Overcoming the disappointments a screenwriting journey can deliver…

June 24, 2017 § Leave a comment

guest blogger

It’s time again for a guest blogger here on MY BLANK PAGE! Appearing for his third time with another superb contribution about screenwriting in the trenches… let’s welcome back U.K. screenwriter Niraj Kapur.

“Overcoming the disappointments a screenwriting journey can deliver.”

By Niraj Kapur

 

In 2012, my movie Naachle London was released in cinemas across England.

Written in 2004, it won a writing award in 2006 and was optioned in 2007. Eventually, I sold it to a producer who changed it from a fun British romantic comedy into a Bollywood Family Drama Musical.

Although I only recognised 30% of the final movie as mine, it was an honour to spend a day on set receiving warm wishes from the cast and crew, attend a red carpet screening in London and have my name on the movie poster and trailer which you can see on Youtube. https://www.youtube.com/watch?v=ftwUGemp6Jw

I told hundreds of agents and producers about the premiere, convinced that after 20 years of options, commissions, setbacks and “almost making it” I would finally get my big break.

Not a single agent or producer turned up. Not a single job offer came in.

I was devastated.

After months of self-pity, my wife recommended Hollywood, since most of my favourite writers, directors and movies are American.

18 months after hiring an industry screenwriting coach and two script editors, I flew to L.A. to attend conferences and pitching events, armed with two screenplays.

The biggest regret in my career is that I never invested enough in learning, so I re-read the classics — Michael Hauge, Syd Field and Robert McKee, attended valuable classes from Pilar Alessandra, Jen Grisanti, Lee Jessup and pitched managers, agents or producers (MAP) at exciting events like Story Expo, Great American Pitchfest, and Fade In.

I pitched about 80 MAP and got 27 requests.

Eclectic Pictures, producers of Olympus Has Fallen and Lovelace, asked me into the offices after my first event to pitch the team and a deal was in place to buy my action screenplay.

My dreams were coming true.

The screenplay contract could be cancelled within 30 days of signing and on day 28, Eclectic Pictures cancelled due to internal issues.

18 out of 26 MAP didn’t read my scripts, despite me sending thank you cards and waiting several weeks before following up. Months after my emails weren’t returned, I tried phoning.

My calls were not taken. I even heard one producer say, ”Tell him I’m not there”.

The remaining 8 MAP said, “It wasn’t what they’re looking for” which offers no help whatsoever.

Having sacrificed holidays, a big promotion in my 9-5 job, time with my wife and daughter and taking a bank loan and credit cards worth £15,000 (approx. $20,000), I was devastated.

Dorothy Parker once said, “Hollywood is the only place in the world you can die of encouragement”.

The one smart thing I did was form a writing group who have been incredibly supportive. When you get rejected, fellow artists understand you better than anyone else.

Trying to figure out what went wrong, I paid for mentoring sessions through Stage 32 with Circle of Confusion and an executive at Lionsgate. Both were helpful and advised me to stop writing commercial Hollywood movies. Be unique, write something small and personal in England and get recognised that way.

Having spent 3 years learning to write big budget commercial projects and Americanise my language, it was back to basics.

Belfast Son — a father/son drama with a twist and Till Death Do Us Part, a female-driven horror movie are the results from the last 16 months.

I had to swallow a lot of pride, experience discomfort, endure sleepless nights and miss the glorious sunshine of L.A., although this made me a better writer.

My Hollywood career hasn’t worked out the way I planned, however, I didn’t give up on my dreams, I’ve simply changed how I got there.

Of course, let’s see how the industry reacts…

Written by Niraj Kapur

Niraj Kapur worked as a writer-for-hire on several kids shows on British TV with numerous screenplay commissions and options. His first movie Naachle London was released in 2012. Find him online: www.nirajkapur.com

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Twitter: @Nirajwriter

Q & A interview with Hollywood screenwriter Jim Vines…

June 3, 2017 § Leave a comment

You’ve been a working screenwriter for a number of years. What inspired you to write your novel, Luigi’s Chinese Delicatessen? How did you come up with the premise?

