).” Well, Woody Allen hits those same structural points! My guess is that Allen has no idea that there’s technically “supposed” to be a midpoint reversal, or what “plot point two” is, or that the “inciting incident” should occur within the first 10 pages (maybe 12-15 if you really need that extra set-up time). However, WHATEVER WORKS and VICKY CRISTINA BARCELONA - which I also mapped out for this project - hit all of those points.

That’s because these are organic storytelling elements:

A significant event or occurrence changes the hero’s world (inciting incident); the hero sets out on his or her mission (end of first act/point of attack/plot point one); the hero reaches a point of no turning back (midpoint/reversal/point of no return); all seems lost (end of second act/low point/plot point two); the hero recommits to his or her goal; the hero fights his/her climactic battle; and finally, the hero achieves resolution.

Doesn’t that seem completely natural? It does to me. Just start telling stories. Any stories you can think of – from a novel, a movie, a fairy tale…you’re going to find that formula. I think most writers know that if they want to write the next THE HANGOVER or TRANSFORMERS they should follow standard structural guidelines. What many fail to understand is that if they want to write the next MANHATTAN or TRAFFIC, they should still follow standard structural guidelines. Now, if you want to write the next LAST YEAR AT MARIENBAD, that might be a whole ‘nother article.

Announcing Quarterfinalists

2009-08-07T09:18:00.000-07:00

...so we're fixin to announce who did and did not advance in the Silver Screenwriting Competition this weekend. Some entrants have actually already received word. Notifications will continue through tomorrow.

This year we did something different - we gave a little bit (and I emphasize a little bit) of feedback so that entrants would have some sense of why they did (or didn't) advance in the competition. We have already received our first I HATE YOU email response from someone who didn't advance. Ahhhhh. I love being on the receiving end of bitter disappointment.

It has been a very long past couple of months, with judging quietly going on in the background of everything else. I did not judge this round; we had about four judges working day and night to weed out the first round, which was massive. I wanted the quarterfinalists to represent about 10% of the total entrants. The finalists will be the top 12 - 15% of the quarterfinalists and then we'll have the grand prize winner, 2nd and 3rd places.

Starting now, I am judging, along with Margaux Froley and Andrew Zinnes. We will be finding the finalists within the quarterfinalists and then finding the winner in that pile. It's fun for me to scan the lists of those moving up in the competition, looking for clients and scripts I am familiar with. I haven't seen any that I know personally yet, to be honest. What we did last year when we were in final judging rounds is if we knew a writer, we'd pass the script to someone else so we could judge as objectively as possible. Believe me, you do NOT want to know the writer when you're judging. You so badly want a friend to do well but...you have to judge honestly as well. So you get out of the situation fast and swap scripts.

How did the judges decide who was moving onward and upward and who was not? The usual list of criteria: formatting issues (Wavers, there were entrants who'd literally never before seen a script) originality, voice, character and primarily, the title of my upcoming book: JUST F*NG ENTERTAIN ME. You know how I feel about that. If we're not entertained and fast, you're not advancing. Because this is not about that time you lost your first pet, this is a movie script that is, in theory, a piece of entertainment. So the very first round of judging, which is the most massive, time-consuming one, is one in which we find out who can fundamentally write a fairly good script and who needs to go back to the drawing board.*

*before that pisses you off, go to the section below, about subjectivity

The next round of judging will tighten the noose quite a bit as we look for writers who are not just in the general realm of pretty good execution or a pretty original idea but writers who nailed the execution, theme, originality, premise, character and dialogue. The qualities we are looking for in the very top spots are writers who have a legitimate shot at breaking in, getting repped and maybe even making a sale. Now, I know the spec market is tough right now, so whoever the winner is probably can't plan on defying those odds, but we want our winner to be on par with other repped writers whose work is going out on the marketplace.

I haven't said much about the judging and administrative activities that have been going on with the Silver Screenwriting Competition this year because I know that among the I HATE YOU people, my every word will be cross-examined. I had a conversation with one of my judges the other day about a script he was unsure of. He laughed and remarked how ironic it is that he can see how hard I work to make sure every entrant gets his or her due but it won't matter because there will be the sour grape-types anyway, who handle rejection by FLIPPING OUT and complaining that there was a grammatical error in their notes therefore how on earth can we judge their script??

I had a writer - long story - absolutely flip out and lose her mind because when her script was pitched on her behalf, she got no read requests. She went into full on stalking, raving, threatening mode that lasted for more than two weeks. After I recovered from being absolutely dumbfounded, I gave her some unsolicited advice: You better chill or you'll never work in this town. Ever.

Rejection is part of life, Wavers. And it is a huge part of the life of a writer. Judges strive to be objective but of course subjectivity is always present. What do I always say? Until they invent the Reader 9000, humans are reading your scripts. Of course, maybe one day they'll invent the Audience 9000 and it won't matter who watches your movie or who cares about it. For now, we have humans reading and judging your scripts, we have human executives making decisions about it and we have subjective human beings either slapping down $14 to watch your movie or walking away. Rejection hurts. Get used to it or go make home movies and show them to your friends in the basement. If you want to work in this business, you have to please the majority of people the majority of the time. And that's not possible. And it's crazy-making.

If you did not advance in the SSC this year, don't take it personally and don't let it get you down. Keep believing in your writing and in your script. In fact, I once read a line of a dialogue in a script that really stayed with me: The mettle of a cowboy is not how many times he gets knocked off the horse, but how fast he gets back up again. If you find that you didn't advance and your sentiment is RAGE and a surety that you were CHEATED, you may want to take a look at the man in the mirror and ask if writing is really the path for you. If you feel disappointed and really let down for awhile - well, that is pretty damn normal. God knows I've been there. But here's the mettle of a true writer...you shrug it off, you decide that you are a good writer who can do better next time, you pack up your laptop and go to a cafe and you sit your ass down and you get back to work on some writing.

That is all. Now get back to work.

Put Your Best Foot Forward

2009-08-06T12:23:00.000-07:00

Hello, Wavers! Today I received my third phone message for The Script Department that was mumbly and incoherent with no name or phone number left. I dialed the callers back using the caller ID function in my voice mail but didn't know who to ask for. When the callers did pick up, they were as mumbly as their messages, didn't introduce themselves, didn't greet me warmly or thank me for calling back. Can you imagine how quickly I got off those calls? Do you know how much free information, advice and cheerfulness I dole out to callers who do the opposite?

While I'm on a roll, I have another beef as well - email addresses that are long, incomprehensible, hard to remember or spell and silly on top of all of that. I emailed a writer earlier this week whose email address was an approximation of this: fundaddy@whatever.com. Fundaddy? This is a writer who wishes to have a career in Hollywood? And that's his email address?

Wavers. When you communicate with someone in the industry, even if it's just to ask a question or get some advice, please, please, please be a professional. If you leave a message and have any hope of being called back, state your name and the date and time clearly. Leave your phone number behind too. Say it clearly and say it twice. Say thank you. Be polite. And if you have an email address that you use for your friends and family that is cute and funny (to you) like NorcalDanceFiend@whatever.com - DO NOT use that email address. Get a new one somewhere else. Ideally, it should be LASTNAME@whatever.com.

Don't waste my time with mumbled messages. Don't irritate me when I can't find your information on your title page, your pages aren't numbered and your email address isn't cute it's stupid. In Hollywood, everybody is in a hurry. We want upshot, we want information, we want a name, a number and a great logline. Anything you can do to streamline that for us is not only appreciated, to do less than that is apt to make me hurry on to the next person because you're not putting your best foot forward.

I know this doesn't apply to 99% of you but to the 1% it does apply to, please do better. The silly email address topic does apply to many of you and I know for a fact. So take a look at your email address today. Is it simple, clear, easy to say and to spell? Or does it contain some kind of inside joke or allusion to your marital or parenting status or a hobby of yours? Because I like people and getting to know them - but not when I'm giving your email address to a producer and trying to act like a pro when doing it.

Okay, today's hand slap is over. Don't make mama cranky.

What's Your Story, Morning Glory?

2009-08-05T09:12:00.001-07:00

I had been on the cusp of posting something on TRW yesterday about the story most central to your life when I received the news of Blake Snyder's death. Of course, like so many, I have been feeling sad and stunned ever since hearing such awful news. But then, I thought back to a conversation Blake and I once had about his philosophy of living and today I feel better. I often say to writers that if you're not having fun in the process of writing, something is wrong. Now, I know writing is not always fun, sometimes it's downright painful. But in the big picture you should be experiencing the joy of creation when you write.

Harkening back to the conversation with Blake: You should be experiencing the joy of creation in your life. Every day. When you feel down, worried, discontent or anxious, you're simply blocking the good stuff from your view because it's always there in pleasures large and small. We don't have to try hard to be happy - we GET to be happy. It's your birthright and it's the preset of your life. Imagine that. You can be happy just because you decide to be. That's what Blake did. That's the biggest example he left behind for me. Be happy. Enjoy the ride. I'll tell you for a fact, if you never met Blake in person, he enjoyed the hell out of this ride. He left early but he went out happy. I can't think of anyone who'd prefer the opposite.

So let's move on in appreciation for Blake, for life and for this gift we have for writing. Somebody said to me recently - hey, gee, how come you haven't been writing anything lately? My initial reaction was one of defensiveness; HEY I run a BUSINESS every day, YOU try writing on top of that! I really felt bad about the comment. It messed with my mind. Until, a few days later, I had a story idea that I glommed on top of another story idea I had had a few weeks back and then I realized something, Wavers...I realized that for the past few months, I haven't had anything to say in my writing. Let me back up. Every script and every short story I have written in the past 10 years shared a common theme - that of the search for identity and the desire to change one's life. And it was toward the end of that time that I got divorced, moved to LA, started reading for production companies, started my own business, got a writing partner and - totally changed my life. I explored the desire to change my life totally through various characters in various mediums and then I did it. Now I'm in a completely different phase of my life. And it is now that I am gestating a totally new truth about me which will give birth to a new theme or story I want to tell.

Now, some writers are literally like popcorn machines, life pours in kernels and they pop pop pop new stories and ideas at a rapid pace. I'll be honest, I'm quite jealous of those writers. But give 'em time; everybody runs out of juice at one point or another. Yet other writers need to gestate their story ideas at length. That's me. And either way is fine, by the way. Now, I'm not talking about writer's block, by the way, which I have never experienced and I'm not sure is even a real phenomenon, I'm talking about feeling the urgency to put your truth, your questions, your story down on paper. I used to be absolutely engrossed by the idea of being trapped in one life and finding a way to change that. Now I'm more interested in reinvention and rebirth into new possibilities in middle age. And the great news is, once I realized that my central truth, my central story is a new one now, an idea came flooding in to me and I'm outlining a new script that I'm really excited about because it really speaks to me. What a great feeling. But I needed to have that terrified feeling first - oh my god, I haven't been writing lately, what does it mean? Am I all out of stories? Have I given up? What's wrong?? No. It was just that I needed to acknowledge that I'm done telling the story I had been telling for a long time. Been there done that.

So - I'm curious, Wavers. What's your story? If you look at everything you've written in a period of time, what theme keeps coming up again and again for you? And also, are you a gestational writer or a popcorn machine writer? Where are you in your story as a writer?

Cupcakes in Heaven

2009-08-04T18:42:00.000-07:00

My friend and my mentor Blake Snyder, author of the seminal screenwriting book Save the Cat passed away suddenly today of a cardiac arrest. Blake was 57 years old. As I write this, tears come to my eyes because Blake was one of my earliest and most powerful mentors. We were simpatico; we shared the same philosophy. I learned a lot from Blake about the importance of being passionate and loving what you do. He was such a tall, elegant, peaceful soul. I'll miss his kindness and his advice and his presence in this community.

This is how I first met Blake. I was at the premiere party in Beverly Hills for the newly launched Script Magazine. I saw this very tall man sort of standing there awkwardly. Being the social gal that I am, I figured I'd go say hi and alleviate his apparent solitude. I sashayed over with my drink. Hi, I'm Julie, what's your name? Blake smiled a secret smile. Blake Snyder. I turned beet red. What an idiot to not know him. I don't remember what I said by way of trying to regain my dignity but I do remember that he laughed graciously, never made me feel stupid for my blunder, and went on to ask me all about myself in such a way that I soon forgot my earlier embarrassment. That typified Blake. He was a true gentleman.

Last year, he met Hilary Graham, our Silver Screenwriting winner, and me at the Chateau Marmont for a drink. He was so dapper in his black turtleneck and black slacks. He ordered nothing but water, I remember. He was so kind to Hilary, asking her about her writing and offering her anecdotes and advice and delighting in her ideas and her success. He stayed as long as he was needed and then some. He never asked anything in return.

The last time I saw Blake was a few weeks ago at the Great American Pitch Fest. I introduced him to my daughter, the Mini-W (who had taken his class earlier that day). Though he was surrounded by people wanting to say hello, he took a moment, shifted all the things he was holding in his arms, shook my daughter's hand and gave her that winning smile of his. Hope you liked my class, he said.

I'll miss you Blake. You set the example that I follow every day. You were passionate about story, you loved writers and you did it all with joy in every step and a smile on your face that I will never forget. Thank you for being my mentor. Thank you for being my friend.

Key Largo, Montego...

2009-07-22T22:34:00.000-07:00

The tune. It's stuck in your head now, right? Ha! Ha, ha, I say! (bonus points: What Tennessee Williams-penned movie starring Marlon Brando features that dialogue?) Just letting all you loyal Wavers know that I am not abandoning you, I am going to Key West for a week for a much needed, long-awaited, well-deserved vacation with the Mini-W. I shall return the first week of August with all sorts of fun plans for The Rouge Wave including an interview with a writers' assistant on "Scrubs." LEARN how he got the job, SEE what it's like and FIND OUT how he plans to use the position to leverage himself up using the experience!

Have a lovely week upcoming, Wavers - I won't be around to approve/publish comments until I return, but don't let that stop or discourage you. Meanwhile you can picture me sitting on the beach sipping a pina colada and planning tours of Ernest Hemingway's house. Ahhhhh...!

Aruba, Jamaica ooh I wanna take ya
To Bermuda, Bahama come on pretty mama
Key Largo, Montego baby why don't we go
Jamaica
off the Florida Keys
There's a place called Kokomo
That's where you wanna go to get away from it all

Are You a "Creative?"

2009-07-22T10:41:00.000-07:00

Today I am proud to announce what I hope will be a regular column here on The Rouge Wave. (You guys know the blog is shortly to be moved and renamed, right? Don't freak out; there will be breadcrumbs. I drink your milkshake!) But before I introduce Libby Barnes, life coach to those who work in the entertainment industry - or aspire to - I must remind you all that you are weird. Well - so am I.

"Creatives," as those poor souls like us are known, who write, act, direct, sculpt, photograph and otherwise sing a song back to life, are gifted with abilities that the masses could only dream of having. But with those creative gifts comes a lot of doubt and yes, I'll say it - neuroses. I try to address that here on The Rouge Wave but I am not a qualified professional. I just get it because I am you. When I heard about Libby Barnes, who does life coaching and workshops specifically for creatives, I thought wow! I must get her to write for The Rouge Wave! And she was kind enough to do so.

In addition, Libby will be on an upcoming teleclass (details TBA) taking your questions about the peaks, valleys and swollen rivers you encounter as you carry the gift and the burden of dreams of being "a creative" like some crazy scene from FITZCARRALDO. Without further ramblings, here is Libby's inaugural post:

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As a life and career coach for the entertainment industry, I often work with writers on ways to increase their self motivation and productivity. For many of them, there are no 9 a.m. meetings, no bosses to please and no deadlines to meet. Bottom line: There’s no structure. And most writers thrive on structure, so they have to create it themselves. One of the most effective strategies I like to suggest is what John F. Kennedy once referred to as “throwing your hat over the fence.” If you throw your hat over the fence, you will HAVE to climb over the fence to get it. You’re committed. To metaphorically “throw your hat” means you announce what you’re going to do and when you’re going to do it, preferably to people who matter to your career. This, in turn, propels you into action because there’s no going back and you don’t want to fail in front of them.

As a writer myself, I’m always looking for ways to create that accountability and commitment. Recently, I was working on the fourth draft of a screenplay that I felt had great marketability. But I kept putting it down and losing motivation. So, I decided to set a date to do a staged reading of it. I booked the theater, made the announcement and prayed that my creative juices would flow. And they did. Knowing that my work – good or bad – was going to be read out loud to an audience was productive pressure at its best. I completed the final draft and had a fantastic reading that opened a lot of doors for me.

How can you throw the proverbial hat? It may be as simple as signing up for a class or joining a writers' group where you have to share your pages. Better yet, start a group yourself. Being a leader and needing to set an example for others will inspire you to rise to the occasion. Or you could schedule a table reading in your home, book a meeting with your agent or tell an industry contact the date you’ll be sending him your script. The possibilities are endless.

Whatever you choose to do, you want it to be realistic so that you’re setting yourself up for success, but also challenging, so you’re compelled to get to work. And it can’t be easy to take back, like promising your mom you’ll finish your first draft by next month when you know that, even if you don’t, she’ll love you anyway. You want to announce your intentions to people who may NOT love you anyway if you don’t get it done. By making this commitment before your work is ready (and especially because your work isn’t ready), you’ll be creating that structure and accountability that can often be the key to a writer’s success.

One great outcome from my staged reading was that a producer liked my comedic style and wanted to collaborate on my next project. I emailed him a couple days ago asking if he’d like to meet on Thursday to go over the completed outline of my new script. Guess what? Right now, I don’t have a completed outline of my new script, but I can promise you that by Thursday I will. I have thrown my hat and now I must follow.

Libby Barnes is originally from Virginia, where she received a Master's degree in Counseling. She moved to L.A. in 1998 to pursue acting and writing. She is now a life and career coach for the entertainment industry and is working on her fourth script. To schedule a complimentary life coaching session with her or to find out about the next Passion Into Action workshop, visit her website or call 310-721-7028.

The Mini-W Reviews: HARRY POTTER AND THE HALF-BLOOD PRINCE

2009-07-20T16:26:00.000-07:00

There have been few fantasy phenomena as big as the Harry Potter series. As wildly popular books, drawing a big box office profit out of a film adaptation is easy. But do the films live up to their literary twins? HARRY POTTER AND THE HALF-BLOOD PRINCE, the sixth of the Harry Potter film adaptations, does not. However, it possesses (because of budget) many great components to create a good looking and entertaining film.

Directed by David Yates (who also directed the previous film, HARRY POTTER AND THE ORDER OF THE PHOENIX), the film may not be the best from an Academy point of view, but as a blockbuster, it sure as heck keeps your attention. And let's face it - what do the audiences want? They want to be entertained. Yates accomplishes this mission, and more with an action packed, romance charged flick that gives your average American exactly what they paid for: two-and-a-half hours of a good time.

As a movie lover, however, we must look past what the average Joe wants. What’s interesting about the Harry Potter films is that, at first, with original director Chris Columbus, the films took an intriguing yet light tone. They worked for not only adults but children, too. But as the films progressed, director Alfonso Cuaron (THE PRISONER OF AZKABAN), set a new, darker tone. Suddenly the films became weirder, more disturbing, the images more cryptic, and they began to frighten children, who, mind you, are half the audience. THE HALF-BLOOD PRINCE is definitely an attempt (at some producer’s request because his daughter got scared) to draw the films back into a family range. Yates, however, was not too successful with this task. In fact, my nine-year-old cousin, with whom I saw the film, was terrified of the movie's images. He clung to my arm during much of the film.

Now another huge drawback to this newest installment is how incredibly hard to follow it is. I have seen all the Harry Potter films at least once, yet the twisted plot providing no guidance as to what was happening baffled me. And then I thought, what if I had seen none of the films? I’d be so completely lost I probably wouldn’t even know which characters were which. And so another fault of Yates’ prevails. Confusion.

Overall, HARRY POTTER AND THE HALF-BLOOD PRINCE is worth the ticket if you, like me, are at all interested in the cinematography, or eye candy. However, a more intense Potter fan (perhaps one who has read the books), may be disappointed. Do not watch this film expecting greatness, and you’ll love it.

I give it 3 out of 5 jellybeans.

*A lifelong fan of the cinema (her favorite film at age five was SUNSET BOULEVARD), the Mini-W is soon to turn 16. She just completed a digital filmmaking summer camp at UCLA and is the proud cinematographer of a four-minute short. When not tending to her pet tortoise or her numerous studies, the Mini-W is an avid fan of The Rouge Wave and all things effing entertaining.

500 Days of Summer

2009-07-19T19:28:00.001-07:00

Once in awhile you see a movie that makes you wish to hell you'd written it yourself. 500 DAYS OF SUMMER, with Joseph Gordon-Levitt, is one such film. It epitomizes "the same but different." Very different. It's all in the execution. The film doesn't say much about love that is new, particularly. Or about relationships, exactly. It's not the what - it's the how. What I loved about the movie is that it is clever but not self-consciously so - in other words, it's not another hipster semi-bored nod to love and friends and shit. I can say with confidence that 500 DAYS is the most fun I've had seeing a movie in some time. The Hall & Oates sequence is worth the price of admission. If you've seen it, you just smiled at the memory of that sequence - you know what I'm talking about. Great writing, direction, art direction, performances and above all - a simple story with complex characters. This is the kind of movie that reminds me why I love movies. If you get a chance and it's playing near you, Wavers, please do get out to support the film. Look at what a long way great writing can go to elevate a relationship and a heartbreak into something universal, funny and artfully told. This is not regular writing - this is super writing. This is what we all strive for.

It's the Little Things

2009-07-18T14:46:00.000-07:00

So the other day I was felled by a spider. A tiny, unseen spider bit me and three days, two doctors and six medications later, I am beginning to feel better. Who knew that such a tiny little being could wreak such havoc? I am sad to report that I have no super powers but I sure am humbled. I am also reminded that we writers need to look sky high but also beneath every rock and pebble for our story ideas; what started as a simple spider bite could become a thriller, horror or even a romcom, couldn't it? What chain of events might be set off by something so seemingly insignificant?

I am also humbled by the success of my teleclass and by the great questions asked by listeners. The feedback I have received has been nothing but positive and I am certainly inspired to schedule more teleclasses covering all sorts of screenwriting topics of interest. One idea I had was to feature a guest who is "That Guy" - a screenwriter who is doing everything right and who is about to break in - wouldn't it be interesting to learn from one of your peers about how to more effectively network, or how many hours a day you should be writing or what events or infolists you may be missing out on? I am open to suggestions - what topics are you interested in?

Last week's teleclass will be converted to an MP3 and available for purchase later in August when I reveal my new micro-site, to which The Rouge Wave will be migrating. What the what? Did you read that right? Yes, you did. TRW will be migrating to a different address come this fall. I'm very excited; the blog will have more to offer and a whole new look. Elves are working day and night to make the transition a smooth one. No need to worry or do anything different; this URL will have a redirect.

In the meantime, here is a website that I've known about for awhile but neglected to post here on TRW. Jeff Gund's infolist is just chock-a-block with great information so take your time and really look this site over for class and job listings that may be of interest. One does need to keep abreast of such things, right?

Have a lovely weekend, Wavers, and please, avoid those arachnid cousins of ours - they are just plain cranky enough to bite and it's no fun, believe you me.

Last Chance: Teleclass Sign Up

2009-07-14T14:13:00.001-07:00

Thanks, everybody, for the interest in the class! We've had quite a number of signups! For administrative purposes, we've got to have a cut-off time so that's 5pm Pacific time today.

Any signups, please email me directly and I'll walk you through how to register. It's quick and easy. Don't forget our special guest who will come on to answer a few questions during the last half hour, Gary W. Goldstein, my friend and mentor and the producer of PRETTY WOMAN.

So that's from 7pm tonight, July 14th, (pacific time) to 8:30pm. The cost is $25 and yes, the call will be recorded and available at a later date. REGISTER HERE.

Gersh Agency Reinvention

2009-07-13T09:09:00.000-07:00

This just in from Hollywood Wiretap: The Gersh Agency has renamed, rebranded and relocated entirely. This is very interesting news, guys. Why? Because Gersh is opening up the playing field for everyone and becoming a serious threat to some of the other agencies by modeling themselves after more holistic businesses like Mosaic Media and BenderSpink - mini-studios, if you will, repping writers, actors, directors and dipping into production as well. I see this as an industry-specific economic stimulus package. If you've been feeling gloomy about the recession and what it may mean for your chances as an aspiring writer - take heart. Yes the market has been slow, yes the competition among writers has been quite tough, but this move by Gersh highlights the growing horizon of entertainment. Nobody invests 30 million dollars into an entertainment company that ISN'T gonna make that money back and how. So for all you screenwriters out there, the industry for which you are writing is alive and well, trust me on this.

So for your reading pleasure, here is the whole article:

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As of today the Gersh Agency has new digs, a new name, $30 million in financing for a move into production -- and its first co-financed movie project, according to Deadline Hollywood Daily, the Hollywood Reporter and Variety.

The venerable 60-year-old agency has rebranded itself as simply Gersh, with a new logo and 35,000 square feet of office space at 9465 Wilshire Blvd. in Beverly Hills (where else).

As part of what Gersh co-president David Gersh described as continuing "a very planned and steady growth over the last 10 years," Carolyn Sibitz joined the agency, making her the fourth hire from the fallout of the Endeavor-William Morris merger.

Addtionally, a third-generation Gersh also recently came aboard -- Steve Gersh, 26, is an alumnus of the highly regarded USC film school Peter Stark Producing Program, Deadline Hollywood Daily noted.

Gersh also tapped producer Jay Cohen in April to run its new Film Financing and Packaging division, DHD and Variety said, and Morris agent Roland Scahill is heading a Theatrical Tour Booking division out of the New York office. Endeavor agent Daisy Wu also joined its talent department.

The indie film funding comes from Queen Nefertari Prods. CEO Cynthia Stafford and producer Jeff Kalligheri. They will be producers on the associated projects, and actor-producer Lanre' Idewu will serve as consulting producer.

