Top 10 Worst Screenwriting Habits for Overwriting…

November 29, 2018 § Leave a comment

salvador-dali-by-willy-rizzo-1Keep an eye out for bad habits. Here are a few tips to avoid hanging on so tightly to every description or line of dialogue. It will kill your writing in the long run and harm your reputation of a talented screenwriter. So…

STOP MICROMANAGING YOUR SCREENWRITING!

When your 105 page screenplay ends up at 125 pages and you wonder why?

You might be asking, “What do you mean by micromanaging?” Here is my Top 10 Checklist to see if you’re guilty of this:

  1. You describe every action detail between the lines of dialogue. The fewer words on the page the better. Leave the specific character’s business up to the actor unless it’s absolutely necessary to move the story forward.
  2. You’re TELLING and not SHOWING in your writing: “It was a hot summer day like the ones you remember as a child.” How do you SHOW this?
  3. You’re directing the character’s actions with too many details: Frank rolls his eyes, shrugs, smiles, blushes, folds arms, grits teeth, scowls and drops his head. It’s Bad Acting 101 and actors will hate this from the writer.
  4. You describe every “turn” the character makes. It’s assumed characters are talking to each other unless to write otherwise. You don’t need to constantly write “Frank turns to Kate.”
  5. You’re using idioms: “Lisa was over the moon by the performance.” No. She wasn’t literally “over the moon” so don’t write it. Screenwriting is only what we can see and hear on the screen.
  6. Don’t repeat phrases or words in dialogue between characters. You’re not David Mamet, so don’t waste space by writing, “Are we going? Yeah we’re going. Okay, when are we going? We’re going now.”
  7. Don’t write what a character is thinking: “Henry was sad as the remembered the good times with his wife.” You have to show this visually and not TELL us.
  8. You write WE SEE and WE HEAR in your descriptions. Leave this out of your screenplay. It takes us out of the read and you are directing as this point. What you write on the page is what “we see or hear.” Make your screenwriting cinematic.
  9. You describe the set with too many unnecessary details: The living room had green shag carpet, paisley wallpaper and a giant crystal chandelier. Unless it’s necessary let the set designer and art director do their jobs.
  10.  You’re writing eight pages of dialogue. Sure, Quentin Tarrantino can get away with opening a film with ten pages of dialogue–you and I cannot. Most of the time the dialogue should be cut and then cut again by fifty percent.

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.

“Consider this: in Lawrence of Arabia, Lawrence in flowing white robes, sits on a truck in the middle of the desert giving a press conference. He’s ten feet tall on the screen and overwhelmingly immaculate. He faces a grimy-looking reporter who scratches his beard and asks snidely, “Just what is it, Colonel Lawrence, that attracts you to the desert?” Lawrence glances distastefully at the dirty reporter and offers a three word reply: “Because it’s clean.” It is not the text but the context that gives this reply its full force. Those three words in a novel or even the stage would be mildly amusing at best, but on the screen the effect is as overwhelming as the figure of Lawrence and the desert looming behind him. Those three words are the scene. There is no speech, long or short, about Lawrence’s need to seek remote places of the earth in order to avoid the corruption inevitably found in its more populated areas. Only a clean man, a dirty reporter, a big desert and three little words — “Because it’s clean.” It’s a movie. What else do you need?” —by Robert Towne (Chinatown) from “Why I writer Movies,” Esquire magazine, July 1991.

@Scriptcat out!

Copyright 2018 by Mark Sanderson on MY BLANK PAGE.

 

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Don’t miss my new double feature — my recent thriller “HIDDEN FAMILY SECRETS re-airing on LIFETIME MOVIE NETWORK on Saturday, December 22 at 12 pm and followed by my other thriller at 2 pm  “FAMILY VANISHED.”

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Master CoverR2-4-REV2My new book with 19 FIVE STAR reviews on amazon.