LCD cover picI had become pretty burned out on the whole screenwriting thing. Not just the writing of scripts, but all the wheeling and dealing with filmmakers, agents, and managers. I was just worn out. As much as I really enjoy writing screenplays, I needed another creative writing outlet. I had written all sorts of things—a play, a web series, a non-fiction book, blogs—but I had yet to tackle a novel. It would have to be about something I knew well. So I came up with a story about a young guy who goes to L.A. to become a screenwriter. Once I started writing, the story just poured out of me. Many have asked, “Is the novel autobiographical?” I always say, “Ninety-seven percent of it is a work of fiction—and no, I’m not telling you which 3% is truth.” But Luigi’s is a real Mr. Toad’s Wild Ride through Hollywood, and readers seem to be enjoying it.

How was writing a novel different from your experiences as a screenwriter—and did you enjoy the experience?

When you write a screenplay, you have to stay within certain parameters, and it all tends to be fairly rigid. It can also be difficult exploring a character’s inner feelings and inner thoughts. As I wrote Luigi’s, I felt free to go anywhere I wanted. I could really delve into Trent’s emotions and I could explore moments in his existence that I would never be able to do in a screenplay. I loved every bit of writing that book, I really did.

Do you plan to turn your novel into a screenplay—and have you ever adapted a book before?

I’ve had a few people tell me it would make a cool cable or web series. I did have a producer contact me about a year ago, expressing an interest in adapting the novel into some sort of series, but I never heard back from him after that initial contact. Well, as they say, that’s show biz! As for adapting books: Yup, I’ve adapted four novels into screenplays. One was an early experiment, just to see if I could do it, and the other three were paid assignments. It’s a real challenge boiling a 350-page novel into a 110-page screenplay. It’s fun, but definitely a challenge.

Do you plan to write more novels in the future?

Yup, I sure do! In fact, right now I have three novels in various stages of development, including a sequel to Luigi’s Chinese Delicatessen, which is presently about one-fourth of the way completed.

Do you have other books available?

jim book cover

 

In 2006 I published a book entitled Q & A: The Working Screenwriter – An In-the-Trenches Perspective of Writing Movies in Today’s Film Industry. It’s a compilation of interviews I did with 16 working screenwriters, including David J. Schow (The Crow), Stephen Susco (The Grudge) John Rogers (The Core) and Brent Maddock (Tremors and Short Circuit). It’s available as a paperback and e-book on Amazon, The Writer’s Store…all the usual places.

 

Do you have advice for other screenwriters who are considering writing a novel?

Just keep in mind that you’re doing an awful lot of writing. A screenplay is typically in the 17- to 18,000-word range, give or take. A novel is a minimum of 60,000 words; and depending on the genre you’re writing, you could easily surpass 100,000 words. But if you love what you’re writing—as I did—word count isn’t a huge problem. So if you feel you have a novel in you, you should definitely go for it!

 

Vines, pub picJim Vines has been a professional screenwriter and script consultant since the early 1990s. He has optioned and sold several of his screenplays and has been commissioned to pen and rewrite scripts for numerous U.S. and Canadian producers. His thriller The Perfect Tenant has aired regularly on American and foreign cable television since its release in 2000.  In 2006 he published Q & A: The Working Screenwriter, a book of interviews with 16 professional screenwriters. Jim is the author of The Working Screenwriter and Jim Vines Presents, two popular writing blogs. His comedic 2-act play Downwind of the Cannery has been staged by three separate theater companies. He also created and wrote a Web series, was a guest speaker at the Scriptwriters Network in Los Angeles, and won the Best Writer award at the 2014 Shockfest Film Festival. Also in 2014: a movie produced from his horror screenplay House at the End of the Drive was completed and currently awaits distribution. In 2015, he published his first novel, Luigi’s Chinese Delicatessen, which is the saga of a young man trying to make his mark in Hollywood. He presently has three other book projects in development and occasionally takes on screenwriting assignments.