First up under the new fund is the comedy "Adrenaline," scripted by Gersh client Justin Ware. It is produced by Kirkland Tibbels of Hollywood Farms Production Co., Matthew Lillard and Kerry Barden.

Promoting internally, Gersh also recently elevated Abram Nalibotsky to partner and named Alex Yarosh head its talent department. Six assistants also were promoted to agents.

Taking a different path than CAA and William Morris Endeavor, managing partner Leslie Siebert noted that those percenteries "have made it very clear that they only want to represent the top 2% of the business." But "our goal is to represent top talent in every area -- filmmakers, writers, producers, actors ... with a personal managerial approach."

"We don't want 2,000 clients.," co-president Bob Gersh added. "We don't think you can best service those clients. ... We're competitive in that we do a great job on behalf of the client."

Steve Gersh, meanwhile, is already busy with up-and-comers such as Shawn Ashmore ("X-Men") and Autumn Reeser ("Entourage").

He's the grandson of founder Phil Gersh and son of current agency co-head David Gersh.

With 65 agents, Gersh anticipates its revamped company and newly remodeled digs -- which were formerly home to The Firm and just happen to be nextdoor to WME's under-construction new home -- will encourage potential clients to see it as a serious, competitive alternative to the big agencies as well as to ICM, UTA and Paradigm.

Teleclass July 14th, 7pm PST

2009-07-10T14:45:00.000-07:00

Hey everybody! Just a reminder that my first ever teleclass, Top 10 Things Readers Hate is Tuesday, July 14th at 7pm PST. As an added bonus, my friend and colleague, Gary W. Goldstein will be jumping on the call in the last 30 minutes to answer your industry-related questions. Gary is a fountain of information and, take it from me, a prince among men. He has produced a couple of movies you may have seen - oh, say, PRETTY WOMAN and UNDER SIEGE to name just a couple.

The cost for this 90-minute class is a mere $25. The class will be recorded and available for purchase down the line when I figure out the nuts and bolts of that.

The class covers a lot of ground, starting with what the lives and jobs of readers are really like. Many screenwriters really don't have a clear picture of just who these gatekeepers of Hollywood are. Next, we discuss the top 10 list. Actually, our list goes to 11. Natch. We review the list of crazy-making no-nos and how to avoid them.

For information on how to register, please email my assistant Chaia, who will be happy to help you.

Trailers: The Experts Speak

2009-07-08T14:16:00.000-07:00

Hello, Wavers! I tell ya, it's a good feeling when TRW has a profile such that I get emails and requests from industry professionals. Just the other day, a young man working with a massively successful producer* called, asking for scripts that I think are great for possible new projects. It was fun going through my client list and pitching projects that I think might be a fit. Talk about pitching on the fly! It's easier when it's not your own material, lemme tell ya. When it's you, you look like Albert Brooks in BROADCAST NEWS...

*...and I mean massively successful. Usually when people give me a name and say they are successful or well known, I roll my eyes a little - yeah, right. But I pulled up this guy's information on Studio System while we were on the phone and almost choked on my afternoon espresso shot.

So anyway, I heard from IFC about a follow-up to their post about the top 50 best movie trailers of all time and thought I'd link that here today for your enjoyment.

*****

When we humbly submitted our list of the 50 Greatest Movie Trailers the other week, we knew it would be controversial. There was internal debate about old versus new, blockbusters versus low-budget films, comedies versus dramas, teasers versus full-length trailers...and at the end of the day, we agree with Dan Asma, who defined a great trailer as one that leaves an audience saying to themselves, "whoa, I've got to see this movie."

Click HERE to read the rest!

Should I Get a Job in the Industry?

2009-07-06T18:05:00.000-07:00

Dear Rouge Wave:

Would you advise an aspiring screenwriter to get a day job as an office manager/administrative assistant for a film production company?

Yes.

Let's say that I didn't need the money, would it be worth it just for the relationship building? And to learn about producing and how prodcos work? (I think I could see myself becoming a writer/producer some day.)

Yes.

If I do apply, should I tell them that I'm an aspiring screenwriter? Is that a conflict of interest? I don't want them to think that I would not be dedicated to my day job.

Yes. But not in a weird, needy, please-do-stuff-for-me way. Just be casual. Be honest. They won't be surprised that you're into screenwriting and/or the business.

Also... If I do tell them about my aspirations, when is the best time? In my cover letter? At the interview? or not until after I've been there a while and gotten to know people? I know I would never ask anyone to read my script until that point.

Yes. Oh sorry, I was on auto-pilot there for a minute. No, these are great questions and I think this is a great opportunity for you. Mention your interests in your interview, of course, just don't make the interview all about you. You are applying to work for them, right? So the interview is mostly about how you'll do a great job in that capacity. That you have an interest in and talent for storytelling and film surely makes you a better employee, as you GET what they do there. Just be very cool about asking for any favors, reads or connections for some time. You have to earn that. Give it several weeks if not a few months of dedicated, loyal, great work ethic before you go there.

So complicated...

Not really. I think this is going to be great for you. Good luck!

The Phantom Database

2009-07-05T09:09:00.001-07:00

Howdy, Wavers! Did everyone have a nice Fourth of July? Over the holiday weekend, a Waver wrote in with a great question (paraphrased):

"...is there really a phantom database in Hollywood that puts a permanent black mark by my name if I get a "pass" coverage or is that just an urban myth like the thing about the dog in the microwave or how that guy in Queens found a snake in his linguine?"

To which I say: The snake thing is totally not true.

But seriously. Well - no, there isn't a phantom database, per se - a list of bad writers and their scripts that is passed around among executives. But there are tracking boards and there are development execs and their damned memories.

Think of it this way: Hollywood is a town that relies upon information, whether that information is garnered from the trades, from between the sheets or from rumors of rumors over cocktails. And this information shoots around very quickly. Sort of like those old vacuum tube delivery systems in offices. And with the advent of the Internet, information zips around this town so fast that it sizzles in the air above your head. What's the hot script? Who sold what to whom?? Which exec was laid off and wound up where? What actor was seen at Whole Foods totally blotto? Hollywood is a town that fuels itself on information and it is the information age. So yeah, that is a little scary.

So the bottom line is that yes, if you send in a script to an agency (in particular) and it is so bad that the assistants chat about it on the tracking boards - you are not a happy camper. However, the chances of a tracking board mention of a bad script are significantly lower than that of a good script.

Let's back up - what is a tracking board? Tracking boards are basically private message boards frequented by assistants and other industry types. They function as virtual water coolers. How much stuff gets discussed around the putative water cooler in your office? A lot. I have never seen nor heard mention of a writer being called out on a tracking board for being bad. Not by name. Even in Hollywood, there are limits.

But before you let out a big sigh of relief, let's keep exploring the topic: Executives in Hollywood change companies frequently. So today's assistant is tomorrow's development exec. And today's junior development exec at Company X is tomorrow's senior creative exec at Company Y. So if your script goes to a production company and gets a pass, the reality is that the exec simply sends a "no thanks" to your agent or manager and moves on with his or her day - not interested. So far so good, right?

But what if, just what if the creative exec's reader thought the script was SO bad that when they turned in the coverage they actually sat down and laughed it up a little bit with the exec? And the exec saw your name on the title page? And had a great memory? I am very sorry to have to report this, Wavers, but I have seen the situation above happen first-hand. Look, don't hate the readers for having a laugh at your expense. Hate the writers who send in such bad work that it makes you all look bad. See, that's what it is, Wavers. For every ONE of you who takes this really seriously and have some talent, there are 100 for whom the reverse is true. And that is what Hollywood thinks about aspiring writers. That you don't care enough to do it right, that you have no talent and that you do not take our jobs seriously and you waste our time. That's why everybody gets SO excited when we read something good. Hollywood cannot WAIT to elevate that writer and give him or her a ticker tape parade.

But let's back up yet again:

Some of you reading The Rouge Wave may be new to the blog and perhaps new to screenwriting. And you're thinking wait, I'm confused, ticker tape parades, readers, execs, tracking boards, oh my GOD I just want to know what to do with my script already!!

One question that a new Waver might be asking themselves about now is do I submit to an agent, to a manager OR to a production company? All three are mixed up together in this blog post and frequently are not separated in these discussions. That's because getting your script read does not have a necessarily straight path. Yes, you should initially submit to an agent or manager. Usually. Most of the time. But some production companies will read unrepped work and if they love the story, then you can take the script to an agent or manager and say hey listen, Prodco X loves the script and they want to option or purchase it, will you rep me? To which the agent or manager will, in general, choke on their coffee because they say "yes" so fast.

But let's back up even further:

Agent: hardcore, fast-talking salesman. Interested in making a SALE. Only interested in you, dear writer, if you have the goods to make a SALE and to do it again and again. They do not really care about your career, your feelings, your family, your son's Little League team or where you went to school and how much you loved JULIET OF THE SPIRITS. They care only about making a SALE. Think Ari on "Entourage" and you pretty much get the gist. It is not uncommon for an agent to actually be an attorney as well. The agent will take 10% of the sale price your script garners; only an agent (or entertainment attorney) is legally qualified to sign the deal and set the monies in action. Agents are not generally interested in brand new, baby writers. Why? No paycheck is coming forthwith. Agents don't got no time to "develop" you. If you're not hot, you're not selling and they ain't interested.

Manager: a professional who is interested in grooming you for your first sale and many sales after that. Think someone significantly more mellow than an agent. The manager is going to take 15% of a sale you make. A manager is interested in staying with you for a long time as you make sale after sale. A manager will develop ideas with you. If you make a sale, a manager will bring an agent in to sign the deal and do the hardcore negotiating. Managers are really the place for writers to start. But here's the thing with managers - it takes a LOT of time to develop a new writer and nurture ideas, etc. So if they read your first script, WATER COOLER DAYS, and think wow, this is a great new voice, and start working with you...but your next script, 26 DRESSES, strikes them as derivative and unpromising, then their belief in you takes an enormous hit, their faith is shaken in your ability to write well consistently and...they'll cut you loose. Usually using the language of unreturned calls. It's like dating, Wavers. Exactly like dating. No call you back...no interest in you. They speak a different language. I think they even sell a Rosetta Stone for Agent/Manager language. It goes like this: Manager Language: Silence. English translation: Your second script disappointed me and I've lost that lovin' feeling and I think I may have been wrong about you and look, no hard feelings, but this Beemer ain't cheap so see ya, pal.

Production Company: Some prodcos will read unrepped work. Not all. Some. They might be a smaller company more open to reading material and more comfy with release form legalities than a larger company. What's cool about submitting to a prodco? It's like going from trying to sell pastries at the county fair to selling chocolate chip cookies TO a chocolate chip cookie fan. In other words, a prodco will be looking for more specific material (a supernatural thriller, a romantic comedy set in Europe, a low-budget horror featuring tarantulas) and maybe you've GOT a low-budget tarantula script and now the question is will the prodco like THIS particular script and YOUR particular writing. If they do, you just have to be sure you protect your rights and go find representation to help you seal the deal. Now, there are some out there (my colleague Bill Martell is one) who write and sell scripts all the time, without rep. But I have to emphasize, this is really quite exceptional. And at minimum, you would need an entertainment attorney to sign the paperwork and ensure that your rights are being seen to in terms of a contract that guarantees payment upon delivery of various drafts and all of that boring stuff that's not so boring when your check has not been delivered but the pages have. This has happened to me and it ain't fun. Gather close, kids, not just everybody who says they are a "producer" is in fact an upstanding, honest or professional business person. And the detritus on the side of the road in deals gone sour is usually the writer.

But I have backtracked enormously. Is there a phantom database that keeps YOUR information online or in the minds and hearts of agents, managers and producers? Yes and no. Not physically, no. Your bad script, you writer from South Dakota or whatnot, is not interesting or significant enough to chat about on the tracking boards or anywhere else. Files are not kept - think about it - really? - busy Hollywood execs with the time to create lists or files of BAD writers? Silly, right? Ridiculous. Nobody has time for that. And you are not the center of the universe, dear writer, you are one of ONE HUNDRED scripts that arrived at X company that day.

That said, Hollywood is a very weirdly incestuous town and people do talk all the time. Good and bad. I don't even want to tell you how often I have heard professionals sharing a laugh or a story about a bad script. Might they remember your name, too? Maybe. It's entirely possible. A development exec at one company who read your script might then move on to another company where you have submitted another script and yes, might remember your name.

The bottom line is that everybody knows everybody and everybody shares a lot of information. The writer who is GREAT with the script that is PHENOMENAL is what will take up most of the gossipy air-time, for sure. But the laughable script, that will get some air too. Maybe not officially - but it will.

So the only thing you can do, Wavers, is to give them NOTHING to laugh about and everything to say WOW about. If you have given it your absolute best shot and get no response, don't worry, your "pass" coverage is not on your permanent record. I feel pretty comfortable guaranteeing that writers who treated themselves and their work like true professionals by doing all of their homework and getting notes and feedback on the script will not be forced to wear the Scarlet "pass" forever.

Might you and your script get gossiped about? Even tracked on the tracking boards? Maybe. You cannot control that. Like anything in life. But you can control the quality of the work before you send it to someone in Hollywood. If you get a regular "pass" coverage meaning it's just not for that company and/or your writing just did nothing for them, well, that's not sensational enough to energize a busy exec to in some way vindictively gossip about that "pass" rating.

You know, it's often very tricky to write about Hollywood because for everything that is true, there is something that counters that. I only speak from MY experience and I have never seen or heard or heard about a black list for "pass" writers. But I have seen and heard, many times over, execs and assistants on every level laugh or talk about a really bad script that they found particularly egregious. So it is only you, egregious writer, who should truly worry about having a black mark next to your name. Because the really GREAT scripts and the really BAD scripts - those are the ones that stand out. Just a regular "pass" script won't follow you around like bad credit, no.

So bottom line: No, there is not an official system for black listing bad writers and scripts. But yes, there is a lot of gossip and shared information, so the risk is always present. Only one thing you can do and that is to not send a script to Hollywood that has not been gone over carefully by your friends, colleagues and ideally, a professional service. The onus is on you. Do not play dodge ball with the big boys if you are not prepared for a bloody nose.

Movies that Move You

2009-06-29T17:19:00.000-07:00

So the other day I drove past the Hollywood Universalist Church on Franklin Blvd. in Hollywood and saw a sign describing upcoming sermons based on movies. I wish I could have slowed down to write down all the titles but we like me alive and with all limbs, right? The only one I remember is THE VISITOR. What a wonderful, appropriate idea.

I have read before that there are some therapists who use films as a form of therapy - an add-on if you will. A way for viewers/patients to connect with their deepest feelings through the emotionally and sensually immersive, transformative medium of film.

Recently, I (re)watched NORMA RAE and sure enough found myself reveling in the feeling that I was watching something important, something substantial, something that made me feel like a better person for having experienced it. I wanted to retroactively thank the DP, the writers and the director (Martin Ritt, who directed another favorite film of mine, THE FRONT, about the blacklist).

And Sally Field. I like her, I really like her. Jokes aside. It's a great performance. When the petite spitfire wrenches herself from the grasp of her burly escorts marching her out of the textile factory and instead climbs up on a machine and holds up the famous UNION sign, eyes round with determination, fear and an elegant sort of hopeful defeat...well...that's a movie moment you want to see, Wavers. It's transformative and beautiful and wrenching and glorious. And it makes you wish you had that much courage. And it reminds you that you do.

Not all movies hit that deep vein of emotion and catharsis for us and thank god, right? That would be a bit exhausting. Recently, I watched CLOVERFIELD and was thoroughly entertained (engrossed, really) and then promptly forgot about it until someone told me about the mysterious splash in the end. Movies are populist entertainment and the impact of film on a viewer can be anything from enormously cathartic to simple, gut-busting entertainment. But once in awhile, you see a movie that taps into that part of yourself that forgets anybody else is in the theater. Movies in which the main character is the person you wish you could be or someone you once were. Movies that tighten our throats with joy and appreciation and impact.

So I'm curious - what movies have you seen, Wavers, which left you flat on the seat, a puddle of cinemagasm and filmic adoration, wanting to write fan letters to every single name that flies by in the credits? What movie do you wish you had written that gave an audience member that same feeling?

50 Greatest Trailers of All Time

2009-06-27T08:40:00.000-07:00

Hey Wavers! You know what you need today? A massively entertaining distraction. That's right, so put down that dusting spray, kick off your fuzzy slippers and check out the 50 Greatest Trailers of All Time. What do they have in common? What surprises you on this list? What do you totally disagree with?

My two cents: GARDEN STATE - I really enjoyed the movie, actually, but this trailer doesn't really do it justice. I don't think I'd decide to see the film based on this trailer. BLAIR WITCH, on the other hand - genius. The CLOVERFIELD trailer - great stuff.

Each trailer has a great explanation of why it works and let me tell you, Wavers - it is just fascinating.

Now we know that trailers are edited and produced by companies hired to do just that. Or did you know that? I found that out awhile back. These trailer houses are given the footage and they go about fashioning the most powerful trailer possible. So after you've enjoyed the heck out of these trailers, ask yourself - what are the trailer moments in your script? Do you have them? Make that your one writing question today - where are your trailer moments?

Hear That?

2009-06-26T11:22:00.000-07:00

...that's the sound of judges judging. Sorry it's been so quiet on the Rouge Wave lately, Wavers. We have been keeping our heads down at The Script Department, as we judge hundreds and hundreds of scripts for The Silver Screenwriting Competition (a wholly owned subsidiary). We aim to be done sorting through them to see who rises to the quarterfinal round by the end of July, if all goes well. This is the second year I have administrated and judged this competition and let me tell you my resume will be bulging with experience for the rest of my life. Handling all of those submissions, writers, payments, judges, organization. Lemme tell ya, Wavers, this is NOT an easy yob.

I'm giving my judges IVs of Red Bull and weekly shoulder massages. So far we've come across a few gems so I think the next rounds should be interesting. I haven't been judging this round, just administrating it, which, as above, is a herculean job. But the next round, when we have approximately 50 quarterfinalists, I shall be jumping in and doing some reading.

I can tell you first hand that the economy might be slow but writers are keeping busy generating material and getting feedback on it. The Script Department is bulging with orders every single day. My readers are working full time.

At the Great American Pitch Fest on June 13th and 14th, the Marriott was packed with writers from all over the world. Last evening, I joined Gary Goldstein in a teleclass with over 50 screenwriters on the line and the passion of the writers was obvious. So eff the economy, Wavers, keep your head down and write write write. Because when the wet blanket lifts new material is going to be in demand like never before. Sometimes I take for granted the immersion I have had for the past few years and how much I have learned about writers, writing and the industry. Last night Gary and I were talking about the industry and how they want "butts in seats." A caller finally got her turn and asked about two technical terms Gary and I had been using: "first look deal" and "button seats."

In other news, I will be attending a luncheon at Warner Brothers, speaking to a group called WOW - Women of Warners - in early August. What an honor that invitation is! And Wavers know me by now - I still get very excited to have lunch on a lot. Even though I work on a lot. You can take the girl out of the country but you cannot take the country out of the girl.

The Mini-W and I have been engaged in our summer tradition of Movie Marathon Summer, though we've gotten off to a slow start. The Mini-W will be recapping our summer movie bacchanal before she returns to school this fall. While I write this the Mini-W is in a digital filmmaking camp on the UCLA campus. This very afternoon the students will be debuting their finished films at a theater on campus. Very exciting. Of course, it really struck the Mini-W that yesterday she was a scant quarter mile from where Michael Jackson died. Is his death akin to the death of John Lennon in 1980? I remember that very vividly and how sad and upsetting that was.

All right, Wavers, you guys have a great weekend and I promise that I'll try to post more frequently than I have been and keep you posted on the judging.

Set Your Course By the Stars

2009-06-17T13:05:00.000-07:00

Hello, Wavers! Gosh, it feels like I've been away for awhile! It's a rare thing when I don't post on TRW for an entire week. Last week I had a milestone birthday, spent three days in Berkeley, taught a class at the Great American Pitch Fest and was on a panel with Laura Shapiro at the Broad Humor Film Festival. A tortoise named Echo also moved into the house for the summer but that's another story.

I realized, after the Top 10 Things Studio Readers Hate class at the Great American Pitch Fest that I said "shoot me in the face" at minimum twice during class, and maybe three times, giving people a violent and disturbing impression of sweet lil' ol' me. I just mean like, when scripts are so tough to read that one wants to...to um...to take a break for a few minutes.

I did receive a good question in The Rouge Wave mailbag while I was away:

First, let me say, I love your blog! I'm making my way through the archives, and it's worth more than many of my screenwriting classes!

Second, I was wondering if you could share (on your blog) what studios/producers are looking for right now. For example, I've heard comedies are currently more popular than dramas because people want to laugh in the current economic climate.

If someone was looking to break in, what type of script would be more commercially viable? Or is the important thing to tell an interesting story well, no matter what it's about?

Thanks for taking the time to read my question, and I look forward to your response (when you have time)!

-Popular in Poughkeepsie

Dear Pop:

Your question is a good one and when you find out the answer, let me know. I kid. Sort of. Everybody would love to have the answer to this question, most notably every single executive, producer and agent in Hollywood and their brother. Yes, I have also heard that during these tough times, audiences do gravitate toward comedy, but I wouldn't use that as a strategy for my writing. Your second sentiment is correct: An interesting story, well told is the brass ring. As Omar Khayyam said: “The moving finger writes; and having writ, moves on..." - wait, no, Omar Bradley: "Set your course by the stars, not by the lights of every passing ship."

That about sums it up, Pop. If anyone in Hollywood knew what would make a hit movie, all movies would be hits. Nobody knows. Write what you love to write. If you love comedy, write that. Write the best, most unique, hilarious comedy you can. But if you really love thriller or sci-fi or action - write that. Writers looking to break in simply need to have VOICE and TALENT evident on the page. Easy, right? Wrong. But that's not the point I'm trying to make. You just cannot chase what you think might be popular as a way to break in. You'll chase your own tail like a cheeky monkey and eventually collapse in exhaustion and disillusionment. Write what YOU love - that is really, truly, madly, deeply the best advice I could give any writer, anywhere, writing anything. Otherwise, what's the point? Write because you love to write. And if you play your cards right, you might just make a career out of it. But stay true to yourself and to your writing first and foremost. You can sell out to the wiley, witchy bitch we call Hollywood later on, when you're established and can afford therapy, a masseuse and expensive Kentucky bourbon in which to drown your existential sorrows.

Spec Market Round Up

2009-06-08T09:06:00.001-07:00

While generally The Rouge Wave is more ruminative, reflective, instructive and wrist-slappy rather than industry-newsy, today I am blatantly cutting and pasting from a blog that you should absolutely be reading, Wavers, called Life On The Bubble. Jason is a friend of a friend (how Hollywood is that?) and hereby receives my "I'm not worthy" genuflection.

This is information that applies directly to you, Wavers. The spec market is where you want to be, right? Well, read this carefully because doing so will disabuse you of any pie-in-the-sky fantasies that selling a script is a cake walk. And I just have to take a moment to high-five myself for mixing my pastry metaphors. Wow. Monday morning, too. Ahhh-booyah!

Sorry. Back to Serious Things. I know this is a bit of a depressing read but you need to be aware of this stuff. While it may feel like rearranging deck chairs on the Titanic to even bother sending a script to rep in hopes of hitting the spec market, you have to remember that the market will not always be this flat and that he who was busy building more, newer, better deck chairs is the one who'll be on top when the market does open up. And it will. At some point. Who knows, is it possible that there will be a gold rush of crazy spec sales in a year or two? Will you be ready for that possibility?

Anyway, many thanks to Jason Scoggins for such a terrific, informative blog. It's the sour to go with the sweet of The Rouge Wave. It's the salt to the pepper. It's the cinnamon on top of the...all right, anyway, you get my point. It's not pretty but you need to have an awareness of the realities of the market:

****

Spec Market Roundup: May 2009
by Jason Scoggins
June 1, 2009

Thanks to the feedback we received from last month's Spec Market Roundup, we refined our methodology in a couple of ways this month:

* We're now differentiating between sales of specs that went out widely and those that did not appear in the marketplace prior to selling. Not only does this provide another lens through which to view the state of the marketplace, it keeps those hand-sold projects from skewing the data for the scripts that go out wide (since we're not in a position to know about every script that gets slipped to just a couple of buyers).
* We've broken Buyers into two categories: "Studios" (for lack of a better term), which we think of as the Majors, Mini-Majors and their various studio labels; and "Other," for everyone else.
* We've also broken Sellers into two categories as well: "Agents," and "Managers" (for obvious reasons).

Together, we think these refinements help provide a clearer picture of the spec marketplace as a whole.

At first glance, May's spec script sales numbers seem to be yet another month-over-month improvement: 10 out of 39 specs sold in May, compared to 9 in April and 8 each in February and March, for a sales percentage of 26%. That's the highest number of monthly sales so far this year, and easily the highest percentage.

However, 9 out of May's 10 sales were scripts that went directly to buyers, as opposed to going out wide to producers in the usual spec fashion. In other words, just 1 of the 30 spec scripts that went out wide in May sold ("The Gunslinger," out from UTA & Benderspink, which sold to Warner Bros. for Andrew Lazar's Mad Chance). That's a shockingly low sales rate of 3%. In this month's Spec Market Scorecard we'll be breaking out the numbers for previous months and rolling them up for the year-to-date figures. Suffice it to say here, though, that the state of the marketplace is not pretty: Just 6% of specs that have gone out wide this year have sold. We wish we had access to the total number of scripts that went out narrowly last month for comparison.

Here are May's raw numbers:

* 30 specs went out wide;
* 1 of those sold; and
* 9 additional spec sales were reported

Weekly Breakdown:
Week of May 4:

* 8 specs went wide, 1 of which sold
* 3 additional sales were reported

Week of May 11:

* 10 specs went wide, none sold
* 1 additional sale was reported

Week of May 18:

* 9 specs went wide, none sold
* 2 additional sales were reported

Week of May 25:

* 3 specs went wide, none sold
* 3 additional sales were reported

May 25 was Memorial Day, which helped make the last week in May the slowest of 2009 since Sundance. We'd bet the impending completion of the William Morris/Endeavor merger was a factor as well (see below). In any case, since that last week of May was such an outlier, the weekly average number of new scripts (7.5) is meaningless.

