What to wear?

Yes. I even have suggestions as to what to wear as you are judged almost as much as to how to look as what you have to say.

Those people want to decide if they want to work with you for the next two to six months or more. And like it or not they will make decisions partially based on what you look like.

Now you know how actors feel.

Writers, in my experiences, tend to be quite normal, some look eclectic and artistic but most of us are normal, t-shirts, levi's, maybe cargo pants. I remember this when I joined WGA and we had almost a thousand writers at the Universal Hotel.

I looked around the huge convention room and realized many of them looked like me. Mostly white guys in jeans, gray or graying hair, plaid shirts and running shows. And most of them are white.

I always remember my TV experiences where I wrote and produced commercials. I would go out with an ad salesman and they would always refer to us as "those artistic types." Executives expect you to look "different"and that comes down to a lot of different things.

 I have noticed three types of clothing; the "everything is black with tattoos, the khaki button down and loafers crowd like me and then the cowboy boots and jeans types.

There might be an anomaly here in those who prefer sports jackets and slacks but they are very rare. The most richest ones.

I find that many women writers are a hybrid of the "everything is black" or Annie Hall;  it's very rare to see dresses. Not a comment, just an observation.

And of course, levi's for both.

I met Norton Wright

I met Norton Wright at ABC after he read my Secrets of the Salmon script and liked it enough to option it. The option expired but as with a lot of the good guys, he kept in touch and asked me if I had an "evergreen." That's code for a holiday movie, meaning that it could be played every Christmas forever, like an evergreen tree. I pitched A Town Called Nowhere which became the movie Hallmark bought under the title The Town Christmas Forgot.

Norton liked the idea and we set up a meeting at CBS with Katherine Petrie who had also read Emperor of Mars. She liked my work and me so it was a nice hour or so. Terms like "liking" are common in this business, as in one executive told my gent that "We like Jim."

Norton had been around longer than I had; he was the first person to be involved with Bonnie and Clyde. It was Norton who taught me to pitch well. I did a beat sheet and page that would later change as he began to organize everything deciding that he should do the pitch and I do the color like a football announcer. It was all gravy to me.

Norton created a series of cards that were meant to speed through the pitch, never let it wander away and watched the execs if they're bored. My job was when Norton might forget something or pause, that's when I would describe a character or funny thing. Finally we had it down as far as we could go.

This meant anticipating every possible question that Katherine would be asking. We had a good start as she liked both of us but we still had to make sure we covered every hole and every crack. 

We met Katherine at the CBS offices near Farmer's Market and I usually had black coffee just in case there's a momentary silence. We catch up with some mutual friends and then she leaned over and said those dreaded words, "So what do you have for us."

Norton stood up and was the pro I knew he would be, using his hands and eyes, visually telling the story. Now and then he'd toss something to me where I filled in a blank spot. Sort of like news anchors.

Katherine said she really liked it and that there should be a place for it, "a home" as execs always say. We wanted it's home at CBS. Then she asked us one question, the one that I had thought about but didn't really think it would matter.

Again, the one question I didn't prepare.

And that was; "How does the family change the town."

We stumbled around a bit and Katherine came up with an idea suggesting the family would do things individually inspire the town. That would become the idea we used and it didn't even come from me or Norton.

She smiled again and we were feeling good.

But a few days later she told us they were doing "bio-movies" like Hitler and Martin and Lewis and other historical movies. Ironically I used her idea to another company and they used it. You can find The Town Christmas Forgot for Hallmark

Katherine unfortunately left the business and I lost a fan (yet another agent term) and reflects the fact that deveopment execs never stay around very long. I don't mind the ones I didn't get along with but I miss the ones who liked me.

And Norton left the business also. And I still see him now and then. He paints flowers.

And my Christmas movie plays every year since 2010 at Christmas.

Know what to pitch

I can't emphasize this enough. The most common mistake new writers is to pitch the wrong story to the wrong producer or executive. Know what the producer makes. Don't pitch a horror story to someone who does family movies. Of course they also can surprise you by saying "maybe a horror story". You can never expect that they want.