Tips to avoid the disappointments on your screenwriting journey…

May 17, 2017 § Leave a comment

megaphoneWe all have expectations after we complete a script. You know the creative high that you felt during writing and you want to let the world know that you finished.  You’re also probably coming down from that high as you turn in your draft for criticism and await feedback. Did you receive opinions that were not exactly what you expected? Many times we are pleasantly surprised, but too many other times we are let down by our expectations.

Were you disappointed they didn’t appreciate the work enough — or maybe didn’t understand it enough? It’s hard because we assume that everyone else is as excited about our screenplay as we are when we finish. If this was an assignment gig, maybe the producer felt your execution of the treatment was off?  (I’ve had this happen before). Perhaps you become down on yourself as the insecure voices scream in your head, “I’m a fraud and they’ve found out!”  You may even question what you thought was some of your best work only a week ago, but now because of the reaction feel it’s crap.  You are not alone my fellow writers.

handshake cartoonWe all need a pat on the back or just a “job well done” once in a while… even if it comes from within and not from external opinions. Writing the script is one thing, turning over to others for feedback, or to a producer and waiting for a reply is another experience. It’s easy to take notes personally because your script is your baby and your writing exposes yourself and your talents to criticism.  f you can’t handle criticism, start to work on acceptance, as it will make your journey as a working writer a lot less bumpy. You will always deal with notes and changes your entire career. It doesn’t change when you become a professional writer. In fact, more it at stake because your reputation is on the line with every project.  Perhaps it will make the process easier to always remember that writing is rewriting.  Detach from the material and expectation from any outcome.  “Act without expectation.” —Lao Tzu. Do not hang on every word or sentence. This trick will help you on the long haul journey of a screenwriter.

changeAs writers we must stay open to constructive criticism. We will always receive notes as a script is a changing blueprint for a movie. Once producers, a director and actors get involved there will be many changes and you should welcome the creative input from your co-creators on a project. These fellow artisans will bring it to an entirely new level of creativity. But if the process gets dragged down by so many changes you can become frustrated and feel like throwing in the towel. Stay positive, focused and persistent at executing the notes and turning in a better script. Find the passion you had for the first draft and put that energy into shaping a new draft that will please not only yourself, but the talent it will eventually attract.

pitchAlong with the successes, I’ve also had to deal with disappointments and frustration throughout my writing career, but I continue to love the craft of writing.  I’ve been paid to write movies that were never made and got lost in “development hell.” Imagine being told by the head of the production that your film will go into production in two months, only to find out it doesn’t happen. There are a myriad of reasons why a film doesn’t move forward—even if you wrote a terrific screenplay. These disappointment were the hardest for me to get used to when starting out as a professional screenwriter. I always thought just because they buy your script or hire you to write one it was a guarantee of a produced film. After nine produced films and seventeen assignments, I know the hard reality.

script revision photo copyI’ve been able to handle these disappointments by viewing the entire process from a larger perspective and focusing on the task at hand — to get the script into better shape and move it through the development process.  If you are lucky enough to be paid to write, it becomes your job.  You go to work, write all day, come back tomorrow and lather, rinse, and repeat. Writers have pages to write and without filling those blank pages there would be no script. Take your feedback seriously, but don’t take it to heart.  Trust in your writing abilities and if you allow the disappointments to take you into a bad place, address your feelings but then focus on the task of executing your notes. Stay out-of-the-way of the story and put your ego aside. Writers must serve the story to the best of their creative ability. If you want to play with the big boys, at some point you’re going to be bruised and beat up.  It’s just the rites of passage necessary for the growth of a writer.

alfred-hitchcockreading-script-for-the-movie-rebeccaPart of the deal is that you want people to read your material, right? If producers or executives agree to a read, give them ample time to get back to you. A gentle nudge in a few weeks is completely acceptable, but if you contact them before, you’ll seem desperate and no one likes to be hounded. I remember a producer warned me, “Stay on me about your project, because I tend to get busy.” That’s fine. But use common sense and put yourself in their situation for a second.  Your script is the most important thing in the world to you after you finish, but you have to understand that it’s not on their front burner at the moment. One E-mail or text is fine to check up — four is not.