Genre Breakdown, Attachments, Etc.

Collectively, the Buyers seem to have bought their fill of Comedies over the past several months, since not one sold in May. Instead, they switched to Dramas, a genre in which not a single spec had sold in the first four months of the year. Here's the breakdown:
1 - Action
4 - Drama
2 - Sci-Fi/Fantasy (including one animation project)
3 - Thriller

On the attachment front, four of the 10 sales had significant filmmaker or actor elements attached. Two of those four had Hugh Jackman on board as producer and/or star, one had Jim Carrey as producer and star, and the fourth had John Lee Hancock writing and directing (plus Overbrook producing). None of this month's sales reported multiple bidders, and only one was a reported preemptive purchase (Intrepid's purchase of "Childhood Heroes" from Abstract Entertainment).

Buyers and Sellers

Warner Bros. was the big spender of the Studios in May, purchasing 3 of the month's 10 scripts. The other two studio buyers were Fox and Sony, with one each. Among the Other buyers, each of the following companies bought one script each: Beloved, Intrepid, Relativity, Reliance and Starz Media Animation.

Of the agencies, CAA had the best month, with 3 sales; the firm also took 2 scripts out wide, neither of which had sold as of this writing. UTA was in second position in May with two sales, one of which was the sole sale in May that went out wide, out of 3 wide attempts last month. Endeavor, Gersh and William Morris each sold a spec script as well, none of which went out wide.

Eight management companies were involved in the ten spec sales in May: Abstract Entertainment, Anonymous Content, Benderspink, Category 5, The Gotham Group, Kaplan/Perrone, The Radmin Co. and Marty Shapiro Management. Of those, two sold their projects without agency involvement: Abstract Entertainment ("Childhood Heroes," to Intrepid); and Marty Shapiro Management ("Umbra," to Relativity).

On a side note, neither WMA nor Endeavor sold a spec in May after the 5th, just as the rumors of WMA's layoffs began to mount in earnest. In fact, all of WMA's and Endeavor's sales from mid-April to the end of May fall into the "direct to buyers" category, where the scripts did not appear widely in the marketplace prior to the announcement of their sale. It's a safe bet that those sales got started well before the merger was confirmed and the writing was on the wall about which agents would be joining WME and which would not. Regardless, there's no doubt that the merger has been a distraction for both companies and an opportunity for their competitors. We wonder how badly the situation affected WMA's and Endeavor's TV Lit staffing efforts over the past few weeks as well.

About The Spec Market Roundup:
The Spec Market Roundup is a terribly unscientific analysis of the feature film spec script market based on information culled from a variety of public and non-public sources. It does not include pitch sales nor the film rights to underlying material. These are by no means official numbers, merely a fairly complete summary.

About Jason Scoggins:
Jason Scoggins is a manager and partner at Protocol, a Beverly Hills-adjacent literary management and production company. He represents writers, directors and producers of film and TV alongside Protocol's founding partners Brian Inerfeld and John Ufland. After getting his start in the entertainment business as an assistant at ICM, Scoggins became a TV Literary Agent at The Gersh Agency, followed by a stint at Writers & Artists Agency and then several years in the wilderness. He returned to the business in 2007, just in time to be impacted by the run-up to the WGA strike.

Support the Cinefamily

2009-06-05T08:30:00.000-07:00

So I live about...I don't know...two blocks from the Silent Movie Theatre on Fairfax here in Los Angeles. Actually my neighborhood is weird - it's at the geographic crossroads of Hollywood, West Hollywood and the Fairfax neighborhood, one of the oldest Orthodox Jewish neighborhoods in LA. So on a given day we have the hipsters, the Hasidim and gay couples walking their dogs all as they head toward Canter's Deli for mutually agreed upon goodness. But anyway. The Silent Movie Theatre.

"Built in 1942 by John and Dorothy Hampton, The Silent Movie Theatre ran for decades as the only fully functioning silent movie theatre in the country. It has been fully restored to its original, vintage 1940s art deco design, along with a brand new screen and sound system, to help a new generation enjoy the pleasures of cinema in a beautiful theatre."

So that's pretty cool, right? I get emails every week from Cinefamily, which is a sort of club that meets at the Silent Movie Theatre and I think oh, I should go see that movie, yeah, sure. And I never do.

Several friends of mine have plans to go see THE HANGOVER this weekend and I thought, well, sure, yeah, I love my friends very much. But - I'm not that excited to see THE HANGOVER, honestly. It's not really my cup of tea. Then I got this in my email inbox from the Cinefamily:

WINNEBAGO MAN, Sunday June 7th, 8pm

Jack Rebney, aka "the angriest RV salesman in the world," has delighted and fascinated millions of viewers with the hilariously foul-mouthed and ill-tempered outtakes from a Winnebago promotional video he made in the '80s - one of the first and best underground videos to be passed hand-to-hand, before the Internet turned him into a full-blown phenomena. Filmmaker Ben Steinbauer takes on the seemingly impossible task of tracking down Jack, and his journey turns into a fascinating exploration of viral video culture, and what it means on a personal level to its sometimes unwilling subjects. When he finally tracks down Rebney, the real man is more savvy, irascible (of course), deep, weird, and cool than you could have possibly hoped for, and turns out to be more than able to hold his own in the modern media culture. In short, he is a star. A lovely and hilarious look at one man's response to Internet humiliation, and how that so-called "humiliation" can become a beacon of light to many. All hail Jack Rebney: the patron saint of our collective frustrations. Dir. Ben Steinbauer, 2009, HDCAM, 90 min.

- and I thought okay THAT I would see. That sounds fascinating. And I chide myself, momentarily, because I have not gotten out to support the Cinefamily and partaken of their impressively out-there play list and schedule. So for any Angelenos reading TRW today, please get out and support a theater that is off grid. Way off grid. A theater with a true love for the art and craft of cinema and the way in which the movies reflect just how odd we humans are. Step away from the megaplex once in awhile and see what else is out there.

***

The Cinefamily is an organization of movie lovers devoted to finding and presenting interesting and unusual programs of exceptional, distinctive, weird and wonderful films. The Cinefamily’s goal is to foster a spirit of community and a sense of discovery, while reinvigorating the movie-going experience. Like campfires, sporting events and church services, we believe that movies work best as social experiences. They are more meaningful, funnier and scarier when shared with others. Our home is the Silent Movie Theatre, one of Hollywood’s most beloved and beautiful cultural landmarks. There, the Cinefamily will provide a destination spot for Los Angelenos and others to rediscover the pleasures of cinema.

Dialing for Dollars

2009-06-04T15:48:00.000-07:00

Hello, Wavers! You've by now noticed I've been posting less Wavy goodness lately. Mama has been very busy. Administrating and judging the Silver Screenwriting Competition, running The Script Department, working on my own writing and producing plans and projects, preparing for my class at the Great American Pitch Fest on June 13th and the panel I will be on at the Broad Comedy Film Festival in Venice the following day and (deep breath) writing a book based on The Rouge Wave and (deep breath) finding time to exercise, get enough sleep and eat well. Foof. It's a lot.

In addition, I feel as if I've said about everything I have to say on the topic of screenwriting here on The Rouge Wave so I'm posting less often and only when I really have something to say or a question to answer, rather than just warming over old topics just for the sake of posting. Hope that's okay with all of you wonderful, loyal Wavers. I love love love a good question or comment - that way I know I'm posting something that you wanted the answer to, not just postulating cutely on organic dialogue again.

Today I had to call 40 - 40 - agents, managers and production companies on behalf of a client with a script that I am in love with. Once in a blue moon, a script bubbles up to the surface that I just have to throw myself behind. And when I am a fan of a script, look out. My phone is smoking right now.

You know why calling a lot of people, some of which you know, some of which you don't is anxiety-inducing? Because some people are so short and rude on the phone. As I say, 40 calls, right? Of those 40, I would say I know or am acquainted with about 20 of those people. And those people are friendly. Hey Julie! Sure, what's the logline? Sure, send the script. Yay. Feels good. I know if the writer called on his own behalf, he'd be shut down just by dint of the We-Don't-Know-You Filter. So it's great to see those pay-it-forward/networking efforts cash out in getting reads when I want them.

Some of the companies I called - wow, dude. Take a coffee break. Breathe it out. Be nice. I can imagine being on the receiving end of query-type phone calls every single day must get really old and that the second you answer the phone, you're on defense but geezo, we're not curing cancer here, we're just talking about whether you'll read a story. Chillax.

Got some really, really interesting skinny from my old employer, Walden Media, about what's on the slate upcoming and what the new mandate is all about. Very different mandate, I'm surprised - moving closer to the Bristol Bay mandate of old. (Walden and Bristol are both owned by Anschutz. Well, they were. Til Bristol was shuttered a few years back). Cary Granat has formed his own prodco, continuing his interesting odyssey from Dimension to Walden to what amounts to Walden-II-Minus-Anschutz unless Anschutz is funding Granat which I seriously doubt. Phillip Anschutz is the man who signs the checks at Walden, incidentally, being the conservative Colorado billionaire who owns Narnia-land. I used to LOVE reading for Walden Media, let me tell you. That was a great gig. It's nice to continue to be in touch with creative executives there. Another reminder, Wavers - yesterday's assistant you were polite to is today's exec who gives you all the skinny.

It's very fun being just down the hall from Heroes and Villains; I just walked on down there all casual like with my coffee and leaned on the door frame and was all like, dudes, I have a rockin script that you need to read. Script in reading pile. YES.

All righty Wavers, more later, I will not abandon you, I'll just be posting a bit less and please, if you have suggestions or questions - send them my way and I'll be happy to answer them.

Can Feedback Sabotage Your Story?

2009-06-02T10:57:00.000-07:00

Rouge Waver Desiree wrote in and asked:

I've never had a pro to read any of my scripts, but various friends and fellow writers. It has its disadvantages, I know.

Several years ago I listened too much to the advice I got from a friend and one day I woke up and the story was no longer mine, it was his. Since then I have learned to trust my heart.

Would a situation like that ever appear with a pro reader? Would the reader see another potential than intended and give "wrong" advice and change the core of the story?

I have so many thoughts on these questions, Desiree, that it's gonna take me a moment to really get to the heart of it. First of all, this has happened to me, in the distant past. Asking for and receiving story advice that eventuated in my story changing altogether. But years and years and scripts later, I realize that the reason that happened to me is that I didn't know clearly what my story was anyway. So I cast about for opinions and suggestions to plug leaky holes in a weak story, didn't differentiate between the merits of this or that advice, and wound up cobbling it all together into a story that had no relationship to my original idea.

So yes, you will get advice from various people that could radically change your story - but the key is to develop the skill set to differentiate between what can add value to your story and what in fact degrades the central core of what turned you on about it in the first place. Additionally, writers should test changes and suggestions against the key components of the story: main character flaw, theme, the second act adventure (the meat of the premise) and the big battle scene in the end - the pivotal third act resolution. All of those particular components are actually hinged together quite neatly. Like a Rubik's Cube, the way they hinge can change - but they still have to click together and work. So if you change one thing, you affect the whole shape and mechanism of your script.

There is a right way and a wrong way to give feedback. Always be wary of someone who gives you numerous, specific ideas for changes without testing them against those key components. Not everybody is very well equipped to give feedback. But that's your responsibility when asking for it. I see that often on message boards - other screenwriters micromanage and give very specific advice to writers who have posted pages and then the script becomes a weird community project. Don't put yourself in that position.

Getting advice can be great; friends, colleagues or a pro reader might suggest something that opens up a whole new perspective. Just make sure you make it a collaborative experience and that ultimately you stay tethered to the fundamentals of your premise that got you excited in the first place. Test the suggestions against the components of your script, teasing out the outcome to see if it would alter your script in a desirable, surprising or value-added way.

Now: Would a pro reader give you story-changing advice? Maybe. Some. It depends. That goes beyond the scope of what readers get paid to do, generally speaking. At a company like mine, in which readers are paid to evaluate scripts but also to be encouraging and instructive, the readers will give examples and some suggestions, yes. But those readers will only give suggestions that still fit into the framework you came up with. Because when they give suggestions, they know the other key components of your script and they take into account the snowball affect.

I'm sure some pro readers or (not very good) consultants might try to more or less dictate what they would like your story to be - but if you feel those alarm bells going off, it's your responsibility to stop that flow and move on. Teasing great ideas out of a writer is much harder than just saying "look, I would do this." Teaching a writer to think critically and see opportunities instead of having the writer do what YOU think would work is where feedback and mentoring of writers becomes an art form. Anyone can dictate what THEY think YOU should do. But that's not their job. And you do not have to subject yourself to that.

Getting feedback is an interactive, participatory experience. Don't just get in the car blindfolded and be driven somewhere. Look around, ask questions, make your own suggestions and know the path you were originally on in the first place well enough to only deviate from it quite consciously. You are ultimately responsible for your story, where or if you get feedback on it, and what you then do with that feedback.

All of this said, because many Wavers might be members of writing groups or screenwriting message boards in which bad feedback runs rampant, this is probably a good time and place to talk about what good feedback looks like. When giving feedback to a writer, try putting the feedback in the form of a question. Two great ways to start off that question are "what if" and "maybe...?" So you might say, "What if the main character's flaw is actually that he's vain?" and then you and the writer can play with that for a moment. How would changing the flaw affect the theme? How would it affect the main character's arc of change? How would it affect the reversals and complications along the way? So you ask a question and then you follow through with testing how that possible change might affect the major components of the story.

So to summarize, Desiree -

Be careful who you get feedback from; avoid message board blowhards and total strangers who are not familiar with your premise, you or your process.

Check in with the clarity of your understanding of your premise and main character. Are YOU the expert of your own creation? Is your premise pithy, articulate and unique?

Test suggestions against the major components of your script to see if they add value or actually just loosen all the hinges and then require more jury-rigging.

Incorporate only the notes and feedback that resonate for you.

When you give feedback, pose it in the form of a question: "What if" and "maybe" are great starts.

If alarm bells go off because you're hearing multiple opinions and suggestions about your script, step away from the feedback, sleep on all of it and revisit your premise line. Remember, this is YOUR story that only YOU can tell.

High School Career Day Interview

2009-06-01T18:02:00.000-07:00

So this very sweet high school kid from New Jersey or somesuch ["Somesuch??" Hey, we grow great assistants out there! -Ed.] emailed The Script Department with some very thoughtful questions about my company and being a writer. I wrote up the answers to his questions which of course I answered honestly but simply, since this is a teenager and when I was done I thought hmm...while simplified, this is actually not bad.

****

What exactly is the role of your company when it comes to helping screenwriters get their materials to industry professionals?

The Script Department gives aspiring writers a sense of how their script would be received within the entertainment industry. We provide notes and feedback so that writers can address problems in their scripts – whether they be problems of execution or of plot, character or even the premise, so that when the writer then makes those adjustments, they have a professional, polished script to send out to decision-makers in Hollywood. Writers in the process become more adept at the craft of screenwriting. So often aspiring screenwriters have a skewed sense of just how original or accomplished their script really is and send it out to entertainment industry professionals only to get shut down immediately. We are there to help writers make a good first impression – and sometimes to tell them they are not quite ready to make any impression at all but should rather keep learning the art and craft of screenwriting. Writers who wish to be taken seriously and have a career in entertainment writing need to understand that the industry is quite competitive and shoddy work will tarnish their reputation.

What does your job at The Script Department entail?

I am the founder and director of the company so my job is quite detailed and complex but would include marketing and advertising decisions for my company, attending events and teaching classes, managing the readers who work for me, managing all financial decisions for my company and occasionally, working with clients one-on-one to provide story notes and consultations. In the big picture, my job is to keep the whole operation running on a day to day basis. I make sure our clients get what they paid for in a timely and professional manner, and I make sure my readers get paid well and on time for the work that they do. I also interact with other industry professionals making sure that they are aware of not only my company in general, but of a particularly good writer or script that I have so that I can make an introduction on behalf of the writer.

How many screenplays does The Script Department receive on a monthly basis approximately?

It depends on the month. Hollywood has seasons, just like other industries do. Our busiest time is in April and May because there are a lot of screenwriting competitions and writers want to up their chances so they get notes from us first. November, December and January are always a lot slower. In a busy month, we might evaluate about 100 scripts.

Are there any flaws you or The Script Department have seen in new screenplays written by new writers?

There are too many flaws to list here but the two most predominant ones are scripts that are not actually very original story ideas and scripts that are simply not executed well. That is to say, scripts with what we call “soft” structure, or under-developed characters or sometimes even formatting problems. The newer the writer, the more likely we will see these two issues.

Is there anything The Script Department is looking for in a screenplay when it wants to recommend a screenplay to industry professionals?

We are looking for a really great, really entertaining an original story idea and we are also looking for writers with what we call “voice." In the entertainment industry “voice” means a writer with a great deal of individualism on the page. Style, in other words. Hollywood loves writers with voice. The thing is, newer writers often have to learn the rules first before they can really depart and really let their own personalities through on the pages.

From what you or The Script Department have seen, is there anything high-level executives and industry professionals who make screenplays into films want out of new screenplays?

It’s simple. They want to be entertained. They want to not be able to put the script down. And they want to think to themselves that this script is very unique, and it’s cinematic and it will attract great actors and audiences are going to love seeing this film. The entertainment industry is all about dollars, at the end of the day. And movies are very expensive to make. So industry executives want to see potential return for their investment.

What is it like to be an agent who represents screenwriters?

It is a tough way to make a living. Agents are basically salesmen. They have to convince buyers (studios) that what they are selling (the script) is worth several hundred thousand dollars and that further, the script, once made into a movie, is going to earn the studio a great deal of money down the line. Agents make about 10% of the sale of the script. So that means if they sell a script for $200,000, they take home about $20,000. Not too bad but living in Los Angeles is expensive and agents often have to keep up their image with expensive cars and homes. So an agent might need to earn upward of $150,000 a year to support his or her lifestyle. So that’s making seven+ sales per year in order to support that. Agents earn 10% of whatever their client earns, so they can also earn money if their clients gets a rewrite job, not just an outright sale. But the bottom line is that agents have to hustle, every single day, to make a living. That’s why they are so picky when it comes to representing a writer. They can’t afford to hustle and make phone calls and sweet talk buyers if the writer isn’t original and compelling and talented.

What should a new screenwriter be concerned on when s/he is writing a screenplay?

Brand new screenwriters should know that their first script probably won’t turn out that great. They should know that it can take years to really become a gifted screenwriter and that even after that, they may never sell one single script. They should take the art and craft of writing very seriously and study it wherever and whenever they can. New screenwriters should read as many scripts as they can and they should write every day and see a lot of movies. Knowing a lot about movies, particularly the genre you most want to write will put you miles ahead of many other aspiring writers. New screenwriters should have fun and go for it but also be patient and know that this can take quite some time...

Is there anything agents who represent screenwriters want most from a spec script written by a new screenwriter?

A brand new screenwriter can be very attractive to an agent because he or she can say they rep the “hot new writer” in town. They want originality, personality and saleability - of the writer and the script.

Do you believe there is anything notable about a screenplay that is sold to a major film studio versus one that isn’t?

There is a saying in Hollywood that if we knew what made a hit movie, every movie would be a hit. People spend hours analyzing why some scripts get sold to studios and produced and others do not. There doesn’t seem to be any rhyme or reason or pattern that really holds up over time. Studios are drawn to movies that are what they call “four quadrant,” meaning the story should appeal to both younger women and younger men and older women and older men – the widest swath of audience possible. Give you an example: 8 MILE – not a four quadrant movie, right? But UP, the new Pixar release, is. Pixar is great at producing four quadrant movies. So studios do look for wide audience appeal but they are also surprised all the time by movies they didn’t think would appeal to a wide audience but do anyway, like JUNO. A script by an absolute beginner will probably not sell to a studio because the writer probably doesn’t have the skill, creativity and chops of a more experienced writer. But if you put two scripts side-by-side, both written by skilled, talented, experienced writers – probably the one that is both very unique and would appear to appeal to a wide audience will get that sale. “The same but different” is another adage out here in Hollywood, meaning audiences want to watch what they are familiar with – a buddy comedy, a super hero story, a romantic comedy - and yet with different twists, different characters, different settings, etc. DISTURBIA is an interesting example of “the same but different.” Being trapped in a location, unable to escape a menacing threat is not a new story idea. In fact, Albert Hitchcock’s REAR WINDOW pretty much aced this story concept way back in 1954. But DISTURBIA put a new twist on it, and some new details that updated the concept but also put some new touches on it.

How should a writer treat rejection from an agency?

Writers should take rejection totally, 100% in stride. It is part of being a writer. Many very famous writers were rejected hundreds of times before they got published. Stephen King threw his break-out novel, Carrie, into the trash can, he was so frustrated by rejection yet again. Thank goodness he pulled it out of that trash can and submitted it – that novel kick-started a legendary and lucrative career. Rejection is part of life for a writer. You just keep moving on. Sort of like vendors selling balloons or churros or lemonade at an amusement park. You try to sell your writing and when you are rebuffed you just ask the next person if they want to read your story or script too. You have to be persistent, you have to have faith in yourself and you have to want it so bad you can taste it. Opinions are subjective; it only takes ONE person to say “yes” and there you will be – published, sold represented. Only one “yes”. Think about that. But the thing is, that “yes” will be buried under a pile of “nos.” You just can’t hear the word “no.”

I thank you a thousand times over for your willingness to assist me in my research.

You are so very welcome, Dale! I hope my answers have been helpful and good luck with your project!

When is Enough Enough?

2009-05-31T14:37:00.000-07:00

I was reading a script the other day as a favor to a friend. He asked how I liked it. Great, but I have some notes for you. Just little things to help make some moments pop. I could practically hear him deflate on the other end of the line. Oh - I don't really need more notes. I've had so many notes that at this point, I just need to be done with the script. Which is when I understood that my friend didn't really want or need notes, he just needed me to say the script was good and let him enjoy that feeling. I mean, I get it. I've definitely written and rewritten scripts to the point where when someone tells me a brilliant way to make x, y or z moment even better, I just smile and nod. No more. Enough.

So - how do you know when your script is done done? Is it that sick feeling that you cannot bear to hear one more thought about it? Or is it that wonderful feeling that it is 100% as good as it can be? Well - few of us ever enjoy that feeling, right? So how can you know? Being sick of your script is an indicator, for sure, but an indicator of what? That it's as done as done can be or that it's as done as you personally can get it?

One thing I do know for sure is that a script really can be tweaked into perpetuity and yes, improvement is always possible but if the changes are relatively micro, it's probably time to move on. It's about thinking over the best way for you to be spending your time, right? Is it worth tweaking endlessly when you could be working on a first draft of a fresh idea?

How do you know when to fold 'em, kiss that little darlin' goodbye and either put it in a drawer, enter it into a competition or send it to an agent or manager?

Well, if you've had more than four consecutive sets of notes, each of which resulted in a new draft, it's probably time to push the baby out of the nest, for better or for worse.

Or, alternatively, if you are now bored stupid at the thought of rewriting or tweaking your script - it's time to let the little fella fend for itself...and probably in a drawer if you seriously no longer get excited in any way, shape or form about it. If you can't get excited about your script, who else can?

Only you can know, Wavers, when enough is enough. But believe me, at a certain point in time, enough is enough. Your script is gonna have to stand on its own two legs ultimately, and it's the concept that's gonna knock someone dead, not whether the fairy godmother on page 10 gives her speech at the top of the stairs or the bottom.

Write, write, write. Keep moving, like a shark. Several pretty good scripts ultimately serves you better than one really good one that you've been working on for 10 years and oh wait, I need to rethink the scene on page 72...

Know when enough is enough. Trust yourself. Use your time well. Let go and move on to another script.

The Thirty Thousand Dollar Question

2009-05-28T15:27:00.000-07:00

Once in awhile, I come across things that really delight me and make me curious and tingly at the same time. The Robotard8000 was one such recent example. So when I saw an ad on Ebay yesterday for a feature script for sale for $30,000, I just had to know more. I contacted the writer and he was game enough to answer some questions for The Rouge Wave. Make of this what you will, Wavers - is it brilliant guerrilla market, giving Hollywood the eff you finger, or is it futile and misguided? Whatever it is, it is creative and it takes chutzpah. So without further ramblings, let's hear from the writer:

*****
So Jason – I came across your script for sale on Ebay for $30,000 and I must admit I was flabbergasted and amused by such an unorthodox approach. I love your chutzpah. Have you heard of fellow guerrilla marketers, the Robotard8000?

No I have not.

Have you had any serious inquiries? If so, have you sold the script? Why or why not?

I had one very serious inquiry. Some company in L.A., I don't want to give the name. We were in talks, they were going to buy the script, I sent them a business proposal, the partners were one day away from finalizing the deal when they had to get Board of Directors' approval, and it failed by two votes. One of the partners wanted to buy it outright by himself but decided against it. Very up and down process for me emotionally.

I’m sure you realize that listing your script on Ebay is way outside the usual steps for a screenwriter to sell a script. What made you decide to try this?

Basically it was a last resort. I wanted to produce this script myself, but my friend and fellow filmmaker moved to L.A. I listed it because I thought it would be a unique and hassle free way of selling my screenplay and maybe someone serious would notice it. My priorities have changed and I can't take the time and money that it takes to get a screenplay sold, pitched, or even read. It is nearly impossible to get your script even scimmed [sic] through in Hollywood without a foot in the door already. I would just love to see my screenplay made into a film, that is my dream.

How did you decide upon $30,000 as the value of the script?

Basically that is the top amount, I will accept reasonable offers. The deal I thought I had in place was not for the $30,000. I picked the brain of my friend in L.A., and we came up with the price.

Had you tried the usual steps to find representation for your writing prior to listing it on Ebay?