To even out the field, try to make sure to have something you'll never expect. Even if you think you know what they make. Have a look at what they've done before. Do they do horror or arthouse movies or comedies. Try to really know what they do.

Have a good logline; that's the sentence or so that describes the basics of the screenplay.  It should have at least two twists and be at the most, two sentences. You should also have a stay-behind. A few sentences that elaborate what you're saying now.

Test your story.

Tell your friends your story and watch how they respond. Find out where they lose interest and start looking bored. Try to fix those parts where their eyes glaze over and watch when they are really listening.

They have to visualize the story and only you can do that for them.

Prepare the story on index cards and artwork. It's sort of watching a trailer for a movie and don't be afraid to use the props. I often get a graphic artist to fill out some of your ideas. It's mostly for action movies though. 

I always like to take someone else with me, someone who has more information that I have on certain ideas. Get questions and reviews from your friends who know pitches.

What to wear?

Yes, I even have suggestions as to what to wear as you are being judged almost as much as to what you wear as you are judges almost as much as how to look as what you have to say. I stammer a bit, not too much and not to little. It works sometimes.

Now, this is important; listen to the executive. This is crucial. Don't interrupt him/her or tell them they're wrong. It took me a long time to listen rather than interrupt.

You should have a 2-3 page synopsis to leave behind if they liked the pitch and wanted to see more. It could be a screenplay you want to write or it can be a synopsis of something you've already written.

If they liked it they will usually ask for something. If they liked it they will usually ask for more. Or not. And even if they didn't like the synopsis, they might like something else they liked. It can happen.

Even if they don't like the synopsis, smile, say thanks for your their time and walk out. And get your parking validated.


And yes, this is just a little bit of my book.

The Pitch

"I think I can sum up the show for you in one word. Nothing"


I am not the greatest pitch guy, not even close and I have comfort with many writers who confess secretly at not being good at it. I'm often suspicious of anyone who likes to pitch a project. 

What I know about pitching is this: those who pitch great will often write less than great and those who stumble through can very often write better. Having said that there are writers out there who can do both successfully.

There are a lot of pitch articles and segments in other books and they're written quite well. But when you're there in one of those southwest themed offices at Dreamworks or the bungalow that belonged to Dean Martin on the Warner's lot, and with people staring at you, and telling you to woo and excite them, it's not a lot of fun. But it can be.

My biggest problem with pitches is that I can't fully believe in an idea that I don't like. This would be usually be something that I know they're looking for as seen by agent and now I have to "wow" them. I'm not a wow-er at heart, I'd rather be biking in Venice Beach.

So what about an idea I like?

That's different, although my enthusiasm can struggle to come out.

What kind of person gives a good pitch? Could you sell the proverbial refrigerators to Inuits? 
Could you sell used cars? Because that's the intensity level you need to get attention. But as with many facets of this writing business, there are no clear rules.

You may encounter a lovely woman at Warner's who decorated Dean's bungalow with photos of him and some record covers. Janet Burrows was that,you felt easy with her; she had a relaxing tone that convinced you that she was interested.

On the other  hand you could have two writers at Universal Studios who thought they had written the best TV series ever and interrupted my pitch to tell me how smart and wonderful they were. 

When they told me they had created a 16th century swordsman and rapper. Yes -- a swordsman rapper! I didn't say a word, just realizing I will not get anything from these idiots. Even if they take me on, it would be working harder than ever because they thought they were the smartest.

So finally I stood up and said something like "I think we're all wasting our time" and walked out of the office. They managed to film two episodes and the series was dead.


As mentioned, I'm taking pieces out of my book The Working Writers Screenplay.


 

And more of agencies

If you don't know anyone at an agency or anyone who knows anyone, there are other ways. Another way is to find someone who has friends who might work in the business. One thing in this town is sure; everyone is somehow connected to someone in the film business.

A few years ago I fell off my mountain bike on Ventura Boulevard and two people rushed to attend me. I had a compound fracture on my wrist and as we waited for an ambulance they began to talk with me. It wasn't long before I realized the older man was a relatively famouse writer producer named Marty Kroftt who with his brother literally owned Saturday morning cartoons and kids series back in the 1960's.