Be open to the entire process of writing — the notes, criticism, rejections, rewrites and all. Always be writing to gain that precious experience. Detachment from the work is hard, but it helps so you’re not crushed every time you receive disappointing feedback. No disappointments only triumphs when you complete a project. There will always be creative highs and lows. Do your best not to allow your disappointment to be perceived as a failure and then sink into the morass of fear and insecurity in your creative soul. This will lead to the horrible act of chasing screenplay notes.  Avoid this at all costs.

Be patient. A career does not happen overnight and part of your journey is becoming a better writer and finding your unique voice — one that producers will grow to love, trust and hopefully employ!

@Scriptcat out!

Copyright 2017 by Mark Sanderson on MY BLANK PAGE blog.

“The poor dope — he always wanted a pool. Well, in the end, he got himself a pool.”

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Editorial reviews…

“I have known Mark my entire life, and he is absolute living proof of the grit and tenacity it takes to make it as a writer in this business. Take your first steps toward your own career by reading the words of this true fighter.”Matt Reeves, writer/director
(Cloverfield, Let Me In, Dawn Of The Planet of the Apes, War For The Planet of the Apes)

“A great book for anyone who ever aspired to become anything; Sanderson reminds us how important it is to have a life passion, how important it is to work hard at it, and how that, in itself, is a victory.”J. J. Abrams, writer/producer/director
(Mission Impossible III, Star Trek: Into Darkness, Star Wars: The Force Awakens)

“Mark’s work as a screenwriting guru is as thorough, as painstaking, and as insightful as his actual screenwriting was on Tides Of War, our submarine drama. As aspiring writers soon learn it’s a complex, changeable, lonely field of endeavor, so Mark provides not only valid professional advice but also meaningful emotional support for all those who stare into the abyss of an empty page. Read Mark, and your keystrokes will accelerate.”
Brian Trenchard-Smith, producer/director
(Dead End Drive In, BMX Bandits, Drive Hard, and 40 others)

“Not only have I collaborated with Mark as a writer, more importantly I have found him to be a true artist who walks his talk. Whenever the chips are down, whenever I’ve needed some creative or inspirational, perhaps technical help — even if it’s at 3:00 in the morning — Mark has been there invariably. Infallibly. As a screenwriter, director, or producer, this book is the very next best thing to having Mark in your corner at 3 A.M.”
George Mendeluk, writer/producer/director
(70 credits, over 300 hours of television, and 9 features including the epic Bitter Harvest)

“Mark is a journeyman screenwriter, my good friend and collaborator on several projects. This is a must have book of reference for those not only about to embark in a career in the entertainment industry, but also for those who want to learn from someone who’s been there and done that. Mark is extremely candid about what it takes and how hard it is to ‘make it’ in this business. This should be on everyone’s desk right next to their computer.
Greg Grunberg, actor and writer/producer
(actor Alias, Heroes, Big Ass Spider, Star Wars: The Force Awakens)

REWRITES

Learn how to execute screenplay notes effectively and stay on the project…

April 17, 2017 § Leave a comment

rewritesIt’s vital that when you’re writing your specs to also be training yourself to effectively execute screenplay notes because producers will keep you on the project if you’re able to continue help them push it through development. I’ve recently experienced this again when I completed two assignment jobs in a row for a producer. They were page one rewrites of scripts because the previous writers could not generate a production ready screenplay and the projects were stalled. I was able to execute the notes effectively and greatly reduced the development time allowing the scripts to receive a green light. One of the projects completed production and the second script was just accepted last week and sent to the network. It’s a huge jump forward toward production.