I entered the screenplay in a couple of competitions early on, got a couple of responses but nothing I wanted to follow through with.

What is your experience with screenwriting?

I was a journalism major in college, and co-wrote a couple of shorts that my friend and I filmed. One was called CONVENIENCE, kind of a horror-zombie style set in a convenience store.

What is your script about?

It is a 20something mob drama, about six to seven central characters. Set in NYC and a small midwest college town. I hear it is bad luck to completely tell the story and plot line before it is a done deal.

Why do you feel your script would make a great movie?

The beginning and end are extremely unique. It is very rare to see an original idea these days in Hollywood. I am sick of movies like GHOSTS OF GIRLFRIENDS PAST and THE PROPOSAL, we have seen these movies a thousand times. My movie is original.

If the script doesn’t sell, what do you plan to do next?

I will try a new way and interesting way to get my screenplay done. I love movies, most of all I love the storytelling aspect of movies and the escape that it brings to everyone's life.

Thank you so much, Jason. And good luck.

Mixed Messages

2009-05-26T15:38:00.000-07:00

Hello, Wavers! Did everybody have a nice Memorial Day weekend? I received a lengthy email from a client with a number of questions that I thought deserved a public answer since many of you may be able to relate. For ease of reading (and answering) I have translated the questions into very brief versions, distilling them down to the basic sentiments:

1. I keep getting different notes from different readers and different coverage companies. Some say "consider" and others say "pass." How the FRAK am I supposed to know what to do?

On this one, you have to take a deep breath and know that coverage, to a certain degree, is subjective. Though readers hew to certain standards, they are just people and until they invent the Auto-Reader 9000, you're stuck with that. The only advice I can give you is to take the notes that resonate for you and ignore those that do not.

2. Readers seem to have insanely high standards. It's like readers are keeping me out of Hollywood. How do I get around them? What do I make of ratings that I do not agree with?

Yes, readers have high standards. Most readers, and certainly those who work for The Script Department, come from the production company world, where giving a "consider" on a script is an act of putting one's job on the line. So readers are very hard on your script. They have to be. Giving a "consider" on a script means your boss has to read it this weekend. If your boss reads it over the weekend and disagrees that it warranted that - heads roll. So yes, sometimes readers will give a "pass" in lieu of "I'm not really sure." Believe it. I've been there. Sometimes a reader will lean on "consider with reservation" which amounts to "I'm not sure" but the production company world is quite harsh so readers work within that system. And it is a by-the-numbers system of rating and ranking scripts. Is it designed to keep you out? Yes, it is. But at a script coverage company such as The Script Department, we have no agenda except to help your writing improve. If we say your script is essentially a "pass" we mean it is not likely to fly at a production company.

Say you disagree. That's your prerogative and in fact, if you really, really disagree with that rating, then the choice is yours to go ahead and query/submit anyway. We in no way assume the authority or final word to tell you do NOT submit this script. We are just a safety system that gives you an idea of how it might fare at a production company if you submitted the draft we read.

Again, readers are tough and they are subjective. They try to be as objective as possible but they are just people doing a job. It is your gut feeling that rules what you do about your notes or about submitting the script, at the end of the day. We can't fish for you, but we can teach you how to fish. If you really disagree and think that the script just needs to get that one "yes" to get off the ground, you would be right - it does need one "yes" - that's all it takes. So it's possible that a "pass" rating by a script coverage reader might not dissuade an executive at just the right company for your script, who was in just the right mood. Use a system of odds: If three readers point out the same problem - you probably have a problem. If only one does, well, you have to use your gut instinct.

3. A reader I had recently made some comments about a particular world and situation I had set up and it was clear to me that she wasn't familiar with that particular milieu, and some of her opinions were incorrect because of that. I'm frustrated by that!

Say you're writing a script about fly fishing, or ticket scalping or space algae harvesting. When you submit that script to a production company, a reader will vet the script first. There is no way of ensuring that reader or any reader will indeed be familiar with a particular world of your script. Them's the breaks. Not every reader can have intimate knowledge of the particularity of your world. Say they ding you for stuff that you researched and know is correct.

There are two reactions you can have. One, bummer dude, you got dinged. The reader didn't get it. Try another company or reader. Subjectivity, human error and shortcomings are all an unfortunate reality in getting your material read in any venue. Essays, fiction, short fiction, scripts. Deal with it. Two, it is possible that you didn't make clear the particularity of the job or world or situation you were depicting. It is possible that had you done a better job, the reader, unfamiliar with 17th century butter churning or 21st century boiler rooms would have gotten it.

In fact, you have to plan for the possibility that not every reader who reads your script will "get" what you've written about. On the whole, because readers read such a large volume of scripts, they do have at least an inkling of what you're talking about. If they don't, they don't. I understand researchers are hard at work on the Auto-Reader which will make all coverages identical, with identical standards and results. I don't mean to be sarcastic, I mean to remind you that readers are people trained to execute a particular skill set in rapid delivery.

Rotten Rejections is a really great, entertaining and ultimately inspiring collection of rejections that famous literary authors received before going on to have huge success with the same book so insultingly rejected. Nabokov, for example, was told in a rejection letter that it would best if Lolita were "buried under a rock for a thousand years."

In fact, any Waver planning to go to the Great American Pitch Fest in Burbank this June 13th and 14th should definitely take my class, Top Ten Things Readers Hate (I actually think they politically correctly retitled it Top Ten Things Readers Aren't Crazy About or something...) and you will learn a ton of the practicalities of the life of a reader - what they get paid, how much they are expected to read, how they review scripts quickly, and more.

Character Study: Geeks, Nerds, Slackers and Hipsters

2009-05-21T07:52:00.001-07:00

First there was the nerd. Clean cut, intelligent, earnest and, well, totally uncool. They were social outcasts, mocked in high school and mildly ostracized in college, remaining virgins for unnatural periods of time. But they grew up and into themselves, got good jobs and had the last laugh at high school reunions. Still, nerds like George McFly just never had, well, nads.

Coolness is totally beyond the reach of the nerd. But - nerds, in the movies anyway, do have heart. They are the underdog, the one you sort of root for in the end. Why? Because oddly, many of us identify with the nerd. The nerd is the foundational visage of insecurity. No matter how cool you thought you were in high school, part of you felt outcast no matter what. The nerd just wore it on his or her sleeve.

The personal computer saw the rise of the geek - a nerd with mad computer skills. They spend hours alone, they play interactive online games and speak a sort of weird, yawn-inducing language nobody understands. Like the nerd, they are prone to sweaty palms and bad hair. But they had one thing their forefather the nerd did not - a skill set (computers) that is highly in demand. A geek is not such a, well, geek when you need your computer fixed, are they?

Then we have the slackers and the hipsters. I don't know about other urban areas but Los Angeles is awash with hipsters. They are literally everywhere, with their pork pie hats, tats, and man bags. Variations include chunky glasses, Doc Martens, soul patches, and either very coiffed or not-shampooed-lately hair. Is the hipster an outgrowth or expression of the nerd or the geek? Or are they in another category altogether? Is the slacker a slightly less cool, unemployed hipster? What about the metrosexual?

Connect the dots, Wavers - what is the evolution or provenance of the hipster? Do old-school nerds still exist? Are geeks really geeks anymore, or just people you pay a lot of money to to fix your computer? Are geeks sexy? How about hipsters? Cool? Or pretentious and annoying? Recently I had lunch with an unabashed nerd but I remember thinking to myself - man, this kid is one pork pie hat and tat away from being a hipster. He could go from social reject to trendy Angeleno in one afternoon. Are hipsters just nerds with more fashion sense? Or are they, as I suspect, inauthentic types, mining nerdom for irony and cool?

Do you fall into any of these categories? Do these categories apply to women as well? How many female geeks do you know? What category would Tracy Flick (Election) fall into? Do hipsters annoy you or do you aspire to be one? What makes a person hip, anyway? Is there an age cut off after which you're not a slacker...you're The Dude in The Big Lebowski?

Social labels are fascinating. Subtle shadings imply social strata, ambition and acceptance. Nerd, geek, slacker, hipster...is there a straight line of evolution? What's next? Who are your favorite movie nerds, geeks, slackers and hipsters?

Buy My Script. Now.

2009-05-20T12:16:00.000-07:00

For some reason The Script Department has received a plethora of inquiries lately from very new writers who are very out of the loop. The upshot of the inquiries is always the same - I've written this great story that I really think is amazing and now I'd like you to tell me how to sell it.

It's very easy, if you're on the inside track, to find that kind of inquiry incredibly naive if not a bit...unsmart. But we who have been at this for awhile and have been through the wringer need to step back and realize that the desire to tell a story is a far cry from having an understanding of how this industry works. Show business is like any other business, on a certain level. Profit, loss, competition, egos, percentages, up and down swings. You wouldn't design a new car and go to Ford and say hi, I've designed this new car so will you buy it? It's not that simple. A) who the hell are you? and B) having designed a new car doesn't then mean a manufacturer is going to pour money into that design and market and sell that car. You wouldn't do some stuff in your kitchen and go to Chanel and say hi, I've come up with a new perfume, would you buy it please? Are you guys with me?

There seem to be two schools of thought when it comes to screenwriters trying to break in: The aforementioned, hi, buy my script and geez, it's gonna be great when I buy that new car and Hollywood is an effed up, monolithic, exclusionary machine and I'll never, ever break in. Neither is true.

Being a screenwriter is not a one-off, it's a long journey. So you've written a great script that you think would make a wonderful movie - congratulations! That really is an accomplishment to be proud of. Now get ready for the what-it's-like-to-be-a-writer part. Rejection. Silence. Notes. More notes. Existential angst. You write another script you think is a great story. Rejection. Silence. Notes. More notes. Existential angst. Wash, rinse, repeat.

Listen up, bright smiley noobs - there is no short path through this. It's what all writers go through. You are not special, blessed or supernaturally lucky. You are a writer. Or - are you? Because if the thought of toiling away again and again and meeting with only rejection makes you want to forget it and go for the promotion at work instead - please, save yourself the heartbreak and go for it. Hewlett Packard has great benefits.

The initial goal should be to learn the craft and learn it well. Which is a step that can take a long time and a lot of bad scripts that you thought were good scripts. Trust me on this one. After you have a stockpile of scripts, most of which are pretty bad and you know it, then you start writing scripts that are actually not bad. But they won't be very original. Rejection. Silence. Notes. More notes. Existential angst.

You'll get pretty hot, dirty and tired in this process. You'll have bitter days when reading the latest script sales or trade news makes you crazy. You'll want to quit, again and again. But something keeps pulling you back in. And you keep writing. Then finally you say eff it, I love this script. I got good notes on it. I feel good about it.

And then and only then is it time to try to find an agent or manager who believes your scripts are competitive on the marketplace. Notice I didn't say brilliant - I said competitive on the marketplace. Because Hollywood is one big hurly-burly marketplace of buying and selling. The wares are stories. And the market is hot and crowded, trust me on this. The agent or manager who represents you is the barker at a stall, trying to hawk your wares. And the only way he or she makes money when they pack up their booth at the end of the day, is if they can sell your script.

So you arrive on your camel, from the hot, dry desert with your wares - will you sell this for me? The agent or manager is going to look at your script, kick it some, check its teeth and make a decision. Man, that market is hot and tiring - am I gonna make some coin on this? Because I have those four other stories that are pretty bright and shiny. So why this one? Why this writer?
Trying to race around the desert and not travel through it first is going to result in chasing a mirage. You are not different from other writers who made the trek. You do not get a free pass. I'm sure your story is amazing - to you. I'm sure it was great to write it. And that feeling is the water that you store to replenish yourself along this journey. Validation, networking, studying, enjoying movies - that's the food and water you need to pack. Because the journey is very long. No, I cannot take your script, sight unseen, and get it to an agent or manager who will summarily buy it and make you rich rich.

Chances are, if you're reading this, you're thinking oh man, what dumb clucks - I know this already. But at one time you didn't know it. You had to learn. Probably through bitter experience. I know I did. Hoo, boy. What a bummer that writing a script does not then mean you sell it and get rich. But that's what separates the writers from the dabblers. Sure, I had a script I thought was great, 10 years ago. And it went precisely nowhere. I bundled up, got back on the camel and kept going. And I have a script now that I think is great. Now I'm actually in the marketplace - I can see the hawkers, I can smell the spices and hear the jingling of bells...it's all so close. But man, am I hot and dusty. And I have no guarantee whatsoever that I'm going to get a cool drink and buy a new camel. So you trundle on and you keep writing.

In a certain mood, these types of inquiries make me a bit irate. What, you think the art and the craft of writing a movie is that easy? So easy you can do it once and sell it? You think it's just a bunch of words and that you can learn it from some book and pull it off? But I take a deep breath and I realize that what looks like hubris is actually ignorance. An ignorance that is part of the journey. We all thought it would be way easier than it is to write a good script. We all thought we could get meetings pretty easily. We all figured that a script sale was a good but not terribly difficult thing. We can look back in laughter now, can't we? But that ignorance serves two functions - it gives us the blissful unawareness necessary to join this camel train in good cheer, and it gives us a milestone to look back on. If I knew then what I know now...

It's okay to be totally naive to this industry - it's complicated and full of mirages. One such mirage is that of instant fame and money. Don't you believe it. Keep that water and food for your journey and keep following the North Star. The marketplace is there - that's quite real - you can smell the spices and hear the barkers shouting even now, can't you? But you cannot take a shortcut to it. And not everyone who gets there is going to see their wares for sale. But that's the thing, isn't it? The mystery, the surprise, the sheer adrenaline of trying?

Be That Person

2009-05-19T09:22:00.000-07:00

So I'm at a bridal shower the other day with several women I've never met before. You know how that is. Whatever, blah blah, nice to meet you. As the women are chatting over champagne, one says she's an exec at a production company that I fairly worship. My eyes almost bugged out of my head. THAT company? OMG! Must talk up this woman. Must make connection. Want to do that right this second! I clutched my champagne with white knuckles. When will I have an opportunity? How can I do this?

I took a deep breath. You know what? That's not the way to do it. Relax, drink more champagne, open gifts and enjoy the party. Which is what I did. Everyone there was hilariously funny and interesting and we talked about the upcoming wedding and jewelry and exercise and life in general. But then the moment came - the final opportunity. We're all saying goodbye and see ya at the wedding and what are you going to wear...What to do? How do you snatch an opportunity without seeming, well, unseemly? Forget it, I think to myself. I don't want to be that person. Then another part of myself said Julie, before she walks out that door, you make a connection or I'll kill you. Note to self: Must discuss these voices with doctor.

Then the moment arrived. We were walking out the door when I screwed up my courage and said hey, do you have Facebook? Why yes, yes I do. Great, great, I'll look you up. Cool! Listen, I own this company that helps out aspiring writers - is there any way, if I find a good script, that I could send it to you? SURE! Wow, we'd love that, we'd love an inside track on brand-new writers. Anytime!

And that, Wavers, is how it's done. Phew. If you're lucky enough to be in an environment where there are people who could help your career, don't be the person who pounces on someone, much as you'd like to. Get to know them a little bit, find some way to connect. And then - be that person. The person who takes an opportunity and makes a connection. Because the answer might just surprise you. And now I have a pipeline for my clients to a GREAT production company that has made some of my absolute favorite films. Booyah.

How Do You Find Your Way In?

2009-05-18T09:47:00.000-07:00

Different writers have very different methodologies for finding their way into creating story or developing character. If you have ever worked with a writing partner, you know this. It's quite remarkable, actually, the differences in the ways writers understand story - or try to make sense of a nascent story. Some use a particular methodology that they may have read in a how-to screenwriting book and others are more gut-driven.

Having studied many ways of approaching screenwriting, I'm one of those people who has done a lot of writing and had a lot of experience writing good and bad scripts so I tend to put down the cookbook and salt to taste at this point. Many writers love Blake Snyder's approach or The Hero's Journey and hew to their choice very closely. When I went to the Writer's Boot Camp I remember learning their methodology and becoming very confused - but - where's the elixir?! There are so many different terms for the same thing - plot point, turning point, threshold - and I think I blew a gasket at one point - why can't there be one universal way of understanding the way stories are told?!

You have to use the method that works and makes sense for YOU and nobody else. If applying specific terminology or methodology feels cumbersome - step away from the book and feel your way in more organically. If you get hung up on screenwriting labels and fixated on them (I seriously got really hung up on the terminology of The Hero's Journey for awhile there) then that's a sign that you're paying more attention to the way somebody else defines story than to the intuitive feel you need to develop on your own.

I personally think the most descriptive words about writing a story are: Get your character up a tree and throw rocks at him. I know that's pretty reductive, but for me personally, I write story from a very character-driven perspective. What's the overarching premise? What does the character want? What do they need? It is the conflict between that want and need that drives the story forward. You can't drop a plot onto any old character and have a necessarily entertaining outcome.

In the first 10 pages of your script, you establish the world your character lives in. You establish his or her flaw (which is the tension between the want and the need) and you throw a giant rock into the pond - what goes wrong? What new situation arises that forces your character to change? Mind you - characters will do anything NOT to change and not to deal with their flaws.

For my money, templates do not apply to all stories or to all characters, so saying thus and such methodology/philosophy must happen in thus and such sequence is confining and too one-size-fits-all. But there are writers who work with a prefab construct just fine, and can take that way outside of the box, too. But not me. I need more freedom. I need to put down the cookbook and play. I know I need to be entertaining. I know my main character needs to have a satisfying arc. I know where the act breaks need to go and I know there needs to be a highly entertaining "battle scene" (see, WBC lingo; I can't escape it) in the next to last sequence. That's enough for me.

So - what works for you? Is there a particular method you use when sketching out your story? Or have you concocted your own way? Do you combine different methods? How close or far are you from throwing down the cookbook and intuiting story?

Where Do Your Ideas Come From?

2009-05-15T08:22:00.000-07:00

It all starts very mysteriously, doesn't it? That first inkling of an idea? You see or do something and suddenly this little light bulb goes off. That was neat/scary/romantic but what if THIS also happened? What if the person it happened to was in thus and such situation? What if it happened in reverse? What if, what if, maybe this? That's what writers spend a lot of time doing. Musing, thinking, imagining...

The thriller that my partner JP Smith and I wrote together came from a newspaper article I read years ago, about a person waiting for an organ donation. And I remember thinking - huh - wouldn't that be a weird feeling? To know that someone needs to die in order for you to live? Wouldn't you watch the local news and get slightly excited when you heard about a train accident that killed 10 people? And wouldn't you be repulsed by your own thinking, just a little bit? And that little kernel gave birth to a dark thriller that took on a life of its own.

I just had an idea yesterday, based on something really odd that happened. The idea didn't arrive until hours later but unfortunately, I only entertained it for five minutes because I then realized it's inspiring but not at all unusual. I haven't even done a keyword look up on IMDB to check but I know in my heart of hearts the basic setup has definitely been done. It feels familiar to me. Bummer. So I filed it away under "well, maybe someday some other component of that idea will make itself known to me and make the idea unique."

So where did you get the idea for the script you are currently working on? What was the genesis of it? Did the idea emerge from something that happened to you or someone you know? Did you get the idea from something you read or saw somewhere? What is at the core of your idea - is it a situation or an object or a character? How long did you think about it before it began to take a shape? Do you have a filing system for your ideas? Do you write them down and save them? How do you know (or find out) if your idea really is that unique?

Tweet This, Facebook!

2009-05-14T08:58:00.001-07:00

Twitter and Facebook are both the social networking sites du jour, with huge followings. Do you partake of such activities yourself? Or are you disciplined and focused on your writing to the degree that you stay away from what seems like frivolity and micro-sharing? Aspiring screenwriters do need to stay on top of trends in pop culture more than other types of writers. We are always fueled by zeitgeist and we have to be. I personally find Twitter kind of - odd. I try to do it but I honestly don't have the time to Twitter, in 140 characters, my thoughts or observations several times a day. I marvel at the Twitters I do see - it's like people are journaling their lives in real time. The Robotard - man, they tweet up a storm. Sometimes I wish I weren't "following" them because I don't really find any take away value; it's all an ongoing inside joke that becomes more and more confusing rather than entertaining. Is Twitter meant to entertain?

I have networked with some great people on Facebook and I have gotten in touch with friends from the past and executives I used to work with and it's a nice way to casually say hello and stay on someone's radar.

So today I ask Wavers - do you use Twitter? Do you use Facebook or MySpace? How about LinkedIn - a much tamer but more powerful networking tool - are you signed up there? What do Wavers think of online social networking? A powerful tool or a waste of time?

Are You REALLY All That?

2009-05-12T12:20:00.000-07:00

Another good question arrived in ye olde mailbag:

Julie,

When I last consulted with an analyst on one of my scripts, we talked about my readiness for market. She was of the opinion that my material was good enough to start sending out, and I naturally agreed with her view that I should try to land a manager this year.

Since then, two pro writers have read the script independent of each other and given me feedback... and the only thing they agreed on is that the writing is good. One loves the concept and finds it an interesting take on the detective genre... while the other thinks it's not original (at the risk of sounding arrogant, I think he's wrong -- I worked hard to make sure the concept was unique).

One gave me permission to tell managers and agents he enjoyed the script when I query. The other suggested I move on to another concept. I'm not giving up on the script, but I am a few pages away from finishing the first draft of another. My concern here is that I don't want to rush to market, and I'm being told different things.

The mixed messages are quite perplexing -- and I'm starting to suspect this is what working in the business will be like. Which is fine, I can handle it, but boy is it frustrating. I think the consultant was right to say that this won't be everyone's cup of tea, and I'm proud of the script even as I go to rewrite, so I'm not giving up *or* spinning my wheels.

Why do you think there's so much difference in notes on scripts in general? Is it really what Goldman said?

Matt in Muncie

***

Well. This is a really annoying but not uncommon situation. Someone tells you your script is good and of course it feels amazing. And it should. Validation of this kind is very valuable for your mojo. However. Yes, opinions are totally subjective.

The best thing to do when getting what feels like conflicting advice or opinions about your script is to take what feels right, allow yourself to feel good about it - or conversely, do not allow yourself to sink into a black hole about it, and keep on keeping on. Look, if somebody really, really thinks your script is all that, they are going to open some doors for you by way of making some introductions or phone calls on your behalf. If they do anything short of that, just take the compliment, enjoy that good feeling, and be on your way.

So my advice is really two-fold:

One: A lot of smoke gets blown up - um, behinds in this town. So if someone says your script is really SO amazing, don't let it go to your head too much. Is that person literally picking up the phone on your behalf? If not, reduce their compliments by about 38% because sure, they like it, but not enough to throw their name and time behind it. Which - hey look, there are a lot of "pretty good" scripts out there and not everyone has time in the day to make you a priority when they're busy stayin' alive themselves. When somebody really does go to the mat for you - wow, that's saying A LOT. For someone to say that you can say in your query that they liked it, is unfortunately in my book, a pretty empty gesture. How does the recipient of that query know you didn't make that up? I mean - that really doesn't carry any weight. If Tony Gilroy said yeah sure you can tell someone I liked the script - that is nothing like Tony picking up the phone and saying, hey, there's this kid with a good script...Do you see what I'm saying?

Two: Look, tastes are subjective. Is your script unique? Or not unique? Too racy? Too violent, too focused on the roasting of marshmallows? Who the heck knows. What you are looking for is some kind of consensus - which you got. The writing is good. Follow your North Star - the writing is good, you like the premise, do your thing and query with the script. Don't allow a single naysayer, or even two or three, to derail your belief in the script. Of course, I'm talking about high-level naysaying, as in the script isn't unique enough, or it's not commercial - comments like that are particularly subjective. Comments about the writing itself, or the execution of the script, that's a bit easier to measure objectively. So in other words, if someone says look, your script is full of typos and your action lines are terrible - uh, probably they have a point. You don't really need a big consensus on basic execution notes.

So Matt - bottom line, yes, that's the way this town is. Different opinions. Smoke blowing. Confusion. Follow your internal compass rose, know that you did receive validation and mentoring and some pretty nice reads all gratis, send thank you notes and keep writing.

Is There a Fast Track?

2009-05-11T10:36:00.000-07:00

From the Script Department mailbag, a question that our lovely assistant Chaia answered with aplomb:

Hello,

I am just about to graduate college. I guess you could say that I am a freelance screenwriter. I will be honest and upfront, I have no money (like I said, I'm just about to graduate), and there is no way I can afford to pay for your services. I am simply asking if you have any contacts of people for me to send my work to. I have a big idea on my hands here. Any help would be forever appreciated. Thank you so much.

Fast Tracker in Tennessee

Hi, FT! This is Chaia, The Script Department's assistant. Congratulations on your impending graduation, and thank you so much for your inquiry.

The best thing that you can do for yourself as a writer looking to sell is to a) recognize that this is a persistence game of b) building relationships over time. Move to Los Angeles (if you aren't here already), read the screenwriting boards and blogs, go to the mixers, work as an intern/PA/assistant. Do the footwork, stick around, and slowly people will start to ask to read your work. Let them. Offer to read theirs (or to scratch their back in some other relevant fashion). Expect that it will take way, way longer for your career to happen than you want it to. When you get impatient, self-produce and self-promote a short so you can get that instant gratification itch scratched. Representation and buyers both want writers who can deliver great script after great script. Think marathon and longevity. Keep reading, and above all, keep writing.

You're an Underdog

2009-05-07T09:05:00.001-07:00

In this week's New Yorker, Malcolm Gladwell (Blink, The Tipping Point, Outliers) has a fascinating article about the David and Goliath paradigm. The upshot for Gladwell is that when two adversaries go toe to toe with one outstripping the other in sheer size (or talent, or arms or some other significant advantage), if the underdog does battle in the same way that the Goliath does, the underdog will lose the majority of the time. But when the underdog changes to a new, more inventive strategy, the underdog, as outmatched as they are, wins at least 30% of the time.
Good example: The American Revolution. The British Army was trained, armed and outfitted a thousand times better than the American colonial army. But we won. Because we didn't fight in the same way - we used guerilla tactics. Shifting tactics and creating new rules for the game, using the terrain and sheer gumption turned the tables on what was at that time the mightiest military force in the world. How did David beat Goliath? With a slingshot. He changed the game. How did Lawrence of Arabia beat the Turkish Army? With Bedouins, inventiveness and game-changing. An all-girl junior basketball league in Redwood City rose to number two in the national championships even though they really couldn't play that well, by playing a full court press - every game.