It’s a long haul journey to reach any level of screenwriting success. If 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.  The odds may be stacked against you, but the way to standout in this  very competitive business is to create a solid body of work and build a  reputation as a team player and collaborator. The rest is just luck — a  prepared screenwriter who meets with an opportunity and delivers the  goods. “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.

Click on the book cover above for the link to Amazon.

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, Star Wars IX)

“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)

 

 

 

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One screenplay will not do it. When you’re ready, you will need multiple solid screenplays in the marketplace at all times for any shot at success…

November 5, 2018 § Leave a comment

PILE OF SCRIPTSIt’s a numbers game at best. Consider the odds of selling a spec screenplay the same as winning the lottery if you believe the numbers—nearly 50,000 projects bounce around Hollywood each year with just over 100 specs selling at the studio level most years. In the 2018 WGA annual report to writers, only 5,819 of the 20,000 WGAw members reported any income last fiscal year in all mediums. Also, when you also consider that only 70 to 75 specs sold in Hollywood in 2017 and only 740 films were released domestically, you have to be writing at a professional level to beat the incredible odds. Don’t forget about the thousands of films without distribution that end up competing at film festivals every year with only a handful landing deals.

Yes, I also hate hearing about the odds, but it’s a reality that must be considered so you know the mountain that you must climb with every new screenplay. It also makes you humble knowing it’s not going to be easy. This is an example of why you must have multiple projects, pitches and treatments in the marketplace at any given time for chance that one might—and I stress might—find interest and move farther down the playing field. If you haven’t experienced it yet, you’ll soon discover talk is cheap in Hollywood. So you’ll add that to the journey of your projects when producers or executives heap their praise on your talents and your screenplay, but they string you along with offers of free work as they dangle the carrot of production.

You’ll find out the longer you’re in the trenches that interest, even when you receive a payday, doesn’t always guarantee your film goes on to being a produced film. Sure, money makes their interest real, but your project still must jump over many hurdles that are out of your control. Some of these pitfalls include:

  • An option for little money that doesn’t end up with the purchase of the script.
  • Your script is purchased, you are fired, and it’s rewritten so many times it languishes in development hell and never gets produced.
  • A script is close to being financed when suddenly the investors pullout, the producer loses the money and the star as a result.
  • A project is put on hold because of scheduling conflicts.
  • A project isn’t produced due to changing global marketplace factors. It’s cheaper NOT to make the film than take a risk of not being able to sell it.

Each project you create will have a shelf life and travel on its own unique journey to either failure or success. Sometimes a spec that didn’t sell two years ago can find a new home, but it’s a long haul journey for any project to find a producer or executive who likes it enough to move forward in some way. The project must also survive the dicey minefield of the development process and with luck, move into production. Even when a film is produced, there still is no guarantee of success either. How many films considered a “guaranteed hit” end up a bomb at the box office? It happens every weekend. As you see there are many hurdles that are out of a screenwriter’s control, but the one thing in your control is creating a solid body of work and putting it in the pipeline with the goal of having one move forward down the field to production. This is why you can’t be a “one script wonder” and burn out after a few drafts of your first screenplay.

poor screenwriterI recently completed my 36th overall screenplay, it was produced as my 20th paid assignment, and it’s still hard work and humbling. One of the hardest lessons that I had to learn when I finally started being paid to write screenplays was that not every project that I wrote was going to be produced. Many projects that I was hired to write ended up in development hell, not from anything I did, but because of a variety of circumstances out of my control. These projects remain viable with production ready drafts, but might never get off the shelf and into production. That’s okay. Take your lumps and move onto generating your next logline, pitch or treatment and hopefully another job.

Never forget that Hollywood is a business and screenwriting is a profession with the same dilemmas of other jobs. Your goal is staying in the game and being hired again and again to write screenplays to establish a career. It may take writing a half-dozen projects for one to finally sell or get you assignment work, but every new script is a new opportunity or a missed opportunity–it depends on how you play it.