When a company has a slate of films they are scheduled to produce, they do not want anything to stand in way of the forward movement toward production. If you can be the screenwriter who executes notes and delivers production ready drafts, they will hire you again. This is your opportunity to shine and establish your professional reputation. You should realize that most of screenwriting is not the romanticized image you might have of parties, huge paydays, and premieres. It’s a job and tremendous work. Put your ego aside and get the work done. The goal when you are working is to finish the screenplay as contracted, receive your payment, and your credit. Most of my jobs on assignment have come from producers who I have worked for before. These relationships will help you establish your screenwriting career.

Writing your own spec script is one thing, being hired for a script assignment and rewriting an existing screenplay, or working from a treatment you didn’t create, and then executing script notes, is an entirely different talent. It’s an ability that you must have if you want to stay on a project and eventually see your name in the credits.

So, when you are writing your  spec, use this precious time as training for your long haul journey. Now is the time to make mistakes and write badly so that you can learn and avoid this when you finally get a professional writing assignment. If you haven’t experienced it yet on your first few screenplays, writing is all about the execution of a great story and rewriting to get it right. Even after thirty–three feature screenplay, I’m still rewriting drafts, but usually the first few drafts are solid enough and only need light polishing. This is where you want to be with your screenwriting ability if you desire to work professionally in Hollywood.

Keep writing on a regular schedule and keep the faith. It’s all talent, timing, and luck — a prepared screenwriter who meets an opportunity and delivers the goods.

Scriptcat out!

Copyright 2017 by Mark Sanderson on blog My Blank Page.

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“A good style must, first of all, be clear. It must not be mean or above the dignity of the subject. It must be appropriate.”—Aristotle

“A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave.”—Ernest Hemingway

“… In fact, when the camera is in motion, in the best-directed scenes, the audiences should not be aware of what the camera is doing. They should be following the action and the road of the idea so closely, that they shouldn’t be aware of what’s going on technically.”—John Huston

“Writing is very hard work, and having done both writing and directing, I can tell you that directing is a pleasure and writing is a drag… but writing is just an empty page—you start with absolutely nothing. I think writers are vastly underrated and underpaid. It’s totally impossible, thought, for a mediocre director to completely screw up a great script.”— director Billy Wilder, interview in Conversations with The Great Moviemakers of Hollywood’s Golden Age at the American Film Institute.

 

Scriptcat’s spring screenwriting tips for your adventure in the trenches…

April 2, 2017 § Leave a comment

IMG_2616Ah, spring is in the air. The time for a fresh start when your ideas begin to bloom. I hope you’ve created new opportunities that have pushed your screenplays closer to success. Trust me, I know if can feel like you’re banging your head against a wall hoping for a breakthrough, but finding the same results of rejection and criticism. I truly hope you’re busy creating a solid body of work and forging ahead on your screenwriting journey. I hope that I’ve been able to offer a few nuggets of advice that you’ve found helpful. In addition to my tips on Twitter (@scriptcat) and my Youtube Channel .I’m also broadcasting live on the new app PERISCOPE. Check it out. Thanks for reading and as always: Carry on, keep the faith and keep screenwriting. Okay, let’s cut to the chase and get right to the action—here are a few more useful survival tips for your journey…

TIP #1

ALWAYS ACT LIKE A PROFESSIONAL IN EVERY ACTION YOU TAKE IN HOLLYWOOD.

MARK4Act like a professional even if you’re an aspirant writing who has yet to sell something. As a screenwriter, you must consider writing a job and this helps you to think of yourself as a professional. As with any job, it comes with deadlines, requirements and expectations, so it’s good practice to follow professional disciplines as you prepare for the time when you do get paid to write. If you train yourself to work under a deadline, it’s not a shock when the producer requires you to complete a script by a certain date. It’s no longer the romanticized dream of spending endless time working on your spec to get it just right—it’s “go time” and you’re now playing in the big leagues—exactly where you belong. The producer or executive expects greatness from you and you generally have six to eight weeks to deliver the first draft and its excellence will decide if they keep you on to write a second draft, or fire you. This is not the time for a “vomit draft.” If you start meeting your own deadlines when writing your specs, it will be easier later when they pay you under contract to meet a deadline.