According to Gladwell, determination and effort can outstrip ability and might. Which when you think about it, is a concept deeply rooted in the American psyche. We're fighters. Give us a good challenge. But in order to win out over a giant, you have to rethink the game. You can't play it the way the giant does.

What does this have to do with screenwriting? You out there, you Rouge Wavers out in the world, are David. And Hollywood is Goliath. Screenwriters sometimes complain about scripts that are sold or produced - hey, it's not THAT great! How come that sold and mine didn't?! Well, the ugly truth is that yes, sold screenwriters are not always necessarily that much better than you are. But they had connections and relationships and opportunities that you didn't. Being a sold screewriter is not actually a meritocracy. It's a battle of attrition.

Make no mistake, you need to have a skillset. You don't go out on the playing field with absolutely no training but just trying really hard until you win. You have to have some basic skills. There is a number of screenwriters larger than I like to admit, who do feel a bit entitled and who do not yet have the chops to get out there and be a real contender. But the more experienced writers who still haven't sold or gotten meetings - it's quite possible the reason for that is that they have to change up their game and increase their efforts.

Yesterday's blog post was about how much you should be writing. And the events you should be going to consistently. It's about staying in shape for when that opportunity comes. Hollywood is indeed a Goliath - a system that can sometimes feel very exclusionary and privileged. But here's the thing - it's also a big, dumb giant. Do not be intimidated. Do not feel you don't deserve to be here. That's just not true. Don't buy into that lie, Wavers. Because anyone with a great story, told well, deserves to be here.

Remember, David stood before that giant with courage. And he picked up five smooth stones and he got out his sling shot and everyone laughed. A slingshot? Be serious! You can't beat this giant with a - what's this? POW right in between the eyes. And down that giant fell.

Now get back to work.

The Writer's Season

2009-05-06T08:21:00.000-07:00

Good morning, Wavers! How is everybody doing? For many screenwriters, the focal point of the screenwriting year is competition season - most competitions have deadlines right around May 1st or June 1st and it is during this time that there is a flurry of work to get those scripts turned in for a shot at winning cash, prizes and hopefully, a career boost. TV writers push all year to have a great spec ready for the TV spec season (also happening right now).

But - then what? We know that in general, the rhythm of Hollywood says that "spec season," - i.e., when agents and managers prefer to go out with scripts - is generally between January and August each year. Many production companies start their fiscals year in November but of course we know that November and December are so jam-packed with holidays that that's not a great time - so it really begins in January. So we're still very much in spec season - really up until mid-August or so, buyers are out there reviewing material.

What does your writing season look like? There are two events each year that screenwriters should think about attending - three if you have the budget and time: The Great American Pitch Fest in June, The Creative Screenwriting Expo (October this year) and The Austin Film Festival. That last one is a bonus - again, if you can afford it, you should go. If not, go to the GAPF and the Expo. If you can only go to ONE event, go to the Expo. It's fun, there are a lot of great classes and just about everybody goes so you'll meet a lot of people.

So - when you're not going to festivals or events or tuning up your script to enter it into competitions - what do you do? Write. You should always, always be writing. Yes, there are those key points on the calendar but the writer's season is the longest season of all because you just can't stop. Even during the holidays, when Hollywood virtually shuts down for a couple of months, you want to take advantage and be working on your material for the following spec season. In the fall, after the spec season is over - next year is already queuing up and clicking forward.

Ideally, you should be writing at least two scripts a year. Now, I know - that's not always possible. Some writers write faster than others. Many of us have day jobs and all of us have busy lives filled with family obligations and the various vicissitudes of life. It's ultimately about how badly you want to have a career as a writer. The more you want it, the more you better be writing. Because again, your competition is not the writers who write one script every couple of years, or total beginners who are not at all ready for prime-time. Your competition is writers who are on the cusp of breaking in because their talent is honed, they have some relationships and connections and they continue to create fresh material.

Set goals for yourself. Do not allow yourself to dwell on one script for too long: Don't do rewrite after rewrite that spills into different seasons. Write two to three brand new scripts per year, enter them into competitions, get feedback, write them to the best of your ability and query with them. If nothing happens with those scripts whatsoever, you're already working on more. If your script gets no action, take it out of the ring and make room for new material.

And you should always be generating ideas. Keep a file folder of your crazy ideas - one of those crazy ideas might just click with something else and become the great script you are going to write next year.

You are the general commanding your troops for battle. There are soldiers on the front lines lobbing out queries and making forays into events and opportunities, but if you don't have enough munitions, you're never gonna win the war. Pretty soon there won't be anything new and fresh to query, pitch or otherwise lob out into the fray. You must always be generating new material. And the good news is that every script you start is a fresh chance to nail it this time and have the stars align for you. Every event you go to could introduce you to a person who might change your trajectory in large or small ways.

The writer's season is evergreen, not deciduous. You should always be writing and when you're not writing you should be generating ideas and simultaneous to all of that you should be gearing up for querying or a competition or an event. Hollywood has a rhythm and a season, sort of like school being in session for eight months of the year. Writers go to school year-round.

Silver Screenwriting Deadline Extension

2009-05-05T16:11:00.000-07:00

Well, hello, Wavers! How is everyone this fine day? Sorry to be a bit absent - judging scripts takes a lot of focused time and Yoohoo. Also cupcakes. Busy busy busy judging and might I say - I LOVE a good title - when you're looking at hundreds and hundreds of scripts and you see a crazy/great title you think Oooh! I gotta see THAT one!

Also, this just in - we've extended our deadline until Sunday, May 10th for those last writers who were so close and yet not quite ready. Well, you now have exactly five more days. Well, more like four and a half. But. It's still possible to submit. So please do so if you haven't had a chance. And make sure you have an eye-catching title!

Back to judging - more news from the trenches later. Now get back to work.

So You Think You Can Read?

2009-05-04T08:06:00.000-07:00

Since I started teaching the I Want To Be A Reader course, a number of students have signed up and completed it. But none with the enthusiasm and insight of Rouge Waver Michael Brownlee, who whipped up a frothy blog post about his experience:

***

Rouge Wave Pictures presents a new workplace thriller –

I WANT TO BE A READER

“Selfless coverage pro, Julie Gray, with only a computer, an internet connection and her vast knowledge of the craft, has only four weeks to turn a know-it-all screenwriter into a professional reader without losing her sanity or her professional credibility.”

Can she do it? Is four weeks enough? Can a know-it-all screenwriter be taught anything?

Spoiler Alert: Yes. Yes. And, thank god, Yes.

When I learned that studios hire people to read and cover screenplays I thought - How hard can it be? I know how to read. Besides, it’s got to be a better “industry job” than cleaning some junior executive’s cat litter box. Right? But after signing up for Julie’s I Want To Be A Reader course I discovered that there’s more to doing coverage than just reading a script.

The very first week I was blown away by how many elements a reader has to be on the lookout for. I quickly realized that reading a script for coverage would be nothing like reading one for pleasure. To start with I’d have to turn off my inner critic. One of the first assignments was a screenplay written with a dialect, where the words were phonetically spelled out. I loathe reading these. To be a professional reader you have to keep a certain distance and leave your personal feelings at the door. You read only what’s on the pages. That was probably the hardest and most valuable lesson I learned. (And one that’s actually helped me with my own screenwriting.)

As I read the scripts for homework, I felt like I was trying to keep a dozen plates spinning at once. Are the characters fleshed out? Does the structure work? Is the dialogue believable? With each week more plates were added. Writer’s voice. Synopsis writing. Reader comments. Trying to keep track of everything took constant focus. I struggled not to stop and jot down notes as I went along. After all, speed and efficiency are the reader’s two chief allies.

I was feeling pretty proud of myself when I finished reading a screenplay in under two hours. Then Week Three rolled around I learned that this probably wouldn’t cut it. Because a pro can read a screenplay and cover it in about two hours. Not only that, but she’ll do it three times a day five days in a row. What the what? I had been using every minute of the week between assignments to go back over my comments. Tinker with the synopsis a little. Even re-read parts of the screenplay to make sure I had all my ducks in a row. And we hadn’t even put all the elements of coverage together yet.

But when Week Four finally rolled around, and I had to write full coverage of three scripts, I was actually looking forward to the challenge. Because of the way the course is structured, learning one or two elements a week, I never felt overwhelmed. Challenged, yes. It felt good to get through those final screenplays, knowing what needed to be done and that I had been given all the tools to properly complete the job. It also felt good to have solved the mystery of what coverage is. Sure, there’s a lot more work than just reading a script, but now there’s also pride in being able to say “I can do that.”

Over four weeks, Julie walked me through all the steps needed to become a professional reader; from writing a synopsis that faithfully represents the script to keeping comments professional and on point to where to look for work. I highly recommend this course to anyone who’s thinking about becoming a professional reader. Now I have three samples and a letter of recommendation from Julie - a major foot in the door. And even if you aren't looking to become a reader, but are constantly looking for ways to improve your screenwriting, I would suggest you take it as well. After completing the course, I can honestly say that I’ll never look at a screenplay, my own or someone else's, the same way again. It’s like having new eyes. And that is worth the price of admission alone.

***

I am proud to say that Michael graduated with flying colors. Take advantage of my Economic Stimulus Discount, pay as you go and change the way you read scripts forever. Whether you're looking for work as a pro reader or just want to learn how to read scripts the way readers do, I promise you, you'll improve your own writing a thousand-fold. For more information, click HERE.

Judging The First Round Scripts

2009-05-01T09:21:00.000-07:00

...So the deadline for the Silver Screenwriting Competition is tonight at midnight. And the scripts are pouring in. True to form - and honestly, I respect it - writers have waited til the last second to submit. As well they should - why let typos or formatting be the death of your script? Why send in an okay script when spending a bit more time on it can improve it?

Wavers have the unique opportunity to really get the inside scoop on what administrating and judging this competition is like, since yours truly is the one in charge and yours truly is a sharer.

Questions that I find humorous:

You say in your FAQ that your page limit is 120. My scripts is 138. Is that okay? I got that question, I'm estimating, about 25 times. Answer: No, it is not okay. The limit is the limit. Why would the rules not apply to you, personally?

I turned my script in but then found errors, can I resubmit? I got that question at least 10 times. Answer: No, you cannot resubmit. Look, if your script is amazing, a few typos or errors will not stop a judge from enjoying it. Beyond that - this is not a dress rehearsal. Would you call and agent and say oh sorry, I found some errors, can I resubmit? No, you would not. Get it right the first time - act like a professional if you aspire to be one. It's not fair to the other writers who worked their behinds off, combing through that script and making corrections.

I have earned over the limit of what you can earn, can I still submit? Uh, no, you cannot. The earnings limit is there for a reason - to keep the playing field as even as possible.

I know your FAQ says no adaptations but I have an adaptation, is that okay? I don't understand the question. No adaptations. We want to see original work. Why? Because if you win, we are going to trot you out personally to meet some managers. And they're going to know what kind of chops you've got as a writer. Adaptation is a many splendored thing - but we want to see what you can create from nothing and spin into gold dust.

I see that this is a feature competition but can I send in my short/tv script/play? Maybe in the future, but no, we are a feature competition only at this point.

I'm sorry to sound cranky; I've fielded so many of the same questions over and over, I'm just a little amazed by the lack of information-gathering and the chutzpah, honestly, to see if we can make an exception just for that writer.

In order to be fair to all writers, we have to set standards and rules and stick with them. The vast majority of entrants did their cotton pickin' best to follow and adhere to all rules. Those are the writers to whom we owe absolute fairness.

We are taking a deep breath and preparing to judge the first round of scripts to find the quarter finalists. Rather than hiring readers we don't know and that we pay very little, we are judging these scripts ourselves - myself and my partners, Margaux and Andrew. How can we do it? Coffee, taking a deep breath, and giving ourselves plenty of time to give each script its due. We figure, you worked hard to write your script, the least we owe you is our undivided attention.

What happens in first round judging? Well, that's the round in which scripts are reviewed for basic formatting (you'd be surprised, you really would), an engaging first 30 pages with a clear premise, great dialogue and great character work. If a script in first round judging cannot manage to entertain, nail format and set up a clear premise in the first act, then that script cannot move on to a higher round of judging.

The higher a script moves up in the judging, the more scrutiny the script comes under. Think of this round of judging as the round that simulates real life the most closely. You send a script to an agent or manager and they can't get through the first act? Into the circular file it goes. We will be returning snapshot notes to all scripts that don't make it past this first round, so that writers can feel that rather than sending their script into the void and not knowing why they didn't move up, they can review their brief notes and know that from where we sit, the script didn't contain the engaging elements necessary to warrant further review. If we can't tell what your premise is in the first act...you're in a world of hurt. Or if we can and it's basically some other movie, redux and not done as well...not good. If you used Word and the formatting is off - off you go. This first round is a litmus test for screenwriters. It's the most fundamental sorting process of those writers who have "it" and those who just aren't ready yet.

Someone asked me recently,Well, isn't it possible that a script might have a weak first act but then it gets much better in the second act? Is that possible? No, not really. Because the first act is everything - it is the set-up, it establishes the world, it shows us whether you can write. If you can't pull that off in the first act, the second act is irrelevant. Again, this is quite like the real world. Imagine that I am an agent. A very busy, overloaded agent. And I take your script home and read the first act and find errors, don't get what your premise is, and am not in the least bit entertained. I'm done at that point. Why should I read 10 more pages or 20 more pages hoping the script will get better? I don't know who you are and I don't care. I have a job to do which is to find great scripts by writers who might make me the money I need to afford my kids' private school and my leased BMW.

Entertainment is a highly competitive industry. In fact, competition pretty much defines it. It doesn't matter how nice you are, or how cute, or how sincere. It only matters if your script is great.

First round judging is a little like speed dating. I sit down with your script, and you have about 15 minutes to blow my mind or I'm on to the next script. Judging gets much, much tricker when scripts are the semifinal level. The script has passed the good first act test. But now, does this script beautifully pay off the set-up? Can you tie it all together in a big bow of entertaining satisfaction? Look, this is tough stuff, make no mistake.

But secretly - I enjoy judging scripts. I so badly want every single writer to make it to the next level. I love opening script after script and wondering what world I will find. What characters will I meet? Where is my winner - the one writer who every judge agrees has got something special? It's a little bit like searching for Willy Wonka's golden ticket. Will I find the winning script? I found the second place script at the Blue Cat Competition several years ago and I remember clearly walking into Gordy's office, slapping the script on his desk and proudly saying - I found it! (I thought it should have placed first but there you go). So it is with that same excitement that we prepare to find the winner of the 2009 Silver Screenwriting Competition. Maybe you're reading this right now, Grand Prize winner! And if you are, I'm going to have such fun shopping for your cool prizes and driving you around LA to lunches and appointments. I can't wait to read your script and be amazed. I can't wait to meet you in person.

So - off we go. Now get back to work, Wavers. The clock is ticking.

The Longest Journey

2009-04-30T09:40:00.001-07:00

Getting your thoughts and ideas out of your head and onto the page is the longest journey in the world. We can see the scene, we can feel the emotion, but we have to use keystrokes and words to get it onto that white sheet of paper. And it's not easy, right? Because now we are constrained by a certain way of expressing that on paper - the screenwriting way. Or the prose way. Or the poetry way. Contrary to the saying, we are not a bunch of monkeys in a room.

Being a writer doesn't simply mean you have a lot of neat ideas in your head. It's all in the name: w-r-i-t-e-r. You write it down. And it's more than wanting or needing to write down your ideas and stories, it's the ability to write it down in such a way that other people reading it are engaged, surprised, touched and entertained by the words you took out of your head and put on the page.

Think of someone you know who is very funny. Think of the way that they command the room with their joking, imitations or comments. They love it. They love to bask in the glow of the laughter they evoke. They might be naturally funny, they may have a unique, wry, cynical way of looking at the world. But they don't sit around by themselves and crack jokes.

Any Rouge Waver reading this knows the wonderful feeling when someone says, wow, what you wrote in my birthday card made me cry. Or wow, your short story really surprised me and made me see things in a new way. And maybe you haven't had this particular experience, but when an editor says, yes, your essay or short story will be published - WOW - it means it did its job and that now, thousands of people will also be able to read what you wrote and integrate it into their own lives and point of view. I get that WOW feeling from the Rouge Wave - if a Rouge Waver says, thanks, I learned from that, or that made me laugh - geez, that means using the characters of the alphabet and my keyboard, I took what was in my head and wrote it down in such a way that it made a difference to you. Because a writer not getting read is like one hand clapping.

That's what we all want ultimately, right? To entertain others? To have an impact on them? To change their thinking, crack them up, scare them to death or otherwise make them FEEL something? We don't write just for our own benefit. Or maybe we do. But that's called journaling. Nothing wrong with that - it's therapy, it's reflection - but it's not for public consumption.

Before your writing can possibly have an impact on a reader, you must be adept at using the language. Spelling, grammar but more than that - the lyricism of the language itself. Here is a bit from a TC Boyle short story: Fall settled in early that year, a succession of damp glistening days that took the leaves off the trees and fed on the breath of the wind. Fed on the breath of the wind. Ah, TC, how I love you so.

Can you write a sentence like that? No, it's not screenwriting, it's prose - a different beast altogether - but screenwriting can also be lyrical and beautiful. Believe it. It's not just a blueprint, it's a gorgeous blueprint/presentation and words are your only tools with which to create it.

Are you a good writer? I mean - are you really? I don't mean have you sold a script or have you published a novel or have you come up with the best idea in the universe, but what is your facility with the words on the page full stop? Can you look out the window right now and write 250 words about what you see in such a way that I would be entertained by it? Can you make me see the buildings, the streets, the flowers or the rail car going by?

Screenwriters should watch a lot of movies. If you haven't checked out the GASP list, please do so and begin checking movies off it. If you are a television writer, get those hours of TV in. But remember, before your words hit the screen, they hit the page. So read good writing. And read it a lot. Take pride in the way you wield the words on the page. At the end of the day it's unimportant whether it's screenwriting, prose, essay writing or anything else. You have a gift. Use it, expand upon it and spend time daily getting it out of your head and onto the page.

Character Accents

2009-04-29T08:28:00.000-07:00

Dear Rouge Wave:

One of my characters speaks with an Irish accent. How do I indicate that? Do I write all his dialogue phonetically or do I indicate in a wryly every time he speaks that he has an accent?

-Top O' The Morning in Tipperary

Dear Top O' - when writin' a character wi' a wee bit of an accent, ye don't want te gobsmack the reader over and over agin wi' it, do ye then? It can become a wee bit annoyin', so? The reader'll sure te go arse over tea feckin' kettle wi' keepin' up wi' ye, isn't it?

Note the first time the character speaks that he or she has an accent and let it go at that. The reader will remember and beyond that, a more powerful way to really show that this character is from somewhere else is to us a few colloquialisms from their place of origin. In other words, if we're dealing with an Irishman, there's more to the fact that he's Irish than the way he speaks, right? Sure, you might use some specific words like arse or cuppa but don't over do it and don't bother trying to write the dialogue in a way that evokes the accent. That's for the actor to interpret. I have well and truly seen writers put a wryly that says (in a Spanish accent) over ever single line of dialogue for a character - which is super annoying - I got it the first time, thank you very much. Talk about ass over tea kettle and cluttering up your script. Don't do it.

What you are really indicating is that this person is from Ireland (or wherever). So you might throw in a few word choices that indicate that but beyond that, dig deeper - what does it mean that your character is from Ireland? It means your character has a different frame of reference, a different way of looking at the world and a slightly different way of expressing him or herself. If a character is from Canada, I don't need to literally see in the dialogue that he says "aboot" - I get it already. It's all in the set up of that character on the very first page that we meet him. If you do it well, I won't forget where he's from. If you hit me over the feckin' head wi' it, I'm gonna get real cranky on your arse.

So Much Fear, So Little Time

2009-04-27T09:42:00.001-07:00

So what are you worried about right now? Swine flu? Money? Relationships or lack of them? Your kids? Terrorism, global warming, your health, closing factories, the government? I find the world is growing more and more alarming - and alarmist. Every day I read the headlines and I think oh man, am I getting old or is stuff accelerating in negative ways? Am I shining a rose colored light on a few years back when I was younger or is stuff happening in our world that is rising in intensity? So much to fear, so little time.

So I work hard to feel better. Think globally act locally. Exercise. Meditation. Laughter. Focusing on the positive wherever it can be found. Unplugging from the media (or the weapon of mass distraction as a certain spiritual leader I admire would say). What do you do to try and feel better when there are so many things to worry and feel anxious about? Don't tell me you have no underground rivers of things you worry about. We all do.

And so do three-dimensional, unforgettable characters. Really great characters act and speak like real people, right? That's what makes them compelling. So what world do they live in beyond the construct of conflict you have engineered? Have you thought about the balance in your main character's checking account? Or how your main character feels about the issues in the media? You may not focus on some of the very real, real world issues happening within the world of your script; WHEN HARRY MET SALLY didn't focus on what was happening in the White House at that time - and it shouldn't have. Movies are escapist fare. But even if your script doesn't focus on global or personal realities, when writing a great character, those life realities are still happening beneath the surface. They have to be.

Every character has a family of origin. A past. A few pounds they'd like to lose. A bad habit they'd like to break. A lonely weekend. Moments of doubt. A spiritual belief system - or not. A world view and a world experience. They came from somewhere, they grew up and they lived in a world. So how has that impacted them over time? How has it impacted you?

As Tony Gilroy so truthfully wrote in MICHAEL CLAYTON - people are incomprehensible. So writing a character who feels real is a pretty tall order. Some writers, such as like Proust or Tolstoy, accomplish this with pointillist details. Others, like like TC Boyle or Denis Johnson, use a more graffiti-like way of writing, with broad strokes and bright colors that somehow coalesce into a realness on the page. In screenwriting, we can combine both tiny details and broad strokes to achieve an impact. But mostly, we have to use actions to define our characters. Which is both easier and much more difficult. We don't have the luxury of getting inside our characters' heads to tell a long backstory or reflect upon madelines. We have to be quick and dirty, which I personally think is the funnest thing about screenwriting. It's like puzzle solving - how can I show you that this is a lonely person? How can I show you that this is an optimistic person? A joker, a cynic or a worrier? How can I convey that quickly and effectively so that you the reader (or viewer) can plug into that person and get who they are?

I know what NOT to do and that is to write a character who is two-dimensional. Which is a charge often found in coverage reports. Two-dimensional writing is a character who is described physically and only concerned with what is happening right now - but who does not have foibles, traits, eccentricities or specificity as a human being. Even if your character is a type, it has to be a type that we can connect to. Oh yeah, I've met that guy before.

So back to today's topic - think about it - what is on your main character's mind that has nothing to do with the story at hand? Think about what you are worried about or anxious about and how you cope with that and ask yourself what your main character feels about the news of the day. Does your main character live in anxiety or blow it off? Do they drink or smoke it away? How evolved is your main character on a personal level? How do they deal with conflict and personal managment? Do they get lonely in a crowd? Do they have a savings account? Are they worried about that strange new mole? Give your character the same details that we all have.

In a SCRUBS episode a million years ago, Zach Braff coped by being in a bubble bath, surrounded by candles and singing Toto's Africa at the top of his lungs. It was hilarious, it was specific and it was real.

Update: You may be wondering about the Robotard 8000. They unfortunately had a last minute change of plans and my interview with them is on ice for the moment.

Now get back to work.

Sending out Queries

2009-04-24T09:10:00.000-07:00

Dear Rouge Wave:

Earlier today, I called about 10 smallish, indie production companies that I researched and thought would be right for my script and asked them if they read query letters. Only one company responded in the affirmative and I think that was because she didn't really know the answer. Everyone is always saying aspiring screenwriters have to query and see how the response is. So my question is, how (why) are we supposed to send our query when they admittedly don't / won't read it? I don't want to waste my time faxing a bunch of places only for my letter to be trashed. Am I going about things the wrong way? I have lived in LA for over a year and don't have many industry connections and have to start somewhere, so any advice you have would be great!

-Flummoxed in Florida

Dear Flummoxed,

There are two routes for an aspiring screenwriter to take when querying. Querying agents and managers or querying production companies directly. Most production companies do not accept unsolicited material; but of course there are some that do. If you are wanting to send your script (ultimately, right?) to a production company and simply want to know if they'll read your query, you're doing the right thing - you just call and ask. But. You want to ask in such a way that they think gee whiz - we should definitely read this script!

So in other words, rather than calling and saying hello, do you accept queries - which leaves the door open for a quick "nope, goodbye," you want to call and introduce yourself as the writer of a great horror script (or whatever genre that production company tends to produce - please tell me you did your homework on that part) and you'd love to send it in for a read and who should you direct the query to? Sometimes the person answering the phone is an assistant or intern whose main directive is to keep random callers away from their boss. Sometimes the person answering the phone IS the boss - it depends on the company. So be very respectful when you call because you just don't know what the situation is in that particular company.

So my nutshell advice would be to research each company a bit first using IMDB Pro, the HCD Online or if you're very lucky, Studio System. Make sure that what you've written is at all a fit for this company. Second, when you call, really pitch yourself. Do it briefly but do it effectively. So for example:

Hi, my name is Melody Writesalot and I'm a writer with a great romantic comedy that I think might be a great fit for your company - are you looking for material right now? When they answer yes, say fantastic, can I send a logline and synopsis? And to whom should I direct that?