The other harsh reality is that you will need plenty of time to master your craft and be writing at a professional level with at least four or five solid projects that can be out in the marketplace competing with the thousands of others. This is why I stress the practice of patience during this period of your journey. I find many beginning screenwriters are too eager to sell their first script for a million dollars—like it’s just that easy. It’s not just that easy. And you need to respect your craft and practice it every day. You’ll need the time to fail and write badly before you can become an excellent screenwriter, execute notes and work on a schedule under pressure. You don’t want a yellow belt in screenwriting—you want to achieve a Grand Master 4th degree Black Belt—and to do this you’ll need to train by writing every day.

boxerThe only way you’ll be able to do this is to keep to a tight writing schedule. You’ll need to protect your precious writing time from distraction and procrastination. Stephen King calls it “closing your door.” When your door is closed, it means that you are writing. You have to take your career seriously and become a master at scheduling your time. If you dabble at your career, time becomes your enemy, it passes quickly while projects burn out and life gets in the way of your most splendid screenwriting dreams. If you keep the pipeline always filled with your best work you will create opportunities and have a shot at success. If your body of work includes feature-length original screenplays and if they don’t sell, the scripts can become solid writing samples that can get you assignment work.  If you want to work in television, your body of work should include your original TV pilots to show an agent, manager, producer or executive your unique voice. It used to be that you needed to write a spec episode of an existing series, but now agents and managers look for original material to get a handle on the writer’s talent and unique voice. And for both feature films and TV continue to craft your pitches for ideas that you want to write.

If you have a solid body of work and you’re always creating new projects, you will be more attractive to an agent or manager as they can see you are not a “one script wonder” but a workhorse. They don’t like divas and love writers who write and create the product. As you build up your projects, you’ll be working on your craft and becoming a better screenwriter in the process. And as it’s extremely difficult to sell a project, you’ll want to increase your odds by only unleashing solid projects into the pipeline so you can attack a career on different fronts. Never allow a screenplay to go out before it’s ready as it will harm the project and the image of you as a screenwriter. Eventually one script will slip through and stick and it will jump-start your screenwriting career.

Keep writing because if you stop—you’re guaranteed never to have any chance at success.

Scriptcat out!

Copyright 2018 written by Mark Sanderson on blog MY BLANK PAGE.

Follow me on Twitter / Periscope: @scriptcat

Did you just complete your latest screenplay and need in-depth consultation? Check out my services by clicking on the blue icon below for the link to my website and more information.  You never get a second chance to make a first great impression. Make the time to get it right.

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Master CoverR2-4-REV219 FIVE STAR REVIEWS! Now available on AMAZON my new screenwriting book. If 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. The odds may be stacked against you, but the way to standout in this very competitive business is to create a solid body of work and build a reputation as a team player and collaborator. The rest is just luck — a prepared screenwriter who meets with an opportunity and delivers the goods. “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.

Click on the book cover above for the link to Amazon and more information.

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Check out my screenwriting masterclass: Staying in the Game: Surviving as a Working Screenwriter in Hollywood” from my recent seminar in Hollywood. Click on the icon at the left to watch the entire two hour course.

 

 

 

Scriptcat’s fall screenwriting tips for your journey…

September 22, 2018 § Leave a comment

fullsizeoutput_302Ah, it’s finally the first day of autumn… the time when we move into another season and the leaves begin to fall. Summer went by in a blink, and I hope you were busy filling your blank pages on new projects.  I’ve been blessed with new script assignments and have a new film going into production at the end of next week in Los Angeles. I also have a new movie coming out over the next few months, and I’m also teaching a new seminar next week in North Hollywood and looking forward to meeting new screenwriters and talking about breaking in and staying in the game.