TIP #2

DO NOT TYPE “FADE IN” IF YOU CAN’T HANDLE CRITICISM.

praise or blameDon’t take criticism personally and realize that it’s part of the process. If you’re going to play in the majors, you’re competing with the best and you must accept that sometimes you won’t find the validation you need. Many times feedback on your script is disappointing and your high expectations become squashed. Your ego’s bruised, beaten to a pulp and you to doubt your talent and chances for success. Don’t take it personally, because feedback is a rite of passage necessary for the growth of any aspiring screenwriter. If you want to survive over the long haul of a career, you’ll need to toughen up and build your courage to endure disappointment criticism and rejection. Learn how to filter the good notes from the bad and ugly notes. As you embrace this process, you’ll begin to look at constructive feedback as a positive experience that helps make your script better, helps push it closer to something a producer wants to produce, and teaches you how to collaborate as a team player so you can work again.

TIP #3

LEARN THAT TALK AND INTEREST ARE FREE AND CHEAP IN HOLLYWOOD.

quote of the dayYou’ll learn the longer you pursue a screenwriting career that talk is cheap in Hollywood and people want credit for their good intentions. Too many times the words are empty promises that end up wasting an eager and hungry writer’s time. Money makes it real. Take everything as face value for talk is the cheapest commodity in Hollywood. Many times interest in you or your script and the endless talk is just that—interest and talk. Many times meetings are just meetings. Many times a producer’s upbeat attitude about your project can become infectious. You want to believe that others see your dream and can realize it. Why not? It’s what keeps us going as screenwriters—belief in our projects and the faith that success is just around the corner. I’m sure when producers and executives tell you that your project is going into production, they just might believe it themselves, but sometimes they tell a writer this to buy more free time. Producers want to keep a writer’s interest in hanging on until they “work out the pesky financing details” and it becomes the bait for more free work. If they can’t raise the money for the budget or they have no money in their development budget, there really is no money to pay the writer. Be understanding to a certain point and look at every situation through a risk/benefit filter. Are you willing to risk your free time with free rewrites on the possible chance a project “might” get produced? Get excited when a producer gives you a contract, you both sign it and you get paid. That’s the professional way—otherwise, you can’t live on the currency of good intentions. Now get back to your blank pages. If you stop writing you’re guaranteed never to have any chance at success.

Keep writing and filling your pages because if you stop—you’re guaranteed to never have any shot at success. This is a business with no guarantees even when you do sell a screenplay.

@Scriptcat out!

Copyright 2017 by Mark Sanderson on MY BLANK PAGE blog.

Master CoverR2-4-REV2If your passion drives you to embark on this crazy adventure of a screenwriting career, you’ll need to prepare for survival in Hollywood’s trenches. Talent is important, but so is your professionalism and ability to endure criticism, rejection, and failure over the long haul. My new book, “A Screenwriter’s Journey to Success” will help you prepare for your own journey with the necessary, tips, tricks and tactics that I’ve developed over the past twenty years of working in the film industry. It’s time to start living your dream as a screenwriter in Hollywood. Available now on Amazon. Click on the book cover for the link to purchase.

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Do you lack focus or haven’t set goals for the year with regards to your career? Check out my on-demand webinars.