If they say no, obviously you thank them very professionally and get off the line. Keep it brief, be prepared to send a synopsis, and make sure you have targeted the production company carefully. Many writers can, do and will circumvent the phone call and just go ahead and query via email. But I personally think a phone call is a faster, more effective way to make sure you don't send an unwanted query. You can make the same inquiry via email, by the way. Almost as effective except your email can also be ignored. And yes, there are some companies that don't really want the phone calls either. You really have no way of knowing until you try. Letters can be ignored. Emails can be ignored. Phone calls can get shut down. There's no one right way and there's no guarantee. Get used to it.

Don't feel bad about the nine companies that said "no" about accepting query letters. That's the way it goes. Could be they aren't looking for new material right now. Could be they don't accept scripts or queries that don't come from an agent or manager. Rejection is the norm for writers. You have joined a grand tradition of suckage. I know how frustrating it is, believe me.

If you continue to hear "no" time after time, you may want to pursue representation instead. Now, normally, I would absolutely recommend representation as the first tack, not the second, but sometimes, smaller production companies are not super concerned with that and if they read your script, liked it and wanted to work with you, you can use an entertainment attorney or you can then get on the phone with some smaller managers and say look, I have X production company who would like to work with me and this script and I need rep.

The biggest mistake you can make is obviously sending a script that is not ready for prime-time. If you're going to pre-query via phone, have your excellent, brief, scintillating little speech down pat. Be prepared to get shut down rudely. Be prepared to be asked some questions. Be prepared to send a GREAT logline and synopsis. Be prepared to send a GREAT script.

If you have done all of the above and are still getting "no thanks" when you call, take it in stride. It's the way it goes. Just keep trying.

Updates and Reminders

2009-04-23T09:17:00.001-07:00

Good morning, Wavers! Just a reminder that the May 1st deadline for the Silver Screenwriting Competition is rapidly approaching. Don't miss out on this opportunity to take your nascent career to the next level by winning a trip to Los Angeles, staying in a four star hotel and taking three meetings with three managers. Not to mention having lunch with Josh Zetumer (DUNE) and winning a MacBook Air, cash and other cool stuff. Because we are still a baby competition (this is our second year) the chances of winning are significantly higher than older, larger competitions. So get those scripts polished up and enter by May 1st to enjoy a few days in LA and meet industry professionals who could just give you the chance you've been waiting for.

In other news, after intense negotiations, the Robotard 8000 has agreed to meet me in person this Friday afternoon for an exclusive interview. While I will learn their identities, I am sworn to secrecy but I will be able to find out the answers to scintillating questions like: Why? Has it worked? And what's next? The Robotard 8000, if you missed it, is a couple of mystery writers who took matters into their own hands and put their script BALLS OUT on the web. Last time I heard, they've had 7,000 views of the script. BALLS OUT is totally offensive, go-for-broke hilarious and anyone who would do such a cockamamie thing is someone I have to admire for their sheer - ahem - balls out approach. So Monday, right here on The Rouge Wave, we'll find out more about The Robotard 8000 and what makes them tick.

Have a lovely day, Wavers. And remember, get those scripts in to the Silver Screenwriting Competition so you can come out to LA, meet me, hang out and and take three really fun, really beneficial meeting with managers. For a video interview of last year's winner, Hilary Graham, go to our website.

But - Why?

2009-04-22T11:04:00.001-07:00

Once in awhile we get them at The Script Department. And at competitions and production companies too. Grand Guignol, slasher, gorenography scripts. I remember reading one in particular, years ago when I worked for another script coverage service, that made me physically ill. I told my boss - don't ever assign a script like that to me again. I felt violated. As if by reading this awful stuff, my mind had been invaded by the nightmares of a twisted writer. Thanks for that. Thanks for letting me get a peek into your world. And what did I get in return? An insight? An amazing twist? No. Just images that will take me weeks if not months to erase from my mind.

Now, it would seem as if the era of gorenography is well and truly over. But you still see the scripts, now and again. And they are so off-putting that even readers cringe. Which is saying a lot. You have to get up pretty early in the morning to shock a reader. But it's not shock so much as total revulsion. And it's pretty darn hard to assess the box office potential, theme and craft of a script when you want to puke your guts out while reading it. And, as chance would have it, one of my readers was assigned a script recently that gave her the same feeling. How could she cover a script when she felt physically ill reading it? Well - it's hard.

But the number one question to ask the writer when reading a script like this is: Why? What does it mean? What are you really saying here? And who is your audience? After the shock, after the horror, after the needing to barf behind the theater - what will audiences take away from this experience? What new insights will they have?

Now, I know that this topic applies to only .5% of the screenwriting population because scripts of this nature are few and far between. Thank goodness. But the larger lesson still applies - why? Why are you telling this story? What will audiences take away from it? After the explosions, after the romantic encounter, why are you telling this story? What is your contribution to the story telling tradition?

Audiences, and cave people gathered around a fire before them, simply want to be entertained. They want to take their minds off of their own lives for two hours. But they have a deeper need as well. They want to feel. We need to feel. Dread, hope, anger, love - that's why we go to the movies.

So whether you're writing drama, romcom, sci-fi or horror - what is your audience getting in the way of entertainment and feeling? Not YOU - the audience. Now, we know that you need to feel the same emotions yourself as you write the script but you have to bear in mind that you are, at the end of the day, creating a product meant to interact with an audience. So take a step back from your script and ask - how and why is this entertaining...not to you but to millions of movie-goers?

And if you are writing something deeply shocking, doubly so you must ask - why? What is the meaning of this material? Being shocking is easy. Being violent is easy. Stirring up primal feelings is easy. We all fear being murdered. We all want to throw up when we see someone being dismembered. But - why?

In GOODFELLAS the opening scene - a man being stabbed in the trunk of a car - is fairly shocking. But as the story begins to unfold, we learn about the world within which this type of violence exists and why. It isn't violence for violence's sake - it is grounded in time, place and character. Pesci is a loose cannon. And he will ultimately pay for that. Even in the world of brutal mob violence, there is a code and there are consequences.

THE STRANGERS is actually a pretty good movie, and the bottom line was that there was no reason for the events that took place. When asked why the attackers were targeting the doomed couple, they say "because you were home." Which is a very memorable - and awful - moment. And while THE STRANGERS is a very scary and somewhat upsetting movie, it didn't cross the line of out-and-out tendon snapping, organ pulsing, brain matter spattering. I took away an insight into disconnect, chaos and random violence. To me, THE STRANGERS speaks to that basic fear we all have that as ordered as our own lives are, random violence still lurks. But again, this was not pure gorenography, either.

Readers are just people. People with families, pets and rent to pay. If what you've written is an orgy of blood spatters and shock value so off-putting that the reader gives the script back and says nope, I won't read this - Houston, you got quite a problem. Because readers are the gatekeepers. Yes, they have specialized skills and have read hundreds if not thousands of scripts but think of readers as Every Audience Member. And if you can't get past a reader, you're sunk.

So pull it back, tone it down or at minimum answer the big question: Why? What are audiences going to feel beyond terror and revulsion? Alfred Hitchcock knew that real, primal fear comes from what you do NOT see. A bomb ticking under the table of a group of unaware diners is a thousand times scarier than a person coming straight at a character with a knife. Dread is much more potent than simply watching something play out. If we wanted to see a body dismembered, we'd sign up for an anatomy class.

Write what you will, write what you care about, but check in with yourself and make sure you aren't writing something shocking just to be shocking. Because the shock factor alone will not be enough to hide poor character development, weak structure, lack of theme or anything else.

Once the reader has regained some equilibrium and decided against lunch for a couple more hours, he or she is going to ask: How does this material comment on humanity? What does it reveal about us? What is entertaining about this? How will audiences react? If a reader can't stomach your script, then the exec in charge won't be able to either.

Wrylies Redux

2009-04-21T10:23:00.000-07:00

Good morning, Wavers! For today's reading pleasure, here is a previous RW blog post from a couple of years back about the use of wrylies. Sometimes I use an older post because it's hot, I'm tired and I gotta be somewhere and other times it's because the topic bears repeating. Today's post falls under both categories. So enjoy.

***

Wrylies are what I actually prefer to call parentheticals – what writers use to indicate tone, attitude and sometimes an action that implies a tone or an attitude.

John (sarcastically) Your blog is great.

I have seen some strange things in wrylies. I have seen entire, long action lines in wrylies like:

Gertrude: (She sips his coffee, stares at him then thinks about last night. She smiles) Really? Your blog’s not bad either.

You think I’m kidding. I do not make these stories up. Welcome to the tragicomic world of the reader. That last parenthetical is of course is an example of a gross misinterpretation of what might be acceptable in a wrylie. Generally speaking, writers should use them sparingly and keep their contents, on the whole, to things like:

(coyly)
(softly)
(distracted)
(under her breath)
(to himself)
(chewing)
(tiredly)
(bewildered)
(cringing)
(blushing)

Ask yourself, before using a parenthetical, if it is really necessary. In other words, can the emotion or action you wish to describe be conveyed in the action line or in the dialogue itself? Whenever that is possible, please, please don’t use a wrylie.

Don’t get me wrong, there’s no law against wrylies; they won’t get your script tossed into the circular immediately, but the more you use them, the more I think your writing skills are not terrific. Be judicious, limit the usage as much as possible and remember these simple wrylie rules:

1) Never put in a wrylie what can be indicated in an action line. No (walking faster) or (remembering last night) or (wondering if the coffee is too strong) or (looking her up and down).

2) Don’t indicate emotion in the wrylie unless there is no other possible choice. Maybe your character is hurtling toward earth after his parachute has broken.

Douglas: (sarcastically) Oh, this was a good idea.

Since he is hurtling, it would be tough to show him rolling his eyes or shifting his weight as he’s being a wiseacre.

3) Don’t use wrylies more than occasionally. A plethora will only lead to this:

Reader: (annoyed) Please kill me now.

4) Don’t use wrylies as an aside to the reader. Again, you think I’m kidding, but this example is a real one: (what you see next will amaze you). Now if you're Shane Black, that could be really cool. But you're probably not Shane Black.

Reader: (icy disdain) This is such a PASS writer.

Action lines are just that – indicating action, movement, description, location. Yes? Yes. Wrylies are very small asides (laughing) (wheezing) (amazed). Used with restraint, they add a very light touch to a moment. It is better to use (to himself) than taking up the space in an action line to say:

John mumbles to himself -

John: Parachuting was your idea, idiot!

versus

John: (to himself) Parachuting was your idea, idiot!

Wrylies are about flow – they are shorthand way to give us, in a word or maybe two, a snapshot of the situation. Nothing more, nothing less. Wrylies should not impose; they should have quiet impact. Consider the wrylie the shy cousin who lives in the attic...emerging rarely but to great effect.

That Script

2009-04-20T08:31:00.000-07:00

So Wavers - have you written that script yet? The script that you've wanted to write your whole life? The one that might bring you acclaim and awards? The one story you were born to tell? I haven't. I've written some scripts I really like, mind you (and a lot that I loathe and am embarrassed about too) but no, I haven't written the script that is my ORDINARY PEOPLE. But I have a feeling that there is a story on par with OP that I am going to tell. Well - on par, I mean, that's incredibly ambitious. I just mean I know I have a story to tell that is very emotional and powerful and I have some inkling what it is going to be about but it hasn't yet totally formed within me. When it does, I'll know.

In the last issue of Script Magazine, there was an interview with Sean McGinly, who wrote and directed THE GREAT BUCK HOWARD - a script, incidentally, that I covered for Walden Media several years ago. McGinly worked as an assistant for The Amazing Kreskin, the mentalist after whom Buck Howard is modeled. It was a crappy job and one that depressed the hell out of McGinly. And yet - here's the last paragraph of his amazingly well written article:

During the strange chapter of my life working for Kreskin, I don't think I could have possibly felt more hopeless or lost. In my wildest dreams, I couldn't have imagined that it would lead, 12 years later, to me standing on a movie set with John Malkovich in a wig as he brought The Great Buck Howard to life. I guess this all brings me back to the advice to remain open and vulnerable. The truth about writing, and life I suppose, is that we really don't know what will come out of our experiences. It's important as a writer to learn structure and other skills of the craft, but after that, it's all about the ability to find inspiration from our lives or from the world or from our own imaginations. Amazing things can happen when we do.

Isn't that fascinating and motivating? It could be that something you are observing or experiencing in your life right now, or the life of someone you love, or a newspaper headline, is already beginning to marinate deep within your creative psyche, Wavers. And that something, whatever it is, may be the genesis of that script. The most important one you'll ever write. The one that will lead to your success, personal catharsis or both. The one story you were meant to tell. A few things have happened in my life in the past few years that strike me as components of that script. I haven't yet figured out exactly what the story is, but I can feel it beginning to form. And it's exciting. Everything else I've written to date and continue to write is all preparation for that script.

How about you, Wavers? Have you already written that script? Or like me, is it something that is still forming within you? Is there something happening in your life right now or in the recent past that might be a part of that amazing script but you don't yet know it?

Twilight

2009-04-17T08:37:00.001-07:00

Curious about all the hulaballoo, the Mini-W and I watched TWILIGHT yesterday evening. We had hoped that the movie would be a kind of girl-power paean, what with the fact that it was written by a woman, directed by a woman and had a female lead. Sure, sure, the thing with the vampires, but this cultural phenomenon - which drew huge crowds of female tweens - was clearly having an impact and we wanted to find out what great female-empowerment messages were embedded in the material.

We were sorely disappointed. The movie is like a romance novel for teens and not much more than that. The smoldering, brooding stares from across the cafeteria, delivered with aplomb by actor Robert Pattinson (lead romantic vampire Edward Cullen) were just - embarrassing. His heavy lidded I-can't-live-without-you-but-I-kind-of-want-to-kill-you-and-it-hurts-so-good gazes are the kind of thing couples do when they are joking. Usually someone winds up with a pillow thrown at them. But no, millions of 12-year-old girls are imprinting this cinematic experience upon their collective ideas and ideals of romance. Cullen says to our lead character, the realistically named Bella Swan, after knowing her for as far as we could tell, two weeks: You are my LIFE. I can haz restraining order pleze?

And you know, this is what bothered the Mini-W and me more than the SUPER cheesy fx (the running through the forest scene is hilarious: blurry legs beneath a smoothly gliding torso), the lame romance novel story beats, the super cheerful vampire family who plays baseball together and the overall toxic level of melodrama complete with slo-mo entrances through fog - yeah all that stuff bugged us but in a fun way in which we laughed really really hard - what left us with a bad taste in our mouths was the way the main vampire dude, Edward, is clearly a freaky obsessive when it comes to his love interest, Bella. And his words and actions are lit in the soft, golden glow of true love. A guy who said or did anything similar to the Mini-W would find himself slapped with a restraining order post haste. But seen through the eyes of Bella and delivered to the minds of millions of tweens, this is what romance is like:

Stuff Edward says to Bella:
You are my LIFE!
I like to watch you sleep.
I can't trust myself around you.
I'm a vegetarian; we only drink animal blood.

Is it just us or does this sound like FATAL ATTRACTION for tweens? Only - it's NOT a cautionary tale, it's romantic. No, young, formative tween - obsession is not weird, it's romantic. When he watches you sleep and climbs through your window unannounced, when he claims he can't live without you after having known you for 12 days, that's epic love that cannot be denied! It's totally cool, man. It means you are the center of his universe! And, when a guy is brooding, hurt and tortured inside, you can cure him! Love is the answer! Bad boys are good for you.

Wha-??

Seen through the prism of feminism - no, scratch that - seen through the prism of modeling for young girls what self-esteem and healthy bonding is made of - this movie is not only a disaster, it's frightening. No girl power here, just messages of how being the center of someone's universe to the point where they like to watch you sleep is validating of your gender role.

Of course the movie also has a ton of vampire desire as (barely) sublimated sexual desire, which is as old as the vampire story itself...so I get that. But this is aimed at 12-year-old girls. Who do have a burgeoning sexual and romantic self. But to cast that in the light of obsessive need and validation through being some kind of gauzy, feminine balm for a clearly effed up guy - man, those are not messages I'd want my daughter to soak in. Sure it's all cloaked in abstinence, nobody ever does it in Twilight (yeah, because 17-year-olds don't just go out to the shed and do it) but the lack of sex does not make up for the powerful, archaic, damaging message that being the object - yes OBJECT - of the attention of a messed up bad boy is a good thing because messed up bad boys are sexy and they want you. And being wanted by a boy - that's what tells you you're good enough. See?

Is this how far we've come, baby? Really?

The Flight of the Conchords

2009-04-16T08:19:00.000-07:00

So have any Wavers watched HBO's FLIGHT OF THE CONCHORDS? What a strange, delightful, weird show. When I watched the very first episode of the very first season, after having heard friends rave about the show, I must admit I was flummoxed. It was funny - I guess. In a very awkward way. I mean, New Zealand accents are actually a little hard to understand and I didn't quite get the tone of the show. By the second episode, I was hooked. And the more I watched, the more I got hooked. Those Kiwis are addictive.

For those of you who know nothing about the F of the Cs, it's an HBO series that airs Sunday evenings at 10pm and is about to wrap up its second season. It's about a New Zealand folk music duo - Brett and Jemaine - who have moved to New York and are trying to book gigs through their dedicated but totally inept manager, Murray. They have one fan - stalker Mel - a hilarious, hilarious actor, and live in a crappy apartment. They are an odd brand of man/boy - they are quite naive and trusting but also clearly dim. It's the details of the show that crack me up. The posters touting New Zealand in the background at the consulate: New Zealand - Don't expect much. You'll love it! And of course, the music - the show is interspersed with songs by Brett and Jemaine and the lyrics are ridiculous. Not to mention the music. But Brett and Jemaine take themselves and their music quite seriously. Rhys Darby, who plays Murray, is for me the best part. He insists upon band meetings in which roll call is necessary. Brett: yes. Jemaine: yes. Murray: present. His devotion to the band is nothing short of delusional - and yet it is heartwarming.

Like SEINFELD, it's a show about not much. Brett and Jemaine face difficulties like getting mugged, needing new fans, going on a warm-up tour. Most of their gigs take place at libraries, aquariums and empty bars. They are unaware of the absolute lack of actual progress as a band. The episode in which a fruit vendor is racist because he thinks they're Aussies is my favorite. The constant poking fun at New Zealand is priceless. New Zealand! Rocks!

The attention to detail and backstory is great. Their one fan Mel is married to a man who plays solitaire in the basement and drives her to Conchords gigs. When Brett is in the bathroom at Mel's house, she pokes her head in the door to "check" on him and to her right, there is a picture on the wall - such a small detail - of a sketched nude male with both Brett's and Jemaine's heads cut from a picture and glued onto its head. Mel, by the way, is a junior professor of psychology. And, yes, a stalker. The New Zealand Consulate, where Murray works as an attache, is housed in the same building as businesses like All Asian Massage and a meat distributor.

If you haven't seen the show, rent or buy the first season. It's a cult favorite and it's highly entertaining once you become accustomed to the particularity of the world. The artful construct of that world, from a writing standpoint, is the strength of the show. Totally character driven, it highlights the ridiculous music and the naivete of the band. It's a fish out of water construct - but what fish.

World. Particularity. Irony. Details. FLIGHT OF THE CONCHORDS is a show that aspiring writers should watch at least once. Because this, Wavers, is how it's done.

To learn more about Brett, Jemaine and their journey as comedians and performers, click HERE.

V.O. versus O.S.

2009-04-15T09:26:00.000-07:00

Most of us know what (V.O.) means when it appears after your character's name on your script pages: voiceover. And then there's (O.S.) or (O.C.). Both mean the same thing: offscreen or off-camera. The upshot is that (O.S.) is used when we hear your character's voice but don't see them because they are in another room, behind a plant or other large object or just - and here's the fun part - out of our view for whatever reason. You'll see why that can be fun in a minute.

Voiceover means your character is NOT in the scene whatsoever but they are narrating something - potentially even something from the next scene. Yep - I know that sounds weird but let me give you some examples.

EXT. CORNFIELD - DAY

Rows of corn undulate under a blue sky.

DORIS (V.O.)
I grew up on a farm. And it was on this farm that I learned to be a man. Yes. A man.

A windmill picks up the wind and turns - crick crick crick.

DORIS (V.O.)
That's right. I was the first gender-awkward man in Tuolumne County.

- So our character is narrating this story over a view of her lovely corn farm in Tuolumne County. And that's a real county and it's pronounced "Twah-luh-me." Just FYI.

But then we might have:

EXT. CORNFIELD - DAY

The wind picks up. A storm is approaching. The hat FLIES off the scarecrow.

DORIS (V.O.)
And the biggest test I had as a man was the day the big storm came.

INT. EDITOR'S OFFICE - DAY

A fancy high rise in Manhattan. DORIS (32), slender, pre-op, a thin five o'clock shadow, in jeans and a flannel shirt, sits across from a literary editor.

DORIS
It was an F5 tornado. The only ones who were safe were the ones down in the coal mine.

EDITOR
Doris - I mean, Don - I have to stop you right there. Coal mine?
This is -

He looks down at his paperwork.

EDITOR
...California, right?

So we used V.O. with the images of the cornfield and then as we roll into the next scene, we see that Doris is sitting right there and that's where the V.O. came from. We didn't have to do that; we could have then jumped into the tornado scene and picked up the dialogue as the tornado is actually happening.

Another fun way to use V.O. is to use it for comedic or ironic effect - you can juxtapose the image with the content of the V.O. Right? Does that make sense?

INT. COAL MINE - DAY

MINERS sweat and toil in the inky darkness.

DORIS (V.O.)
Daddy worked hard for his money.

INT. CORPORATE OFFICE - DAY

An older man with a mane of silver hair winds up a phone call.

MAN
I don't care how many particulates they inhale! I need more coal!

He slams down the phone. Presses the button for his secretary.

MAN
Get my daughter on the phone, STAT!

So as long as you don't abuse it, there are a lot of fun ways to use V.O. for entertaining and informative purposes.

O.C. or O.S. means, once more, that the person is THERE somewhere, just not visible to us.

So you might have:

INT. CORPORATE OFFICE - DAY

MAN
I don't care how many particulates they inhale! I need more coal!

He slams down the phone. Presses the button for his secretary.

MAN
Get my daughter on the phone, STAT!

DORIS (O.S.)
You mean your son.

Doris hands her father piping hot coffee. His eyes widen.

MAN
Doris?

DORIS
It's Don now, Dad. It's Don.

So we used the O.S. just to make that little exchange more fun. It takes a sec to see Doris. It's like he/she is the sidler from Seinfeld.

So (V.O.) and (O.S.) are differentiated because one is literally a voice over a scene with the person being totally absent because this is perhaps a memory, or perhaps the origin of the voice is revealed in the following scene.

(O.S.) means the person is in the scene but they aren't visible for whatever reason - because they are in the bathroom and we hear them but can't see them. Because they are in another room. Because we just aren't showing them for a sec because it's funnier or scarier that way. For example:

EXT. FARMHOUSE - NIGHT

A man looks at a creaky, fall-down barn. Bats SWARM out of the rafters.

EDWARD
Let's start the tear-down tomorrow, Shirl!

MAN (O.S.)
I wouldn't do that if I were you.

Ed whirls around. He's face to face with his DEAD FATHER!

So V.O. and O.S. - know the difference and use them well. And before you ask, yes it's okay to use V.O. as long as you don't abuse it by being too expositional or heavy-handed. Use it for good, not evil. Don't be lazy.

Lessons From American Idol: Part II

2009-04-14T09:21:00.000-07:00

Yeah, yeah, I know I'm eight seasons too late to be interested in AMERICAN IDOL. I avoided it for a long time. But I'm really struck by the parallels between this show and the journey of writers. Everything from the early auditions, when people think they can sing because their friends and parents told them so, to the current episodes in which singers are adept but not 100% unique.

In particular, there is one singer, Lil Rounds, who has a great voice. The girl can sing. But her choices so far have been homages to other artists but without her own touch - and that has held her back from greatness. She's imitating, not innovating. And that can be the death of many a talented screenwriter.

The same but different is something we've all heard before. It's supposedly what audiences want in a movie. Something that is a little familiar to them, and yet something that surprises and delights them too.

Last week, when Adam Lambert performed "Mad World," we had the perfect example of "the same but different." A familiar song, but he took it to another level of its potential. He put his own stamp on it. A performance like that makes you want to listen to the original again (or even the cover by Gary Jules, featured on the DONNIE DARKO soundtrack) AND to listen to Adam's rendition again and again.

There's no question that all of the finalists on AMERICAN IDOL can sing. They are all talented, no doubt about that. But, the question then becomes who can perform under pressure and pull it out time after time and who can stand out from the pack in terms of originality? Or, as we writers would say - who has a VOICE?

Every day, as I am wont to say, hundreds and hundreds of scripts arrive in Hollywood. The vast majority of them are not competitive. Think of this phase as those early AMERICAN IDOL auditions when you have thousands of screaming would-be competitors crowded into auditoriums, waiting for a chance to try out. Some are delusional, some are clowns - and some - a very few, can actually sing.

You're not worried about the delusional and the clowns. Your competition is the writers who can actually write. Now we come down to meaningful competition. But of those who can actually write - how many are also good in a room, able to handle pressure and able to write not one good script - but another one and another after that? Now the competition dwindles to just a handful.

The sorting process goes something like this:

Writers who can actually write
Writers who can write more than one good script
Writers who write consistently, with discipline
Writers who can handle feedback and take notes
Writers who can handle rejection, disappointment and setbacks
Writers who can generate fresh ideas
Writers who are good in a room and can pitch well
Writers who are fearless and confident

...and even then, Wavers, even when you reach the top tier of confidence, experience, professionalism and consistent writing, the odds are very much against you. But you have to go through the various auditions - the points along the way when other writers either drop out or get sorted out of the running.

There are troubling signs along the way that can sometimes indicate a writer doesn't have what it takes. New writers who get IRATE about notes or feedback - not a good sign. Writers who take rejection too much to heart. Writers who stay on the same level of doing great karaoke but who can't break through to find their own unique voice. But the good news is you can work to break through any of these levels. As they say, the difference between writers in this town who make it and those who don't is that those who made it never gave up trying.