I hope you’ve created new opportunities that have pushed your screenplays closer to success so far this year. 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’ll be posting new tips here as much as my schedule permits in addition to new articles as the topics arise in my daily life. Dig in, as I’ve written over 200 articles on this blog and my new book “A Screenwriter’s Journey to Success” is available on Amazon. I’m also broadcasting live on  PERISCOPE. Check it out. I’ve also jumped onto Instagram—find me at: marksanderson_scriptcat and visit my website FIVE O’CLOCK BLUE ENTERTAINMENT for everything else.  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

DON’T BE AFRAID TO SAY, “NO.

no kiddin largeNo. It’s a powerful word if used properly on your screenwriting journey. Or better yet, “No, thank you.” If any deal does not feel right or isn’t right for you, don’t be afraid to graciously say, “No, thank you.” Yes, even if you haven’t sold a screenplay before. Your time is more important than being locked into a crappy deal and something that could set you back. You come from a place of power when you feel that something is wrong and you don’t cave to your fears out of desperation. You will thank yourself when a better opportunity comes your way and you’re free to take it.  Trust me, producers can smell desperation in the room if a writer needs to pay the rent or needs some validation about the work. This is when you unknowingly might allow them to take advantage of you, and then you accept a crappy deal that benefits them and not you. Sure, you might need to get your foot in the door, but it doesn’t mean they have to crush your toes in the process. Any opportunity to work is a chance for you to shine, but your time is important and if you are writing at a professional level to compete, you should come into any situation with a humble confidence. So, what if you find yourself on the side of the cliff dangling by a mere finger hold and running out of time? Hang on. Climb back up and work on another script, and another, and get better and build your network of contacts. When you’re at the lowest point is when it really matters how you stay in the game because it’s much easier for you to leave the business when all hope is lost. And time keeps ticking away. It can be your greatest asset or worst enemy especially if you put an expiration date on your screenwriting dreams—“I have to make it by 30!” When you’re struggling on the side of that cliff, fight for your long term survival. Never allow them to stomp on your fingers so you fall into the void and never to live out your splendid screenwriting dreams.

TIP #2

CONSIDER YOUR SPECS AS YOUR CALLING CARDS — NOT A MILLION DOLLAR SALE.

bag of money

I know it’s hard to accept the spec you are writing now probably will not sell and may end up being only a writing sample, but you need to put your specs into perspective. If you don’t put in the necessary work with solid rewrites from constructive feedback and create professionally competitive material—your specs could end up in a drawer collecting dust or worse a dumpster and have a negative effect on your career aspirations. Specs are a necessary part of every screenwriter’s journey because they are the scripts you “cut your teeth on” to prepare you for when you do get hired for assignment jobs. My fifth spec is the one that opened the door to a career and landed me fifteen assignment jobs that followed. Be smart about your career. Don’t waste time making the same mistakes over and over again. Before you start your next spec and burn precious time, consider how it figures into your overall screenwriting goals—not just the mantra that I hear from so many aspirants, “I have a good idea for a script and I’m sure it will sell.” Many times it’s not a good idea and if your goal is to be a horror genre screenwriter, why are you writing a romantic comedy especially when Hollywood isn’t producing that genre now? Think, plan, create a checklist, hit your goals, create a solid story treatment before you start pages, and then put your ass in a seat and fill those blank pages.

TIP #3

TALK IS 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 2018 by Mark Sanderson on MY BLANK PAGE.

 

Did you just complete your latest screenplay or a new draft. Is it time for in-depth consultation? Check out my services by clicking on the icon below for the link to my website and more information.

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Hemingway said it best, I still believe, though, that it is very bad for a writer to talk about how he writes. He writes to be read by the eye and no explanations or dissertations should be necessary. You can be sure that there is much more there than will be read at any first reading and having made this it is not the writer’s province to explain it or to run guided tours through the more difficult country of his work.