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“Do you have the patience to wait until your mud settles and the water is clear?” ― Lao Tzu, Tao Te Ching

“Deliberate practice, by its nature, must be hard. When you want to get good at something, how you spend your time practicing is far more important than the amount of time you spend. Regular practice simply isn’t enough. To improve, we must watch ourselves fail, and learn from our mistakes.”—Florida State University’s Anders Ericsson

If you’re worried about failing, you ought to get into a different business, because statistics will tell you that sixty or seventy percent of the time you’re going to fail.  By fail I mean that the movie won’t make money.  Just do the best you can every time.  And if you’re going to stay in the movies, and you like movies—and I love them—you’d better love them a lot, because it’s going to take all of your time.  If you want to be in the movies, it’s going to break your heart.“—Richard Brooks, director of Blackboard Jungle, Sweet Bird of Youth, In Cold Blood, Looking for Mr. Goodbar

Another writing dream realized… my new screenwriting book.

March 12, 2017 § Leave a comment

sullivans-travels-052The journey of every artist is unique, and your survival depends on being confident enough to believe that you can make it, but remaining humble and respecting that it’s a marathon climb to any level of success. It starts with your passion to take an idea and follow it through to completion. I was reminded of this again when I embarked on my journey to write my first book—something that could help aspiring screenwriters avoid the many pitfalls that a screenwriting career will bring. It was truly another dream realized. The book grew out of my twenty years of professional screenwriting in Hollywood’s trenches, where I’ve been blessed to work and collaborate with many top professionals including Academy Award® winning producers, veteran directors, and Academy Award®, Emmy®, and Golden Globe® acting nominees.

Many of these filmmaking veterans have become my close friends and mentors, and the priceless knowledge I’ve learned from them has certainly helped make me the filmmaker that I am today. My interest in writing a book grew from my desire to pay it forward, as they have done with me, by sharing my own journey with my successes and failures that started when I was just eleven years old and made films with my friends.

Master CoverR2-4-REV2My hope with this book is that by sharing my experiences and disciplines, other screenwriters can avoid the many pitfalls and survive in the trenches as they pursue their own screenwriting journey to success. I want to inspire and drive them to realizing their own dreams like I’ve been able to achieve. Over time and with experience, screenwriters find their unique style by using their own techniques and disciplines to help establish their careers.

Once your creative spark is ignited, only you can extinguish it, so use your passion to keep your dream alive and protect it from those naysayers who whisper their own fears into your ears. Write every day, remain humble, respect and master your craft, and become a prolific screenwriter. As you work toward achieving success, your courage, tenacity, and talent will generate magical moments you could never have imagined possible.

Check out my new book, A Screenwriter’s Journey to Success: Tips, Tricks and Tactics to Survive as a Working Screenwriter in Hollywood, now available on Amazon.

Scriptcat out!

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“Just write every day of your life. Read intensely. Then see what happens. Most of my friends who are put on that diet have very pleasant careers.”—Ray Bradbury

“If a writer stops observing, he is finished.”—Ernest Hemingway

“This is, if not a lifetime process, it’s awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, ‘Huzzah! Eureka! I’ve got it!’ and then proceeds to write the great American novel in eleven days. It doesn’t work that way. It’s a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it’s hard.”—Rod Serling

“The well is where your “juice” is. Nobody knows what it is made of, least of all yourself. What you know is if you have it, or you have to wait for it to come back.”—Ernest Hemingway

 

Be careful who you bring on to help with your screenwriting career…

March 3, 2017 § Leave a comment

handshake cartoonOver the years, I’ve had both agents and managers and had good and bad experiences with both. I grimace at the wasted time in the past where I stayed with a rep who was basically wasting my time and not moving my career forward. When you’re fist starting out, you will be eager to have anyone show you interest and you will learn that talk is free and cheap in Hollywood. You will experience amazing reps who can’t “move you forward” and others who can but don’t. It’s the nature of the game. The main takeaway is that you must be careful who you entrust with establishing your career. The wrong people will waste your precious time and also may derail your overall plans. Keep your radar up for those who are not helping you but say they are doing great things.