The woman who was helping me gave me her leather jacket was in production design. Where else could you fall and have two movie people help you up. Both gave me cards. And you never know who you might help. I even had a psychologist who even offered to "make some calls" when I was without an agency. But I don't advise breaking your wrist.

So find out who you know who knows an agent, it can be another writer although most writers prefer not to share their agent for obvious reasons - you might become competition.

In reality an agent can have anywhere from a dozen or more clients, he most likely will never tell you who else he's selling. You can ask directors, producers and camera men/women and editors and below-the-line crew members.

It's not impossible to get something to read without an agent as things have changed greatly in the agent world. Ten years you couldn't get your screenplay read without an agent or a friend at an agency or production company.

These are websites like InkTip and The Blacklist and others who will for $50 or more and you can post there. 

There's also screenwriting contests but mostly wasted money. There are some big ones like Pitch-fests that can waste money, wherein you get to meet a "known screenwriter" to give you their take on your script.

I like The Black List because it's based on studio people who will give you a real idea as to what your screenplay is or can be or be not. It's real. $50 but they're real.

I've never pitched to someone I didn't know or who hadn't read anything of mine. Doing that scares the hell out of me, even at my level of career. Pitching is tough, if you want to spend that kind of money, go ahead, you might get lucky.


These notes come from my book The Working Writer's Screenplay.

More on agents

Before all of the stuff you read before an agent would take you on and take time to establish you with his contacts at all of the studios and networks (I only had one female agent in the last twenty-three years are male). Then if you have a good spec script, you would get a meeting or two with a studio executive or someone from a networks.

 I arrived in LA at just the right time when TV movies were still king and there was demand for writers. That all-important spec script was essential, if not you would be relegated to mailing your baby to the bottom feeder second level producers who might just as quickly steal your idea as read it

I sold my first script (aka screenplay, same thing) for around $7000 (before I was WGA). You've  read it before, a few blogs back. But it was a credit in Hollywood and credits are everything for writers.

One thing I suggest is to not put your age on any listing or anywhere because IMDB will wipe you out forever. You'll have a bit of time to keep you age to yourself. 

So, what's the best way to get an agent?

1.  Have someone famous recommend you. Even semi-famous works. These are directors       and actors and of course, directors.

2.  Have someone who knows someone famous or semi-famous to recommend you.

3.  Have someone you know that works at an agency or knows someone that works at 
an agency. Anyone.

4. Win an award from the Academy of Motion Picture Arts & Sciences Nichols Fellowship? And failing that enter as many screenwriting competitions you can afford.

5. Presuming you have none of the above, write or email every agency in the WGA list. This is the least most likely way to find an agent but you never know.

So, if one out of four aren't in your circle, let's look at Number five, the good old WGA list on www.wga.org. You can also buy a listing of agents at Samuel French's book store on Sunset Boulevard  or the Writer's Store in Burbank. The purchased lists have names and preferences which are a big help.

They will tell you if the agency takes writers and whether they will look at unsolicited screenplays.

All the agencies will ask you to sign a release form that allows them to read yours and for the matter so will production companies. None of them want to be sued when they make a movie that seems very close to what you wrote. It happens.

But it's fair and all the agencies licensed by the State of California are on the level. There's also the internet which can give you good information, especially imdb.com, love or hate it.

I went through six or seven agencies around 1980's till now. 

Agents

"How come they get 90% of the money when we do all the work." 

It used to be that having an agent meant you were on your way in this town, you were represented. And that representation would have you sign a contract that was determined by the state of California to provide for both the agent and the writer with an emphasis on the writer's rights and protection.. Contracts can only be drawn up for a maximum of two years and commissions paid at the rate of 10%. 

Managers, who are like agents but don't have state regulations, can charge up to 15% or more.  And there is no no protection for the writer should a manager run away with the money. It happens. 

A writer can also leave there agent if the agent hasn't found work for them in ninety days. Of course the agent's recourse is always that it takes at least six months or a year to get you known. And that actually is true; still you'll get a good indication if your agent never gets you a meeting in the first two months.