“I never feel the need to discuss my work with anyone. No, I am too busy writing it. It has got to please me and if it does I don’t need to talk about it. If it doesn’t please me, talking about it won’t improve it, since the only thing to improve it is to work on it some more. I am not a literary man but only a writer. I don’t get any pleasure from talking shop.”—William Faulkner

“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

“Every sentence must do one of two things — reveal character or advance the action.”– Kurt Vonnegut

 

Be prepared for opportunities

 

 

 

 

Considering a screenwriting partner? It’s not all fun and games, so choose wisely…

June 1, 2018 § Leave a comment

IMG_1059Writing is usually a solitary endeavor as we primarily sit alone at our keyboards, sometimes late at night, and peck away at our screenplays.  It can get lonely because a writer must get away from the constant distractions of the day and escape alone into the world of characters on the page.  If you’re thinking about working on a project with a writing partner and never had one before, you have to ask yourself if you both share the same work ethic and seriousness about the craft.  Is this partnership for one project or are you becoming a writing team? What happens if your project sells? Is your partner easy to work with in regards to changes and notes from producers? Do you argue about the creative direction of your screenplay? Do you both have the same creative sensibilities? What happens if you don’t sell anything for years—is your partner still going to go after the dream and how long will you both give the partnership? All good questions to consider before you both sit down and type “FADE IN.”

If you decide to become a writing team, it’s a creative partnership first, but you both must share a bigger vision about where you both see yourselves as business partners. It’s a business relationship too and you both must agree on every decision because it now affects both of your careers and potentially your finances. You’ll both either swim or sink together and during the rough times, you’ll need a partner who will do everything he or she can to save you both if you’re sinking.

My overall experience with having a writing partner was very positive, but I’ve heard stories where friendships have ended because egos and the business got in the way. I’ve had a handful of writing partners over the years and together we worked on spec TV pilots and features, but my last and longest writing partner worked with me for nearly eight years. We met working together as waiters in a restaurant — he was an actor with credits, and I was a writer who had film school and a few feature specs under my belt.  We shared the same comedic sensibilities, work ethic, and were both extremely serious about pursuing a career as screenwriters. We were blessed to have crossed paths when we did and working for many years together.

When he asked me to join a brand new sketch comedy troupe, I jumped at the opportunity and it gave me the chance to also become a live performer. It was our invaluable experiences together writing, performing and producing the live show and subsequent pilot that helped to solidify our screenwriting partnership. We also became closer friends as a result of slogging through Hollywood’s trenches together.

After our live show ran for many years, we co-wrote and co-produced an independently financed film and that experience brought our working relationship to an entirely new level. After that successful experience, we both decided that we wanted to focus on writing feature screenplays. We secured a literary manager who then found us an agent at a mid-level agency and we were off to the races.  During this period, I also sold a spec script of my own that went into production the following year. But now they sold us to Hollywood as a “writing team” and our handlers constantly sent out our specs and set up dozens of pitch meetings.

As a writing team, we laid the foundation for producers to get to know our work and consider us for writing assignments or rewrites. Our scripts were always high concept comedies that were heartfelt and uplifting. This was perfect as the producers we were meeting made those types of movies and wanted to read our scripts. Many times, these producers brought our scripts to the studio level for consideration and we always felt with every positive step forward we moved closer to our big shot. It always seemed like just one script away from that big success that begins a career.

We knew each other so well that it was like having my other half with me in the pitch meetings. And trust me, I’ve pitched alone and when it goes badly, it’s nice to have your writing partner there to back you up and vice versa. We were mature enough to know our weaknesses and both allowed each other to use our creative strengths to help the overall project. We took all ego out of the creative relationship.

As a team, it felt like family and we were like brothers looking out for each other as family. We always seemed on the same page with regards to the bigger picture.  He always had some vivid wild dream and would come to me and pitch it, we’d work it out, and it would become our next project. I’d instantly see it in my mind and we’d structure the story, pitch it to our manager, and then write it.  We’d usually complete a spec in a month and take notes from our handlers and quickly execute those notes.  They liked that we worked fast and were so productive.