danger development hellYou could call the following a “cautionary tale.”  I once found a manager on the internet. Yes, any story that starts out like this probably ends in tragedy. Again, this was when I started out in the business and was happy for anyone to read my stuff. Well, this cautionary tale ended with an important life lesson—always trust your instincts.  This manager and I played E-mail tag and I sent over a few scripts and he wanted to meet.  We had breakfast  (he paid) and he laid out a game plan to get me working.  I liked that he was thinking of the bigger picture and wanted to hit the ground running.  I was already working on stuff, but as always, needed to meet a larger circle of producers who might offer more writing assignments.

smash head in wallOur working relationship appeared as if it was going well until the communication began to slow on his end. Never a good sign. I was living up to the bargain on my end, working on pitches, executing his notes on my existing scripts, but I could sense that something wasn’t quite right. He had one lead on a producer that never ended up with a meeting and that was pretty much it for him. It was foreshadowing where our working relationship was going—nowhere. It fizzled out and he stopped returning calls and E-mails. It was then I learned that he was actually my neighbor who lives not more than one-hundred yards from me. He was done, baby done.

Time passed and I was at a local coffee-house, enjoying a coffee and reading the newspaper when I recognize this very same “manager.” No surprise, because I would see him around the neighborhood every once in a while but he never did recognize me, as if I wasn’t even worthy of remembering. That’s okay, my anonymity allowed me to eavesdrop on him and listen while he told the very same spiel to two young and eager looking writers.  I just listened, feeling very much undercover, as he didn’t know who I was, and I felt like leaning over and warning these guys of my experience with this bottom feeder.  Who knows, would they suffer the same fate?  Or maybe these were the guys who he would catapult into super stardom.  Bottom line, like any relationship, if it’s not working after many attempts, get out.  Your time is precious too and better to spend it working and not spinning your wheels with a rep who promises the world and delivers nothing. You’ve worked too damn hard to entrust your journey to an amateur.

You quickly learn —no one truly cares like you do about your career.  They read five pages and if it doesn’t happen, they’re done.  The only person who really does care about your career is you because you live it and sacrifice for it every day.  If you remember this fact you won’t be surprised when those people who you think have your best interests in mind—really do not.  If you write something that someone believes they can sell, they will become interested.  If you write something that has a lot of interest before you find representation—they will flock to it like a moth to a flame.

Sure, it’s great to have a rep, but you need someone who is not just along for the ride and has you doing most of the work.  You are responsible for creating new and solid material and you should never stray from that discipline even if you don’t secure representation. My old writing partner and I used to say, “Just because there is a signature on a contract doesn’t mean someone will work that much harder.”  It means if things are not working out, you both have about six months to legally end the relationship.  Remember, you can never get back wasted time because you thought your rep was pushing you as a writer and your projects, but in reality you stalled and missed so many important opportunities as a result.

Keep screenwriting and keep the faith.

Scriptcat out!

Copyright 2017 by Mark Sanderson on blog MY BLANK PAGE.

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“Act without expectation.” —Lao Tzu

Work inspires inspiration. Keep working. If you succeed, keep working. If you fail, keep working. If you’re interested, keep working. If you’re bored, keep working.”—Michael Crichton

“The professional prepares mentally to absorb blows and to deliver them.  His aim is to take what the day gives him.  He is prepared to be prudent and prepared to be reckless, to take a beating when he has to, and to go for the throat when he can.  He understands the field alters every day.  His goal is not victory (success will come by itself when it wants to) but to handle himself, his insides, as sturdily as he can.”—Steven Pressfield, “The War of Art”

“The reason actors, artists, writers have agents is because we’ll do it for nothing. That’s a basic fact – you gotta do it.” —Morgan Freeman

“Defer no time, delays have dangerous ends.” —William Shakespeare

Remember Stephen King’s First Rule of Writers and Agents, learned by bitter personal experience: “You don’t need one until you’re making enough for someone to steal… and if you’re making that much, you’ll be able to take your pick of good agents.” ― Stephen King

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