Things changed in the early 2000's when a handful of the bigger agents began to buy up smaller ones where they would take the the moneymaking big talents and then pretty much close down that agency. It's very similar so what big corporations were and are doing to smaller companies across America. It leads to a lot of agents losing their jobs and hitting the streets.

Some became managers and others drifted away never to be seen again.

Agents though, are valuable, they'll look after you, loan you money (some did lend me money when I was broke!) 

An agent when asked what he does for a living was reputed to have said "10 %". But remember this; he will drop you like a stone if they think you can't bring in money.

There's an old joke, a writer comes home to learn from a fireman that his house burned down, his wife assaulted and kids sent to an orphanage and his agent called. The writer looks at the fireman and says "my agent called."

Okay, you can use men or women for the story.

Agents also have the inside track on who's looking for what and when and why. They've spent a long time building up relationship with producers and development execs although those "D" people rarely stay for very long, probably averaging two or three years before they move on up or over. 

Most of my ex-agents got me meetings but few jobs while my last agent was responsible for the nineteen or so jobs. I count about a hundred or so jobs never made it to be made. 




 More on agents.

More

There's a little more I can add, maybe a little more than that. Basically, as I said on the last one, there's some rules to what anyone can do. I posted a hell of a lot of my good screenplays and nobody wanted them.

So what's the basics?

The best way is to know a producer. Yeah, sure Jim, easy enough.

Well, there are people who do that and they usually are living in Los Angeles. Actually I preferred Sherman Oaks, lovely little town in the heart of the Valley. And a lot of actors who live there, as well. That blows your chances if you're in Pendelton, Oregon. Although it's a very nice town.

You've read my trips to LA and should get some information from what I've thrown around. And I've said many times, if you're going to LA, find a friend, like my past friend Phil. Remember our short film Cooperage, the barrel factory. 

And like before, find someone who can do something better than you. And of course you have to do something that they can't do. It turned out to be directing for Phil and for me, writing. I'm a loner of sorts, don't really hang out with other writers but that's what goes on all the time anyway.

I'm very good at writing fast, I have 40 screenplays that I think are good. Well, maybe not so good but I like them. Of those screenplays I think that about 8 really good scripts and the others so-so. I also know that writers write differently, some fast, some slow, some take a year or more.   Men, women, kids, whatever. So don't really think that some people are better and some are not. I know a friend who felt so strong his screenplay was, that he would immediately have a sale.

Nobody wanted it.

And as far as I know, he couldn't find a buyer anywhere, and still shows that screenplay to anyone would read.  About 15 years.

My earliest script were that horrible girl/fight screenplay that I still don't watch it.

But I do have 40 scripts that are shootable.Not necessarily great movies but reasonable ones. I've always thought I would sell scripts to anyone who would pay me, of course the ones that aren't all that good. Some may need fixing, like putting cell phones in the story.

Honest.  I still have a few.

And even at that, I was still writing all the time. I'm not good at writing on the road nor between writing scripts and stopping. I write fast and am happy with that.

So back to these guys who want you to pay them to open the gates to the Virtual Pitchfest. The one I told you before. And like I said, I don't know who those people who are seen in the photos telling you that you can make it. There's a guy called Ed Saxon, whom I've never heard of, and a guy names Steve Long who I never heard of either.

Actually I saw them at FVP that showed us how we will be successful. All I did was find another writer like me and the rest looking for someone to join him or herself because they have almost a good story.

I judge these kind of things that say there's some real writers there but then who wants to be the only real writer there.

And as you know, I spent about $200 for 110 scripts that nobody wanted.

What they "looking for" is something new and interesting. I'wasn't happy spending the money even though there's their pitch...

375 + Pros to Pitch

Writer's Love Us
Guaranteed Acces
Hotlist Contest.

Yeah, I'm unhappy that nobody wanted my scripts, but I can take it because I've got those 40 screenplays. It's good to be like this with that much. I have a script for almost every movie idea.

Okay, not that much.  

But that's the deal. You're buying a piece of cake without eating it.

And what's the secret? 

There are people who do get a script I'm sure, just in terms of the amount of writers that don't.