After our live sketch show ended, as a writing team we co-wrote and co-produced a feature film, completed seven feature scripts, took dozens of pitch meetings, and co-wrote and did voices for a Showtime pilot. We had a good run. He eventually decided to leave the business and open three very successful restaurants.  I soldiered on alone.

For me personally, I’m so thankful to have had a writing partner during those creative years and I know we had more output together than if I had worked alone. Remember that when managers and agents send you out, you will be a writing team and from then on it will be difficult for you to work on your own as well. If you become successful and hook a writing job together, they will want the writing team and no just you alone. At the time, I recall my manager not really wanting to push my solo projects, as I was part of a writing team now and that was her focus.

chaplinBefore you decide to write a project with a partner, you have to ask yourself if you both share the same work ethic and bigger vision about where you both see yourselves as a creative team. It’s a business relationship first and together you will make important decisions that will affect both of your careers. If your writing partner is a friend and your business relationship goes sour, you could lose your friend and the project in the process. What if your partner decides to go another direction and quit the writing team because you aren’t selling anything? What if your partner hates to execute notes and doesn’t get along with producers? Be sure about the person you decide to include in your own career path. Also remember that any money you make will be split between you as well. That big $100,000 script sale really means $50,000 each minus agent, manager, lawyer, and of course taxes. It’s half the work, but also half the money.

A writing partner needs to be the right fit for the long haul because the team’s every success and failure will affect both of your careers. Like any relationship, it’s a give and take, so you have to seriously weigh the pros and cons of having a writing partner or choosing to go it alone. Choose wisely my friends.

Here’s a classic example of writing partners not working out from ‘Billy Wilder: The Art of Screenwriting No. 1’. Interviewed by James Linville in The Paris Review, 1996.

INTERVIEWER
I understand your collaboration with Raymond Chandler was more difficult?

BILLY WILDER
Yes. Chandler had never been inside a studio. He was writing for one of the hard-boiled serial magazines, The Black Mask—the original pulp fiction—and he’d been stringing tennis rackets to make ends meet. Just before then, James M. Cain had written The Postman Always Rings Twice, and then a similar story, Double Indemnity, which was serialized in three or four installments in the late Liberty magazine.

Paramount bought Double Indemnity, and I was eager to work with Cain, but he was tied up working on a picture at Fox called Western Union. A producer-friend brought me some Chandler stories from The Black Mask. You could see the man had a wonderful eye. I remember two lines from those stories especially: ‘Nothing is emptier than an empty swimming pool.’ The other is when Marlowe goes to Pasadena in the middle of the summer and drops in on a very old man who is sitting in a greenhouse covered in three blankets. He says, ‘Out of his ears grew hair long enough to catch a moth.’ A great eye . . . but then you don’t know if that will work in pictures because the details in writing have to be photographable.

I said to Joe Sistrom, Let’s give him a try. Chandler came into the studio, and we gave him the Cain story Double Indemnity to read. He came back the next day: I read that story. It’s absolute shit! He hated Cain because of Cain’s big success with The Postman Always Rings Twice.

He said, Well, I’ll do it anyway. Give me a screenplay so I can familiarize myself with the format. This is Friday. Do you want it a week from Monday?

Holy shit, we said. We usually took five to six months on a script.

Don’t worry, he said. He had no idea that I was not only the director but was supposed to write it with him.

      Double Indemnity (Directed by Billy Wilder)

He came back in ten days with eighty pages of absolute bullshit. He had some good phrases of dialogue, but they must have given him a script written by someone who wanted to be a director. He’d put in directions for fade-ins, dissolves, all kinds of camera moves to show he’d grasped the technique.

I sat him down and explained we’d have to work together. We always met at nine o’clock, and would quit at about four-thirty. I had to explain a lot to him as we went along, but he was very helpful to me. What we were doing together had real electricity. He was a very, very good writer—but not of scripts.

One morning, I’m sitting there in the office, ten o’clock and no Chandler. Eleven o’clock. At eleven-thirty, I called Joe Sistrom, the producer of Double Indemnity, and asked, What happened to Chandler?