But in order to evolve, you have to recognize where you are on the scale. You have to listen to the feedback you are receiving - sometimes it's silent feedback in the form of not getting read requests off of queries. Maybe it's pass after pass. Maybe you go postal when you get notes you don't like or agree with. Maybe you FREEZE in a room. Maybe you write well but your scripts are soft and derivative. It's okay - just be honest about where you are. That's the only way to reach the next level.

I wonder, when a contestant on AMERICAN IDOL goes home - what do they do next? Do they bitterly voodoo curse Simon Cowell and rage to the skies that they were unfairly treated? Or do they take what they learned and use it to become a better singer/performer? Well, I suppose either choice is a legitimate one. What would you do? Are you going to use your experiences to build a case that the world is not fair to you and that nobody gets your brilliance? Or are you going to make an honest assessment and use the information you gather to recharge yourself and your writing to keep evolving and improving?

Continuing to evolve, being open to feedback and continuing to put that behind in a chair is what separates the men from the mice. Yes, sometimes it's exhausting. Some writers just think you know what, I just don't have the passion, eight scripts in, to keep up with this. And that's okay, that's a legitimate life choice. But you out there, you writers who can see no other life for yourselves than to break into Hollywood and write a produced movie? You are on an Iron Man Triathlon. Others will fall away, the path may sometimes feel lonely and difficult, but nurture that core passion and get back up and keep writing. That's the only way through to the end game. And when you reach that end game, you'll find the most ironic thing of all - it's not the end, it's a new beginning. So you wrote a script that sold and was produced. Can you do it again? Can you stay relevant? Now that you made it onto Sold Writer Island, can you manage not to get voted off?

Writing, particularly writing for entertainment, is not for babies. It's only that weird, slightly obsessive part of yourself, the part that makes you NEED to write, that can be your sword and your shield on this strange journey. Don't be afraid to take stock of who you are and where you are. There's no shame in being like Lil Rounds - she's amazing - she's made it very far. She can sing better than 99% of the population. But in a competition, that's not good enough. If that thought makes you quail, you may not have what it takes. There's only one way to find out. Keep. Writing.

And yes, you will have very bad writing days. I had one just yesterday. Bad writing, not having fun, not feeling the love. Writing sucks, let's just be honest. But it's not going to stop me from sitting back down today and getting back to work. Being a writer is like marriage: for better or for worse, through sickness and health, for richer or poorer. Good writers have bad days. Bad writers have good days. For my money, the absolute worst stage you could be at is not the doubt, not the rejection, not the freezing in a room, but being a screaming contestant sure you can sing but the truth is - you can't. That is horrible. To not honestly know what your skills are.

I find that the intensity of writers is usually inversely proportionate to their talent. I have not done a scientific study but I have worked with hundreds of writers and I have found this to be a pattern. Good or even great writers are generally fairly mellow and humble. Bad writers are usually strident, defensive and insistent that they are great. I think when you're good and you know it, you don't have the need to insist or be validated. When you're not so good, a defense mechanism can kick in, making you need to insist that you are GOOD as a way of coping with the fact that in reality, the idea of being a writer is what you are in love with.

There are Wavers reading this right now who fall into every category I have listed or mentioned in this whole blog post. All up and down the scale. I can't know whether each and every one of you can or cannot write, will or will not succeed. It doesn't matter what I think. It just matters that you be honest with yourself. If your GPS is not set to the true starting point, you'll never get to your destination.

Action Lines: Opportunities Waiting to Happen

2009-04-13T07:54:00.000-07:00

One of the weird things about table reads is that the action lines are read aloud along with the dialogue. It's slightly counter-intuitive because in the movie version of your script the action lines are, well, actions that are happening, not words someone is reading aloud. But when your script is read, there's that translation that happens in the mind of the reader - I'm reading your action lines and visualizing the actions you are describing. Right? I mean, we know that.

This is one of the things that makes screenwriting SO unique - action lines are meant to be READ at first, but read in such a way that they paint a picture. Then later, they will be read and interpreted into images and actions. So that, for example:

EXT. LAKE MICHIGAN - DAWN

The icy lake is steel grey, tinged with pale blue. A flock of GEESE flies overhead, HONKING. The sun begins to rise, bathing the lake with a honeyed glow.

....becomes a shot, right? And if this shot makes it into the final draft of your script and everyone loves it, a camera crew will shoot on location - might not be THAT great lake, might be some lake that looks really big and cold and steely. Might not be at dawn, might be at dusk. Might have to CG the geese or might get lucky. "Honeyed glow" might be a real sunrise or it might be done in post production. But you see, this very short, quick description of mine will now require a whole set of filmic actions to bring to life. But in that initial read, the reader is absorbing a mood , and the lake is setting that mood. Does it matter, then, if you wrote the same action line like this:

EXT. LAKE MICHIGAN - DAWN

The sun comes up over the large, cold lake. Geese fly overhead.

Well, no - look, it's the same shot, right? And the second example used way fewer words. But which description was more cinematic, sensory and memorable to you? It's all about finding YOUR voice and YOUR way of describing things, but I promise you that the more cinematic your writing, the more absorbed your reader will be in your script. And the better writer you are (better defined here as: both cinematic AND pithy) the better people will react to your script. Not to mention that an agent or manager will definitely not be impressed by or drawn to utilitarian writing that is there to just get the job done and move on.

Some screenwriters complain - hey, my action lines are just that - they are actions that are happening; camera movements and descriptions of visuals. So why do they have to be written WELL and held up to the same standards as prose? Because they will be READ, that's why. Read and seen and felt by a reader - then later, read, seen, felt and translated into images by the actors and the director.

At table reads, most writers are eager to hear how the dialogue sounds. That is the primary focus, usually. And they get a little yeah yeah, get through the action lines, I want to hear the characters interacting. But. Hearing your action lines read gives you a chance, for one thing, to hear how those action lines are translated by a reader. In other words, if your trusty narrator is stumbling over some of the words in your action lines, or sounds like they are going on and on as they read - it's a reflection upon the action lines themselves.

You might have too much black; you might have chosen alliterative or unnecessarily complicated words. Or you might be over-directing the characters. Take one recent example - a character in the pages is a cigar smoker. And he's veritably always holding onto, sniffing, smoking or otherwise fondling his cigar. So the writer wrote that in the action lines. Throughout the script. So that this character's lines of dialogue were always preceded and peppered with the business with his cigar - which interrupted the flow of the read. Because every single time this character spoke, we first had to read an action line about something he was doing with his cigar. Frustrating for the actor trying to just do his dialogue with flow and emotion and frustrating for the audience having to hear repetitive lines about a cigar.

Now: There are people (and characters) who are always fiddling with something - their hair, cigar, gun, cigarettes - whatever. But in general, if it's just fiddling that we're talking about, set it up early in the script and then leave it out after that. Why? Because the actor gets it already: I'm a cigar-fiddler. Micro-directing how that character is repeating personal gestures takes up space on your script pages and unnecessarily interrupts the flow of the read.

INT. PARLOR - NIGHT

Emil sniffs his cigar appreciatively.

EMIL: Your move, my friend.

He snips the end of his cigar.

FRANK: Ah, so it is.

Emil searches his jacket pocket for a lighter.

FRANK: Check and mate, my friend.

Emil lights his cigar and inhales. The smoke swirls around his face.

EMIL: Fair enough. I suppose you'll want your payment at the usual time?

Emil ashes his cigar.

FRANK: At dawn. By the lake. And bring rope.

AARRHGHGH - we get it with the cigar already! Because something really interesting is happening here; these two men have made a bet and Frank won and holy shit, by the lake with a rope? But the lines about the stupid cigar interrupt the flow of that. And Wavers, I know you think I make up examples to make my point in the most heavy-handed way possible and yet I swear upon my mother's blue eyes that this is the kind of action line writing I have seen many times over.

Remember, when someone is reading your script, they are primarily drawn to the lines of dialogue. Firstly, this is a visual thing - the dialogue is centered on the page. Secondly, the dialogue is where the story moves forward. Right? It is true that readers sometimes skim action lines, particularly if they are a bit dense. I don't mean SKIP - I mean SKIM. Because remember, readers have to time their reads - they have several more scripts to go this week and they just need the UPSHOT of your script. So if your action lines are dense and not particularly entertaining, they start skimming in order to facilitate just getting through the read.

Now - seriously - you don't want your action lines skimmed. So you have to make them melodious and interesting. You have to make them a value-added part of the experience of reading your script - a delightful, cinematic bonus. Just be careful not to overwrite your action lines; your character smokes cigars - we get it. And perhaps more importantly, the actor gets it. Set it up early and leave it alone. Or find another, more clever way of indicating the relationship between this character and his or her cigar, hair, gum, fingernails or zipper.

Try having your own table read. Have a friend or loved one play the narrator and the characters - have them read just a few pages. And listen to the way the action lines sound read aloud. Are they lengthy? Is your friend stumbling through them? Are certain gestures of a character crowding the pages or interrupting dialogue?

Action lines that are o-k-a-y get the job done. Action lines that are exceptional get writers repped and sold. It's pretty simple, Wavers. Interrupting your dialogue with action lines that micro-direct a character and his cigar is unclever-scriptus-interruptus-gimme-a-breakus.

Which is better writing - to show us repetitive details of fidgeting with a cigar or to write a character who is the essence of one who smokes cigars - whether that's expensive cubans or cheap cigarellos? What is the cigar really about, in other words? It's not just a prop; it's a way of being and thinking. So capture THAT rather than leaning on the prop itself.

Yes, action lines are, in part, utilitarian; but a good writer never leaves it at that. Why just state what's going on when you can show the reader your beautiful command of the language and your ability to direct the eye cinematically? Why have a cold lake when you can have a steel grey one with the honking of migrating geese echoing across it as the sun rises? Why do something just all right when you can do it exceptionally?

This I Believe

2009-04-11T08:50:00.000-07:00

So I was listening to NPR the other day, as I am wont to do, and I heard the very last installment of their This I Believe series. It was Muhammad Ali talking about what he believes about life. It was fascinating. And I thought - how interesting, making a statement about what you believe is like writing a mission statement, isn't it? And a mission statement is a bit like a great logline isn't it? It's a very core, fundamental statement about your script.

Long time Wavers know I tend to harp on the fact that screenwriting is only one kind of writing and that you should develop the muscles and the skills to write for other mediums. Short fiction, poetry, non-fiction, first person essays - well, how about we get a two-fer today?

How about Wavers write a 100-word This I Believe Statement and submit it to the comments section here? It's a way to think about and focus on your core values and beliefs but with a strict word limit. The word limit - just like in writing a great logline - forces you to distill your thoughts into the most powerful expression possible. And here's the two-fer part - as you do this, you'll revisit and reinforce what your core values and beliefs are. In a busy, busy world we don't check in with ourselves often enough and ground ourselves in what we really believe to be true of ourselves and this life. There's just so much noise and distraction. But if we don't check in with why we're here on this planet, then we're chucking the guidebook out the window.

Easter celebrates the resurrection of Christ, but as a metaphor, it celebrates the possibilities of rebirth and new paradigms. Passover celebrates freedom from adversity and new beginnings. So it seems appropriate on this Easter and Passover holiday to take a moment to do an uplifting writing exercise that reinforces who we really are and what we hold dear.

So here's my This I Believe:

I believe that happiness is not about stuff or achievements, but a feeling of well-being. I believe that knowing the universe is fundamentally good is the only thing you need to know for sure. I believe there are no mistakes, accidents or wrongs that won’t unfold into grace down the road. I believe that grace is where courage, wisdom and laughter meet. I believe in being nice to people. I believe in playing more and worrying less. I believe we are the writers, directors and producers of our lives and that we tell the story we want to be in.

Secret to Your Success REVEALED

2009-04-10T08:58:00.000-07:00

Flip through your most recent copy of Creative Screenwriting or Script Magazine and focus on the ads. Yeah - that's mine, very good, thank you. Nice artwork, I know.

Look, I'm a writer just like you. And I just saw an ad for a very cool looking writer's retreat - I've never been to one and they appeal to me mightily. I have a lifelong dream of going to Yaddo or enrolling in the Iowa Writers' Workshop. Maybe one day. A retreat strikes me as a great use of money and time. Because the rewards have legs. Teach a man to fish and all that.

But some of the other ads, the ones that promise to reveal some SECRET to success - those make me so uncomfortable. Because, Wavers, there is no big secret that someone can teach you that will magically make a sale for you. There. Just. Isn't. Believe it.

With the economy in a tailspin, we are all forced to make tough decisions and really look at our expenses and test each one for how much it is really needed. In times past, we all had more disposable income and it was easy and fun to go to Target and spend $200 on stuff and we didn't think twice. We need stuff, right? Take a look at your home - look at all your stuff. I bet you have a lot. I do.

And just like anyone else, I get the feeling that some new stuff will bring happiness, security, success - whatever. When I was married, I was a shopper. Because shopping alleviated boredom and stuff feathered my nest with - well, stuff. Looking back now I see that I had been the ideal consumer - stuff makes you happy! You NEED this Pottery Barn furniture because then you'll be just like the photograph of a stuff-filled home which connotes comfort, success and classiness! Oh, and relevancy and happiness! Oh, how ridiculous. Do you know that temporary high of getting something new? Your new car, new clothes, new iPhone - it's like a new toy and it provides entertainment - for awhile. Then it's just more stuff you have. And you're no happier. Or more successful. What a line of baloney we've all been fed.

We live in a consumer driven culture and yes, there is a lot of stuff that does enrich, educate and fulfill us. But you have to check in with yourself - am I getting this stuff because I'm bored? Am I getting this stuff because it promises me that I'll be happier? Or more successful? But - will it really? Honestly?

Don't get me wrong; I'm all about seeking out joy and fulfillment. But when particular products or services tell screenwriters that they will learn some huge SECRET that will OPEN THE DOORS TO HOLLYWOOD I get kind of uncomfortable.

Because, and I'll say it again - there is no big secret that everybody knows that you do not.

Wait - no - there is. I'm charging $53.99 per view of this big secret:

Ass in chair.

Okay, you can send payments to: bigsecret@thescriptdepartment.com. Go ahead. Operators are standing by.

As a service provider for aspiring screenwriters, I obviously believe that objective feedback is an important part of your development - otherwise you can write all you want and have no idea if you're improving. If I didn't truly believe that, if I hadn't benefited from it myself, if I didn't see the impact great feedback has on writers, I wouldn't be able to sleep at night. Because I was born with a very strong ethical-ometer [technical term --Ed.] and I can't earn my living providing a service that writers don't actually need and also live with myself. I'm just not built that way. From time to time the board of directors of my company considers, then scraps, ideas that would earn us money but not really benefit you demonstrably. We just don't roll that way.

There are consumer junkies of every stripe. The techno-gadget junkies. The home furnishings and lifestyle junkies. The cosmetics and beauty supplies junkies. The DVD-buying entertainment system junkies. You name it. And for each type there is a whole industry set up to exploit the junkie and give him or her that HIGH of hope and safety and security.

Most screenwriters are pretty astute, but there are junkies in that world too. I have seen them browsing the tradeshows, snatching up armloads of books and software. I have seen them attend not one but three and four pitch fests each year. I have seen them attend not one but EVERY class and seminar. In a weird way, it's a great way to avoid actually writing. If you keep buying STUFF about screenwriting - somehow, by accretion, magically, your writing will improve.

R-i-g-h-t.

Look, I'm as guilty as some of you are - talking about screenwriting is way more fun than doing it. We'll do anything to avoid the terrifying quiet of sitting in front of our computers sometimes. And I really do get that.

But don't get taken for a fool. Big secret = bullshit.

I mean, look - of course you need to spend money on your screenwriting career. You do need to attend events, go to classes, buy some books and get feedback. It's all part of that five a day for writers I've spoken of before:

Write
Promote
Network
Learn
Live well

Check in with yourself before spending money on seminars, books and products. Is there a feeling there for you of desperation? Of a quick fix? If so - do NOT press "pay now." Be careful of where you spend your money and your time when it comes to screenwriting. New, better, faster and more is a myth. Ass. In chair. That's the only big secret. And even then, folks, even then, the odds are against you. Are you okay with that? You have to be.

Someone asked me the other day why I write The Rouge Wave. I thought about it for a minute. Because writing is really hard and isolating and I try to motivate you with humor and understanding. Because you need a cheerleader, a friend and a strict schoolmarm. Because sometimes you need to get over yourselves. Because somebody needs to tell the truth once in awhile. Because I want you to believe in yourselves. Honestly, I am YOUR fan, Wavers. I thank YOU for reading every day. Because writing is hard. But you're doing it against crazy odds. Because you can't help it. Because you have a story to tell. And because you want to express yourselves and make some sense in this crazy world. That is heroism. You are the ones who inspire me.

Can You Hold My Attention?

2009-04-09T09:09:00.000-07:00

I wouldn't describe myself as a script reader these days. Readers read two to three scripts per day. Now that I run a company that hires readers, I might read one or two scripts a week. And when I do, I really look forward to it. Oh for a quiet hour or so to sit with your script, turning the pages and getting lost in the world that you created. I get all comfy with some coffee or tea, turn down the radio and open the script.

I read a few pages. The phone rings. I ignore it and keep reading. My email chimes. Three times. I glance up to see what's up but return to the reading. The phone rings again; it's the director of the Attic Theater about tonight's table read - I gotta take it. After a 10 minute conversation, I return to your script - which page was I on? Oh, page 17, okay. I continue reading. Email keeps chiming. Oh shoot, that email has to be responded to right NOW. I jot off a quick reply. Now. Back to your script. What was happening? Where was I? And so on and so forth. There is no such thing as totally quiet, dedicated script reading time. It will get interrupted. And I'm just me - imagine an agent or manager reading your script. Multiply the phone calls and emails and knocks on the door by 1000.

But something strange happens when your script is engrossing. Suddenly, everything else around me goes quiet - I can't tear myself away from the pages. Yeah, yeah, I'll return that phone call but I just gotta see what happens, I'm just so swept up in these pages. Yesterday in the late afternoon that happened. I had to GO, I had a table read to host. But the script was really engaging me and I had to finish it. I kept glancing at the clock - gotta go - gotta go - but just two more pages. Just five more pages. Gotta finish this, gotta see how it ends...

On the other hand, and I'm sorry to say, this is the majority of the time, if your script is executed poorly - if I'm just not getting into the characters, if there are errors on the pages, if the storytelling itself is pedantic and unexciting, then the email chimes, phone calls and lunch dates suddenly become more pressing than your pages.

So Wavers, this is what you're up against. Because my situation is pretty normal. Even a script reader who does this as a full time job gets hungry for lunch, gets emails, phone calls and roommates poking their head in the door asking whose turn it is to vacuum. Nobody reads your script in a 100% ideal situation - i.e. uninterrupted, blissful silence.

So how can you overcome that fact? You need cinematic writing that moves. You need unforgettable characters. You need a premise that is unique and exciting. Those are the scripts that make the phone calls and other interruptions fade into the background. You can have whatever opinion you want about BALLS OUT, the Robotard Mystery Script, but it is, if nothing else, very engaging. It MOVES. It surprises, it offends and it makes you laugh. It is, in a word, engaging.

Engaging the reader. That's your job.

The first thing to overcome for you, the writer, is the difference between what engages YOU and what will engage and involve someone else. If you asked 10 writers whether their script is engaging, all 10 would say yes it is. Nobody ever tries to write a script that isn't. Right?

But the relationship between a writer and his or her script is inherently incestuous. You're too close to the material to imagine that it may not be as great to someone else as it is to you. You've read it and worked on it ad infinitum, so you have no perspective anymore. Is it entertaining? Well, sure, to YOU it is.

But is it really? Is it interruption proof? Will it make a professional reading your script ignore the ringing phone and be late for lunch?

That would make a great rating on the rating grid - engaging/entertaining/compelling. Fair, Good or Excellent. Maybe we should think about including that at The Script Department. Mama shall think that one over. But do you really want to hear the answer?

The most heartbreaking instance is when a script is executed just fine - no typos, clean action lines, a good page length - but the story is just, well, dull. It's fine. It's okay. It's just not that interesting.

Many of you may read scripts from time to time and you're thinking - hey! I stick to it! I don't get interrupted, my attention is held the whole time. Well, there's a wide gulf between you and a professional reader. For one thing, you are probably reading a professionally written and/or produced script in which the writer has a very high skill set. Or barring that, you're reading a script as a favor to someone and you're all amped up to do it. And another thing - you might read two or three scripts a month. Try reading two or three scripts a DAY and imagine then, that of the minimally 15 scripts you read in a week, that 13 made your eyes bleed.

Reading can sometimes be a real grind. Believe it. And your script enters into that grind as a new, fresh hope for that reader. Maybe THIS one will be a quick read. Maybe THIS one will crack me up or scare me or make me cry. Maybe THIS one will remind me how much I love good writing.

That's why readers get SO excited when your script rocks. Wow! One stood out! This writer changed my perspective, just a little bit. This writer entertained me, moved me and delighted me. God I love that feeling. It's the best feeling in the world. Well, you know, in the top 10.

Imagine this: You pick up a book and read a few pages. Not turning you on. You give it another few pages. Still not doing anything for you. You flip ahead. Eh. You look at the cover again. Meh. You read the author's bio on the back. Hmm. And you make the painful decision to put the book down. If you're a reader, you don't have that latitude. You MUST read the whole damn thing. And then write up your thoughts about it. If it was slow, unoriginal, laborious and filled with typos and mistakes, your coverage is going to reflect that without mercy.

So remember, after you've read all of your Save the Cats and Storys and Writing Great Character Blah-Blah books, after you've read The Rouge Wave everyday, the onus is still on you to write pages that engage and entertain. Your job is to write pages and tell a story that engages the reader. Your pages have to make the world go away.

There's no book that can tell you how to do that. It's called talent. And it's making sure that your premise - before you write the bloody script - is an interesting, original, entertaining one. Feedback helps. Being honest with yourself helps. So often newer writers can be very self-indulgent. How can the thinly veiled autobiographical story of how hard it was for you to find love when you were a student at UC San Diego not be TOTALLY exciting to someone else? Hint: It won't be.

Readers are jaded. J-a-d-e-d. We have already read every script known to man. The same stories are told over and over. What you think is totally original, to us is a script we read last week. Believe it. I know it's a very harsh truth. Your totally original sci-fi script? Yeah,I've read it before and it was better.

Awful awful awful, right? Well, it's the truth.

Get honest feedback from someone who either doesn't know you or someone willing to be 100% honest. So that rules out your mom, spouse and friends. Work HARD on hammering out a premise that is the same - but different. Dig down deep into the particularity of the world you are creating. Take the time to develop characters that really are unique. Write pages that move quickly and that are cinematic, colorful and entertaining.

Because the entertainment factor is everything. It is simply everything. And the golden pathway to that ineffable quality of engaging and entertaining is paved by everything above and then the one, magical ingredient that rules them all: VOICE.

How do you develop your voice? By writing. A lot. By letting go some and having fun on the pages. By being a little playful. By being unafraid to be uniquely you.

Generally, new writers go through several phases:

The first, horrible, awful two to three scripts: You have read all the books, taken all the classes and your writing is pedantic, tight and unoriginal. You get shut down immediately when you try to query or enter a competition. People smile thinly at you and encourage you to "keep trying!"

The mediocre three to four scripts after that: You don't have to refer to your Trottier book 18 times a day anymore to check on how to deal with structure. But your premises are not unique or entertaining. Your scripts are o-k-a-y but dull. You get shut down wherever you query. Your writing group encourages you but nobody really believes you have that "it" factor. You're a statistic: one of millions of aspiring screenwriters all over the world trying to break in and failing.

The mediocre and derivative couple of scripts after that: Now you're getting mad. What the hell?! Why is this not coming together?! You get shut down again. But you aren't quitting. WHERE is the golden premise that will enable you to write a great script? You've learned all there is to learn (you think), you write every day, your pages are pretty good but success still eludes you.

Then it happens. You say okay you know what? Screw it. I'm going to write this crazy story and I don't care what anyone says. I'm sick of this shit. I LOVE this story and I'm going to go nuts on it and my skill set is high but my temper is higher and I'm having fun on these pages. And that, Wavers, is the script that will break you into Hollywood.

But here's the rub: You CANNOT fast forward and write that great break-in script without going through writing several bad scripts first. It doesn't happen. Because you have to get good and frustrated first. And you HAVE to learn all that screenwriting craft stuff first. Oh, there are many who bleat - But what about Diablo Cody! She did it! And so can I! I'm just so talented! I deserve this! I need the money! I want the fame! Do not listen to the siren call of the Entitled Diva. It will dash you against the rocks.

You can't go around it, you can't go over it, you have to learn this lesson through experience.

So this script was kinda crappy. Fine. Start over and write another one. So that one was derivative and boring. FINE. Start over and write another one. And another. And another. One day you'll get good and mad - and determined - and you'll let loose. And that is the best feeling in the world for me, selfishly, because your script just made me miss my lunch date and three phone calls - and I don't care. Victory on the page!

Robotard 8000 REVEALED

2009-04-08T15:03:00.000-07:00

Well - THAT didn't take long. All is revealed - or is it? Read all HERE. In the meantime I have received an email from the Robotard thanking me for my interest. This intrepid mystery writer or writers has got a Google Alert, it would seem. What a funny little mystery.

The Robotard 8000

2009-04-08T07:37:00.000-07:00

About a week or 10 days ago, I found the Robotard 8000 online. At first, I thought it was a joke. But the reviews of this script are by some pretty well known people. The site streaked around the intertubes with comments like - Have you SEEN this? Is this for real? ROFL what is this??

Is it a hoax? Is it a stunt? Is this by some unknown writer from Nebraska, desperate for attention? And if so - is this a genius move or is it the move of a, well, robotard?

I am told that this script is actually written by an A-lister associated with Will Ferrell. I have also been told this script was written by a collective of A-listers. I don't think anybody knows for sure but I'll tell you this - the script is hilarious. Not the most brilliant script I've ever read but what I like about it is that it is totally in keeping with the title of the script - BALLS OUT. Any script that starts with "fade the f*ck in" has my attention. The script is playful and ridiculous and offensive. And it's a quick, funny read.