After all this, it still comes back to what I started with.

Find a friend, someone who has as much hunger as you do.

And watch old movies, not the 80's but the 40's. Watch John Ford movies as much as the 60's writers, where a lot of writers and directors came from film school

And go to film school if you can. I never did. I went to Henry Ford college in Detroit for two years taking psych but also a woman I chased around. We never lasted long but we still talk to each other. 

And of course consider that our short film that ended up in the 76 Academy awards. When I taught at UCLA a while back I always said that I failed film school and filmed a barrel factory that did a lot more.

So... a few things.

Partner up with someone
Go to film school if you can afford it. And there's other ways as well. 
Go to festivals and take week-end courses.   
 Write. And then write another screenplay. And another. 

I have a book on screenwriting also, a little bit behind but the rules in film are shown all the time.  

Another thing; look around your world, you'll see so many pieces of life that way.

Next, I'll show you how I fell for my Grade 6 teacher, she was a knockout. And how I wrote a screenplay about her and my grade school buddies. It's a good lesson about writing about real people without making them too real.

More next.

 

How can you get your story read?

Here's a little bit of information you can use to maybe try to get your story out. It's almost impossible. Maybe impossible.

There's a site called Virtual  Pitchfast, it opened I think almost two years or so. Here's where they make money and you lose it. Maybe. I tried it out last year and spent a few dollars, $15 a script to get your script read.

The first thing is that there's three people in the "film industry" who say how wonderful this is to people who get real people reading your script. I got WGA rates and so I spent a bunch of money to see.

I tried to get 141 (or so) people to read my scripts. Each at $15.

It's pretty much against you (or me) because of a few single thing. Whomever will read it will be either a good reader or a bad reader. This works because you pay $15. This goes not to the reader but to Virtual Pitchfest or maybe a percentage going to the potential customer.

Here's the problem, and you may have read it in the last months.

As you remember that someone has to read your script. It can be a studio reader, or a kid reading for someone who pays him $10. Or $20. Or studios where it can be read for $100.

And the big wall is this:

You are sending a script to someone you don't know and they don't know either. Remember a few blogs back, I mentioned how important readers can be. And remember if you do send a script to a read (who is either of those above) they might not like you at all.

How about that couple at Spielberg's office back a few blogs. They liked the script but didn't like me.

So what do you do?

Well, you can take your chances or remember I sent 141 scripts over 2 years. A lot of them were good. But you don't know who your reader will be, or a guy in a small office off Wilshire.

I think this; to get a good reading you need a good reader. There are some of them, but they don't know you.

Remember when I met the secretary who took me to a major studio person who greeted me with "Mr. Emperor of Mars". That's the kind of contact you get.

So.

Should you do this? Spend $15 to see if the person you hope will see how wonderful your script was.  Here's an example of  one script that is liked.

BEACON

Logline: A mysterious DJ delivers his all-night show from a lonely truck stop diner as a runaway teen joins truckers and dreamers for one night of discovery.

FUND (Foundation to Underwrite New Drama)
"With great sensitivity the writer weaves this group of characters together, drawing us into their desires and dreams, creating a powerful picture of fragmented love in the transient modern world the large cast of key players all all distinct, keeping this conversant narrative very compelling. The writer's keen sense of detail and subtle action makes the small human drama rich in scope."

Sundance Institute
"This piece offers a lot of interesting and potentially compelling characters and situations. There is a great potential in this script-bas the potential to be a study in Americana that is somewhere between Robert Altman and Horton Foote and George Lucas."


Ontario Arts Council
"The dialog is absolutely enchanting due to the author's fine ear for natural rhythm and the region. The large cast of key players are all distinct, keeping this very conversant narrative very compelling . The writer has handled the characters dialog and the evocative themes with skill and sensitivity."


 
Okay, here's the kind of stuff that I write when I'm good. There are 4 people who had wanted to make it. So why not? I've got five more companies  just as good and with companies but eventually they couldn't find money. It was so close I was going to direct it.

Money, money, money.

If I were able to get all my movies financed I would be the happiest writer in the world.