I was going to call you. I just got a letter from him in which he resigns.

Apparently he had resigned because, while we were sitting in the office with the sun shining through, I had asked him to close the curtains and I had not said please. He accused me of having as many as three martinis at lunch. Furthermore, he wrote that he found it very disconcerting that Mr. Wilder gets two, three, sometimes even four calls from obviously young girls.

Naturally. I would take a phone call, three or four minutes, to say, “Let’s meet at that restaurant there, or, Let’s go for a drink here.” He was about twenty years older than I was, and his wife was older than him, elderly. And I was on the phone with girls! Sex was rampant then, but I was just looking out for myself. Later, in a biography he said all sorts of nasty things about me—that I was a Nazi, that I was uncooperative and rude, and God knows what. Maybe the antagonism even helped. He was a peculiar guy, but I was very glad to have worked with him.

film stockScriptcat out!

Follow me on Twitter @scriptcat and on Periscope.

Copyright 2018 by Mark Sanderson on his blog MY BLANK PAGE.

Did you just complete your latest screenplay and need in-depth consultation? Check out my services by clicking on the blue icon below for the link to my website and more information.  You never get a second chance to make a first great impression with your screenplay. Make the time to get it right.

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If 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.

 

“Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion—that’s Plot.” —Leigh Brackett

“Starting tonight, every night in your life before you go to sleep, read at least one poem by anyone you choose. Poetry and motion pictures are twins. You’ll get more out of reading poetry than you will get out of any other kind of reading. You are people with eyes. You must find ways of extending this vision and putting it on film. As an experiment all of you could get out of here and shoot a cinematic haiku. Just go through a book of Japanese haiku and shoot a thirty-second film. They’re purely cinematic, very visual. You must read poems every night of your life in order to enable yourself to refresh your images. In forty years you’ll thank me for telling you this.”—Ray Bradbury, Conversations with The Great Moviemakers of Hollywood’s Golden Age at the American Film Institute.

“To make a great film you need three things – the script, the script and the script.” – Alfred Hitchcock

“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

“Give me a good script, and I’ll be a hundred times better as a director.” – George Cukor

 

Three screenwriting tips for your long haul journey to success…

May 27, 2018 § Leave a comment

completing a scriptDid you just type FADE OUT – THE END? Congrats! I hope you’ve created new opportunities that have pushed your screenplay closer to success. And be patient with your rewrites. They are vital to your screenwriting 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 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 MAKE.

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

REALIZE 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—it’s the follow through that is usually missing. 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 by any means necessary 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.

Until next time… @Scriptcat out!

Copyright 2018 by Mark Sanderson on the 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.

Visit and subscribe to my YOUTUBE CHANNEL with 32 screenwriting video advice tips.

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

(click on the icon below for the link to purchase or stream the videos)

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Click the photo for the link to the webinar.

Did you just complete your latest magnum opus? Time for in-depth screenplay consultation? Check out my services by clicking on the blue icon below for the link to my website and more information.

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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

PILE OF SCRIPTS

Respect and protect your first draft…

May 6, 2018 § Leave a comment

IMG_1059I remember my first feature-length screenplay. I got lost somewhere in the barren wasteland of ACT 2 and felt like I would never reach the end. Now, thirty-five screenplays later with fourteen produced films from nineteen paid assignments and one spec sale, I have a better grasp on the process, but it’s always a new and different experience every time you type FADE IN. I respect this fact. Early on in my journey, I thought it would be screenwriting would be an easy experience, and I was humbled every time by the enormity of the craft.