Publicity stunt by a collective of A-listers or a hoax, you really should read the script for a sense of what "having fun on the page" looks like. The premise may not be the most original, but it's evident on page one and every page thereafter. The action lines are pithy, yes there are a few typos here and there, but it moves quickly and it's just so entertaining that you can't put it down. I read the first 30 pages while I was supposed to be doing something else. I just couldn't stop.

And that, Wavers, is how you want people to feel about your script. They just can't put it down.

So for a quick, fun, totally offensive read, stop by the Robotard 8000 and check out the script. The loglines on the very last page are the comedy topper of toppers.

Somebody Got There First

2009-04-07T08:51:00.000-07:00

Well. It finally happened. You read the trades and you see it. A script that has sold that is exactly like the script you have been working on for months. Even the title is similar. Sure, sure, some of the details are different but the premise - yeah, that was your premise. And now it's out there and you're done for. Right?

Well, not exactly. Look, this is not a good situation, there's no two ways about it. If someone just SOLD a script that shares the same basic idea as yours, well, that puts you in a pretty disadvantageous position if you are a totally unknown, unrepped writer. Not quite as disadvantageous if you're repped and a known entity. Sometimes movies are released in twos: PAUL BLART and OBSERVE AND REPORT are a recent example. Then of course, ARMAGEDDON and DEEP IMPACT is probably the most famous example.

But there's a big difference between you, Joe Writer from Somewhere, working on a script and Joe Hollywood Writer who just sold a similar script. There's not really going to be an arms race there to get your movie into production as well. So if that is your situation, you're pretty much screwed. And you know what? It happens. And yes, you will cry in your soup for a few days. What an awful feeling. All that hard work for nothing.

But is it for nothing? No. It is not. Complete your script. Make it the best iteration of your take on the premise as possible. Why? Because you now have a great sample. And yes, when and if you get meetings, your script will be compared to the script that was sold - but that's okay. You are aware of that and this is a sample. To not be aware would be the biggest sin, honestly. But you're not going to query using this script. It's going to be in your kit bag as a sample. That's really the only big shift that's going to happen for you. This script is not going to the point of the spear for you. But in the big picture, while that's disappointing - well, let's be honest, it's really a blow - you still have other scripts in your arsenal.

And an arsenal is what you need to have. I know how exciting it feels to finish a script and query with it. But many writers forget that you need to have others that are also in great shape as samples of your writing. Ideally, you should have two or more really great scripts aside from the one you are querying with.

So if you find that a script quite similar to yours is out on the marketplace, just sold or even released in theaters, give yourself a minute to feel the burn of that. It's natural. But do not give up on that script. Focus on your craft and voice and screenwriting skills. Make your script the best mall cop script you personally could write. And then add it to your stack of samples. Then move on to a new script, one that you do trust is totally unique...and start again.

There's no way to prevent this situation from arising. We writers are all out there reading the newspaper and brainstorming and observing life and so it's only a matter of time before someone else has an idea similar to your own. And that writer might execute the script faster, they might be repped or lucky or an alien life form - and they get their script on the market first. So while I hope this never happens to you, if it does, stay calm, hang onto your script and make sure it is a GREAT draft because when you get into a meeting in which a rep is seriously entertaining taking you on, it is still part of your body of work. Not knowing that there is a script or movie like yours already out there - now that would be embarrassing. So do read the trades and stay up on script sales.

Here are some resources for following what's selling:

Done Deal Pro
Tracking B

-and the highly entertaining Script Girl.

So if you have been the victim of Somebody Got There First, breathe it out and do not give up on your script. You need great samples and though the issue was forced, this is a great sample. Never miss an opportunity to learn while you are on this journey. Never write a half-assed script and then let it languish in a drawer. Every script you write is potentially a great sample or, of course, in the best outcome possible, the script that got you repped - or even sold.

What's New With Josh Zetumer

2009-04-06T10:19:00.000-07:00

Good morning, Wavers! And did everybody have a nice weekend? As the deadline approaches for the Silver Screenwriting Competition (May 1, mark it on your calendar!), Margaux Froley thought it would be a great time to get an update with Josh Zetumer. Josh will be dining with the Grand Prize winner this year, in case you forgot. So here's the latest:

***

It's been nearly a year since our last interview with Josh. He's been hard at work finishing DUNE and even had time to do rewrite work on Guy Ritchie's SHERLOCK HOLMES. Suffice it to say, Josh is still a "working screenwriter," and I might even venture to say he's one of those coveted Hollywood A-list writers. Despite his demanding schedule, Josh has agreed to have lunch with the Grand Prize winner of the Silver Screenwriting contest and answer a few questions for you Rouge Wavers.

Josh, last time we spoke you had just gotten the job for DUNE. At the time you mentioned your love of sandworms. After finishing a draft on that project, how do you feel about sandworms now?

Groan.

But really, that sounded like a very tough project to crack. How did adapting DUNE compare to writing something of your own on spec?

For me, this project was infinitely harder than a spec. I get to a point on most projects where I want to quit/have a near-panic attack. I'm beginning to realize, as horrible as that is, it's all part of the creative process. It's like an acid trip; it's fun, but you know that for at least a couple hours you're going to be fearing for your life. On DUNE this was especially intense. The book is amazing, but parts read like physics homework. There's so much terminology, and so much is internal - characters second-guessing each other, trying to gauge situations. The key for me was to keep saying, "What can I do visually to express this idea?" I feel like this is a pretty important question you should be asking yourself on every screenplay. Show not tell.

As to the sandworms, yeah I still love them. What's not to love? I'm just hoping they look cool onscreen.

You mentioned that you did some rewrite work on SHERLOCK HOLMES. How much prior SHERLOCK knowledge did you have going into that? What did you to do prepare for something like that?

I'd been a fan of the stories, but I definitely needed a refresher course. The crazy thing about some of these production rewrites (jobs where you're rewriting the script just before or during filming) is that you usually have a matter of hours, not days, to decide if you're taking the job. Then suddenly you're on the clock, and that can be scary. On SHERLOCK I bought a book of short stories and was literally reading on the plane on the way to meet the producers. Doing research is normally one of my favorite parts of the process, but in this case there just wasn't time. The nice thing was that Robert Downey Jr. had such a clear view of the character, it was easy to dive right in.

Sorry, I have to ask. How was Robert Downey, Jr. to work with?

I know this is the stock answer to the "What was so-and-so like to work with," but in this case it's 100% true: He's incredible. Completely deserving of his celebrity. Hanging out with Robert is kind of like going to the carnival; you just follow him around, trying to write frantically while he drops one crazy/brilliant aphorism after another. The only thing is, he's so charismatic and witty that he kind of turns everyone else into a satellite. You become Downey-adjacent. I think if I hung out with him on a regular basis I would develop serious self-esteem issues. I am not now, nor will I ever be, as cool as Robert Downey, Jr.

You have been steadily getting assignments in Hollywood for a few years now...even with your established track record, how do you feel about getting the next job?

Um...cautiously optimistic? Two years ago I probably would have said "terrified." Like take-a-klonopin-and-go-to-sleep-shivering scared. I think generally my anxiety about work has become more manageable, but it still definitely lingers. You work so hard to get anywhere, and then the moment anything positive happens the first thing you tell yourself is, "This will not last. This is all going to be taken away." It doesn't help when you talk to older screenwriters and all they tell you is, "Enjoy it while you can, kid." Seriously, any writer who's spent more than 10 years in Hollywood turns into the grim f*cking reaper.

How important has your relationship with your representation (agent and manager) been in starting and then maintaining your career?

The most important thing in the world. If I could give only one piece of advice to first-time screenwriters it would be: Don't write a script to sell it, write it to land an agent. Agents and managers read 10 to 15 scripts a weekend, three of them on the treadmill. So write a script that's fun to read, that shows a distinct and confident voice, but don't try to second-guess the marketplace. You can kill yourself following trends and trying to predict what will sell. A lot of people also ask, "Why do you need both an agent and manager?" This may not be true for everyone, but in my experience, having both has been invaluable. A manager can produce, and that can be helpful landing gigs. My first studio job - writing a movie called THE INFILTRATOR for Leonardo Dicaprio - was something my manager was producing. Managers and agents also have incentive to set you up with their director clients, so that can be very helpful as well.

If I were an unrepresented screenwriter with a terrific spec, what do you think my best options would be for launching my career?

First move to Los Angeles. It's hard enough to get anyone to notice you in Hollywood. It's even harder if you're living in Maine. Some people do the query letter thing - sending unsolicited scripts to agents - but I don't know any instances of this actually working (that's not to say it can't happen, it just seems like a longshot). A big part of being a screenwriter is hustling, selling yourself. You need to be very proactive. Enter as many screenwriting contests as you can. Read blogs. Try to meet people who are connected to talent agencies. All it really takes to get the ball rolling is one person who believes in you. This can be an indie producer, a writer who has an agent, etc. In my case it was two guys: a writer named Chris McKenna who gave my spec to his agent, and an assistant named Mark Tuohy who gave the script to his boss, a packaging agent. I went to high school with Chris, and Mark I met through an old girlfriend, so you never know where these connections will come from. It's either that or get creative. Become a valet, find out where Steven Spielberg eats lunch, and leave your spec on the passenger seat. Actually, I'm sure he gets that all the time.

Thank you, Josh. Is - is that a sandworm??

Ha.

All righty, Wavers. Get back to work. And don't forget, May 1st looms, so get those scripts in and you just might be the person asking Josh about life in the fast lane.

Can't Get No Rep

2009-04-04T08:26:00.000-07:00

Dear Rouge Wave,

What are your thoughts on the old catch-22, can’t get a representative but production companies/studios/networks only accept material submitted through a rep? Like so many others, I’ve thought about (and, yes, tried) going the “straight to a production company route.” However, I often run into that wall. I try to target the production companies that have produced or have in production/development similar projects to mine. What’s your suggestion for this type of situation?

-Frustrated in Florida

Dear Frustrated,

This is indeed a frustrating situation. Many production companies will not accept unsolicited scripts, much less those from unrepped writers. But there are some that do. You have to do your research and look up the submission requirements of the production company you are targeting. If you can't see the information you need in the HCD (Hollywood Creative Directory) then you can pick up the phone and politely ask.

The tricky thing about this business is that there are accepted ways of doing things - the norm - but for every norm there are exceptions. So it's hard to know what to do or what to believe. See, here's the thing: Production companies have some pretty good reasons for not accepting unrepped work. A repped writer has been vetted, for one thing. Production companies would rather know the work is on the level where a manager or agent really believes in it. It's a filtering system. It's quality control. And it's very necessary. You seriously would not believe how many scripts arrive in Hollywood every day - and many are unsolicited. And they go straight into the circular file. Production companies are inundated with new material and are of course busy developing the material that they already have. They don't have time to sort through unrepped, unsolicited material to make sure it's a fit for their company and they may not even be looking for new material at the time anyway. A rep only submits to a production company if that rep has a sense that the material might be a fit for the company's mandate, tastes and current needs. An unsolicited, unrepped script may be totally, 100% inappropriate but worse - here's the thing I have been avoiding saying so far - if it's not repped, the chances that it's any good are slim.

All of the big, busy production companies are going to operate with a filter in place. A hardcore filter. No rep - no read. Period.

There are some smaller companies that might respond to a killer query and ask to read your script - you just have to find them.

But let's return to the tough truth I hesitated to say upfront: If it's not repped, the chances that it's any good are slim. Ouch. But unfortunately, Frustrated, this is the truth. Getting rep is phenomenally hard, especially these days. And yes, of course there are writers who should be repped but they just haven't been read by an agent or manager who really clicked with their material or voice. Those writers get reads and get meetings with the agent or manager they targeted but wind up not clicking and have to keep trying. That's how you can tell if you're getting closer and closer - people respond to your work but they aren't quite ready to climb onboard with you.

But. If you have been trying to get rep for awhile now, unsuccessfully, you need to stop and ask yourself why that is.

Have you been querying reps with the same script for some time? Or with various scripts? What is the rate of read requests on your query? Is it time to review your query? If you DO get read, you're obviously getting a lot of of "passes" - well, how many "passes" are you getting? It could be that it's not the reps - it's you. You may just not be ready to be repped. Your writing might not be rating high enough on the professional, creative and unique Richter scale. In other words, that it's tough to get repped is not as much a reflection of this very tough industry, it's a reflection of the fact that your writing is not comparable to those writers who are repped. In other words, your material just isn't strong enough to warrant representation.

Now: This may not be true of you or your material, Frustrated, but if you've been trying for awhile, you need to read the writing on the wall and return to improving your work...generating new ideas, writing fresh scripts and working your behind off on improving your craft. Going AROUND rep by going directly to production companies works for some people but for others it is a rationalization. Stupid reps! I'll just go straight to buyers! Well - are you picking up what I'm laying down here?

Going straight to a buyer can work - again, the infuriating thing about this business is that while what I am saying here is all eminently true, there are rare stories of people who do successfully sell a piece of material and circumvent the normal routes. But really, those are rare stories and think about this: Do you want a one-off sale to a production company so small and so open that they basically have no quality control - or do you want a real career? A real career requires a rep. It just does.

So yes, you can go straight to prodcos but in a way, you are circumventing a reality: Your writing will not blossom into a real career without a rep. And a rep will not take on a writer not ready for that career. So that's the real catch-22, not how to go around the built-in quality control.

I hate to sound negative - in fact, I loathe it - but lately I have been hearing from a lot of aspiring writers who seem to feel that they are entitled to representation. Unfortunately, they lack the perspective of one who does read repped and sold work and, well, aspiring writers often overestimate the quality of their writing. There's only one real litmus test: not if your friends like the script, not if your writing group likes the script, but if a real, working entertainment professional does. It only takes one "yes," right? But if all you are getting is "no" then it's not Hollywood, it's you. Which is a very bitter pill to swallow. Well, wait, you say - that doesn't make sense - if it only takes one "yes" then I'll just keep at it until I find that "yes" like a needle in a haystack! I'll be that story! That story of determination! Everybody said no until I found this ONE rep who believed in me!

It's about calculating odds. Every "no" makes that "yes" a rarer thing. Okay, you're at the prom in your pretty dress. Nobody has asked you to dance. Not one person. It's not YOU, it's THEM, they are a bunch of jerks. How long do you stand there feeling totally rejected before you take a look down at the dress and notice that it's got a punch stain on it and a tear in the hem? Ohhhhhh. It is you. I mean, hey, you might find that ONE dude who doesn't mind a punch stain and a torn hem - but is that the dude you want to dance with? Okay in a romantic comedy, sure, that's probably the guy for you because he looks past appearances. But in Hollywood, you want a rep who LOVES your work so much that he or she is willing to bank a career on it. And on a dance floor full of pretty girls, the bar is pretty high. Don't underestimate that, Frustrated. There are a lot of great, repped writers out there. Hollywood is full of them. So as the new girl on the dance floor, you have to compete with that. So you can stand there with your torn hem and punch stain and wait for just the right guy, the guy with lower standards, or you can go home, clean up that dress and come back to the dance ready to lay down some moves.

Remember, it's not how many "nos" you get, it's how you then restrategize and handle that. For now, you are your own business manager. X tactic is not working. Okay, so what is needed, here? Maybe you are four more completed scripts away from really nailing it and telling a great story in an engaging way. Maybe you are one script away from that. Maybe the script you are querying just isn't going to go anywhere, ever. Sooner or later, you must take honest stock of the situation.

Yes there are production companies that will read unsolicited, unrepped work. And I don't mean to cast aspersions on them; there are new, small prodcos really casting wide for material and they are eager and able to wade through the stacks. Just do your homework and find out who they are. Get an HCD and get on the phone.

But you lead off your question by saying it's hard to get rep, which makes me wonder if you're ready for rep - and if you're not - chances are you're probably also not ready to be sold - to anyone. Take a look at your material - is it really competitive in this market? It's hard to know the truth of that and the only barometer is the reaction you get out on the dance floor, as flawed as that system may be - it's the only real measure.

Catching Up With Hilary Graham

2009-04-03T09:35:00.000-07:00

Good morning, Wavers! The other day, Margaux Froley interviewed Hilary Graham, last year's Silver Screenwriting Grand Prize winner, to find out what she's up to almost one year later. Sounds like she's been pretty busy. But don't take my word for it, let's hear from Hilary:

Hilary, it's been six months since your Grand Prize trip to Los Angeles. How has your approach to your career shifted since then?

Well, being a writer from New Hampshire, I think it’s critical to go to LA every few months and get an infusion of that energy. Plus, it gives me an excuse to wear lipstick. There’s a line from ALMOST FAMOUS that Kate Hudson and her friends keep repeating throughout the film: "It’s all happening..." I feel like that when I’m in LA, and it’s a great motivating factor. One thing I left LA with was that I should never miss an opportunity to pitch my "take" on a project. When I got home I had three novels given to me by producers, three magazine articles, and three "concepts." I pitched my take on all of them. Yes, it was a lot of hard work, but now two of those things are percolating...

What have you been working on since?

Since October I have written two treatments, four chapters of a novel, finished a first draft of my latest spec script and developed pitches for the aforementioned novels/articles/ideas. Some of these things were better than others. ;)

You recently sold your first project...tell us about that. From coming up with the idea to check in hand.

While I was in LA, I was a busy, busy lady. You - The Script Department - set me up with a bunch of meetings, and so did my manager - Seth Jaret of Jaret Entertainment. They were general meetings, but sometimes I did pitch a few of my new ideas (I had three "polished" pitches). At one of the meetings, I did my three pitches, and one of them led to a request to see a treatment. So, I went home and quickly wrote said treatment, and now that production company is paying me to write that spec.

It sounds like you have been incredibly productive. Is this normally how fast you write or has a taste of Hollywood gotten to you?

I am by nature a hard worker, and I know that you need to work hard to get ahead in this business because everyone is hungry. I write five days a week, 9:00 – 2:00, and often for a couple hours in the evening and on weekends.

Are there any lingering lessons you are still benefiting from since your LA trip and your meetings with other working screenwriters and producers?

My two biggest lessons are to not be too hard on myself and to try not to jump to conclusions. One of the worst meetings I had (which was actually a post-LA phone call with the agent of an A-list director) was bad. Embarrassingly bad. But the production company that set up the call is now paying me to write my spec, so it just goes to show you. Also, I pitched one producer a take that he didn’t really respond to back in November, and recently, out of the blue, he called up to tell me that he changed his mind and we’re working together on a treatment.

Any advice for aspiring screenwriters?

Write as much as you can. You get better as you go.

Also, any sense about what the market is like in Hollywood for new writers breaking in?

God, I don’t really know. But I try to remain naively optimistic. I always think there’s space for fresh new voices and original ideas.

How has your representation helped you manage your blossoming career?

My manager rocks. He has access to all of the gatekeepers in Hollywood and he has relationships with these people. Plus, he has an amazing critical eye for my work, which really helps me strengthen and improve my writing. And of course, he is one of my greatest cheerleaders.

Would you encourage other writers to enter the Silver Screenwriting Competition?

I encourage every aspiring screenwriter to enter the Silver Screenwriting Competition. You WANT to win this prize. The cash was nice, sure, but that was only part of the real prize. To me, the trip to LA was really what it’s all about. Not only did they set me up in a cool little trendy hotel, but the Script Department put so much energy into making sure I was living the life of a Hollywood screenwriter — from arranging meetings to taking me to lunch at the Paramount commissary to taking me for drinks at the chi-chi Château Marmont.

At night, the Script Department set me up with drinks and dinner with three different major screenwriters: Blake Snyder (author of the SAVE THE CAT screenwriting series), Steve Faber (WEDDING CRASHERS), and David Arata (CHILDREN OF MEN). The words of wisdom offered by these experienced and talented people was just invaluable. Nothing beats having a mini-mentorship with an Academy Award nominee over some Pinot Grigio. Blake, Steve, and David each were happy to share their unique perspectives on and experiences in the business of screenwriting, giving me sage advice, and most of all encouragement. Well, Steve Faber also gave me slight heart palpitations, but in a good way. The man is a force of nature.

By day, the Script Department arranged meetings with producers, making me more than just a name on a cover page, and providing me the beginnings of a working relationship with people from a slew of well-respected production companies. And we all know how essential relationships are to this business (especially for a writer who lives on the east coast).

Since my trip, the ongoing creative support from The Script Department has been amazing. Before I won the 2008 Silver Screenwriting Contest, I used to feel like I didn’t really have a writing community, that I had no one to bounce ideas off of. Now, I have The Script Department — a team of talented, insightful WRITERS who actually have a stake in helping me achieve success and are committed to shepherding me in every aspect of this business. Talk about priceless! Clearly, this is more than just your average screenwriting contest. Enter it. Hell, enter it twice.

What's next for you?

Taking a shower. It’s almost noon and I’m still in my PJs. After that — world domination.

Competition Criteria

2009-04-02T09:33:00.000-07:00

Dear Rouge Wave:

Love your blog, it's a raft of rationality, creativity, and intelligence amidst a sea of screenwriting blather...

But I'm not sure if the screenwriting contest is worth entering.

Because the finalists and winners in these contest are virtually never commercially viable.

I know there are (rare) exceptions, but the scripts that do well almost always seem to be "small" family dramas, period pieces about obscure historical figures, and quirky indie dramas.
None of which will have CAA or the major studios knocking at my door.

So, my question is...Will your contest be any different? More specifically, will marketplace viability be an important criterion?

-Skeptical in Saskatoon

Dear Skeptical:

Not sure if you read the interview just a couple of days ago with Brian Schornak of Back Lot Productions. SUNSHINE CLEANING - a very quirky indie - won a competition, was produced and had a wide release. So quirky indie scripts can do very well.

The criteria for judging scripts at the Silver Screenwriting Competition are simple: We are looking for talented writers with unique voices, entertaining and original scripts executed beautifully. Ergo, a potential career that lies ahead. That is why the prize, outside of some fun things like an iPhone and MacBook Air, is a trip to LA to meet with managers and an A-list writer.

Competition-winning scripts that meet those criteria will absolutely have CAA or ICM knocking on your door. Voice and talent are the holy grail, my friend. When you say commercially viable, I'm not sure what you really mean - over and over again we see funky scripts (JUNO, LARS AND THE REAL GIRL, LITTLE MISS SUNSHINE and SUNSHINE CLEANING, to name a few) that were totally commercially viable. If we got a big action thriller at the Silver Screenwriting Competition that met the criteria I mentioned a moment ago, it would climb up the ladder very quickly and yes, would be even more attractive than a quirky drama - to some buyers. But any script that has won a competition is something that attracts agents and managers because, as Brian said in his interview, this is an automatic sorting system. Of thousands of scripts submitted, this writer has proven that he or she is in the top 1% in originality, execution and voice - regardless of the genre or "commercial viability."

If there's one thing I know for sure about Hollywood, it's that agents, managers and producers are always looking for fresh, new writers. That I can say for a fact. New writers with new voices and unique stories are HOT. Everybody wants to say they discovered you.

But screenwriting is not a sprint, it is a marathon. If you enter a competition and win (or at least place in the top five), you have just been anointed, validated and confirmed with talent. You have a script that can get you the attention you need to get meetings and get noticed. If your criteria for entering a competition is that the script should then get you immediately repped and sold - well, you might be thinking in sprint mentality. The point is to build a fan base and to get out there and noticed as a promising writer. There is no silver bullet. You still have to have the goods - ongoing.

And there's so much at play. If you go through the list of writers who have won competitions for the past five years say, and researched each one and found out which one subsequently sold that script or subsequently sold a script or subsequently was repped without selling any script and is getting open assignment work, you'd probably see a relatively small number. Why? Because now we come into some variables: Did the writer make the good decisions necessary to leverage that win into meetings? Did that writer have a body of work to back up that win? Did or does the writer live in Los Angeles and get out there to meetings? Did the writer follow up the winning script with another, even better script?

There are a lot of variables; and, like a lunar eclipse, things have to line up just so for a win to really get the writer the traction they need to build a career.

Let me say it again: There is NO silver bullet, quick fix or easy way in. A competition win is hugely validating and energizing. But it now gives the writer a new set of challenges. Can you leverage the win? Can you write something that great again? And again? Can you get into meetings and be good in a room?

Winning a competition is a great way to get your foot in the door and then kick some serious ass. It elevates you from the teeming masses - and they are teeming - make no mistake. But you're the one who has to do the ass kicking. Is there more great writing where that came from?

Winning a competition means you have just arrived at a whole new base camp as you continue to climb this mountain. But nobody but you can affect those other variables of more good scripts to back up your win and potential career. Nobody but you can be good in a room. Nobody but you can have other great ideas on deck.

Saying that competition-winning scripts are quirky, small and not "commercially viable" is definitely an inaccurate generalization. Writers who look askance at competitions with that as their reasoning are, in my view, copping out. There's no free lunch. If you have the chops to win a competition, you have to be responsible to use that experience to move on up from there. Let me say this loud and clear: Good writing is good writing. And the cream always rises to the top.

At The Silver Screenwriting Competition our goal is to reward the winning screenwriter with an opportunity to do just that. Move on up. Come on out, meet some influential people, create relationships and pitch your heart out. In addition, we follow up with all of the winning writers - where's your rewrite? How are you spending your time? Have you sent thank you notes? What are you writing now? We don't give you your prizes and walk away - we are an integral part of paving a path for you. But you have to have the goods to walk that path. And by goods I mean chops, determination, good strategic decision making and more great ideas and scripts in your old kit bag.

Whether you choose to enter The Silver Screenwriting Competition or any other competition is up to you. Is it worth it a shot? Is it worth the possibility of setting up a whole new base camp, one much closer to the peak? To me the answer is self-evident.

The deadline for the Silver Screenwriting Competition is coming up fast, by the way. May 1. So if you'd like to have a shot at taking your nascent career and turning into a real one, polish up your draft and submit ASAP.