Do not fool yourself into thinking your first draft has to be shit or you should just, ‘Get it down on paper.” It’s just the opposite—your first draft is extremely important because the DNA of your story and characters lives in this precious first pass. I love this quote from six time Academy Award nominee screenwriter Ernest Lehman (Sabrina, Sweet Smell of Success, North by Northwest, The Sound of Music, Who’s Afraid of Virgina Wolf?):

“Good screenwriting is about carpentry. It’s a juggling of beginnings, middles and endings so they all inevitably seem to be moving correctly together. Your first draft is dangerously important. Don’t ever kid yourself into thinking, “It’s okay, it’s just the first draft.”  Beware of that thought, because it’s ten times more difficult to go in a certain direction once you’ve gone in another direction.”—Ernest Lehman

It’s true. I know from experience that it’s difficult to totally rewrite a first draft from page one into something new. Sadly, too many times it ends up becoming a jumbled mess as the foundation of the story is being altered underneath the story. My advice is to make your first draft your best possible work at the time. When writing it, act as if you’ll never get another chance to touch the screenplay.

You should use your specs as training to turn out a superb first draft to prepare you for the day when you’re hired for a screenplay assignment. This pays off in many ways, most importantly when you’re working for a producer and your solid first draft helps reduce the development process and can secure the interest of investors, a director, and actors. A solid, kick-ass first draft will also keep you on the screenplay assignment and not get you replaced by another screenwriter.

praise or blameMake sure your screenplay suffers the fewest amount of changes during the development process. Trust me, you don’t want your script to get bogged down in development hell. It’s hard to climb out of that pit and too many times projects die a tragic death from too many drafts over a long period of time. The script can end up unrecognizable after the multiple drafts and ultimately the writer can be blamed for the producer’s decisions to change the story.

I’m not suggesting that you agonize over every word, but treat your first draft with the seriousness it deserves. A solid first draft will help with faster rewrites because you’re not reinventing story lines, but you’re doing a “clean up” job. You want to avoid situations where your first draft is shit and you have to do a page one rewrite instead of a clean up. When you start working on paid screenwriting assignments, you will not have the luxury of turning in a crappy first draft. The producer or executive will expect the best possible draft that matches the accepted story treatment. Anything less will endanger your chances of getting a chance at draft two and staying on the project through production.

Avoid a “vomit” draft because you can use that precious time to work it into something excellent. Why not? A sold first draft also helps lessen massive rewrites on the successive drafts.

hang onAnd continuing of the subject of first drafts the question always arises, “How long should a first draft take?” If you’ve been screenwriting for a while, you’ll be able to estimate how fast you can write a first draft of a screenplay. That’s important because when you start working professionally, you will need to work under a contracted deadline and deliver the goods on time at the top of your game. Time is our greatest asset or worst enemy—it depends on how you respect and use it. This is why I recommend that beginning screenwriters to always set their own realistic writing schedules when writing their specs so they’ll be training for the day when a professional opportunity arrives.

You may labor over your spec for six months or longer because there is no deadline and your life keeps getting in the way. Once screenwriting becomes your job, and it is a job, you’ll need to have the stamina and focus to write six or more hours per day to meet a deadline. If you haven’t already, you need to set up a regular, uninterrupted writing schedule and protect it at all costs. If the forces of interruption get in the way, you’re productivity and success will be severely hampered.  An important element in writing is consistency and if you skip one day, and then two, you’ll find yourself losing the vital focus to keep your script on track. As you’ve probably found out already, there is always something else to do then write. It’s important to finish out a day writing, no matter the page count, and get right back to it the next day while it’s fresh in your mind. This builds consistency and a regular schedule.

If you’re working under a WGA union contract, the minimum time for a first draft is usually twelve weeks. You can guarantee the producer or executive will start calling your agent or manager in about four weeks, sniffing around to see how you are progressing. In my contract for my recent screenwriting assignment that I completed a few months ago, I agreed to a four-week schedule to turn in my first draft. I completed the script in 25 days and turned in my 105 page script a few days early after going over it a few times myself. It wasn’t impossible because I was working from a solid story treatment that I crafted and it was authorized by the producer and production company. I’ve also worked under a contract that allowed four weeks for a first draft. When you’re working on assignment jobs, producers will not allow you to start the script until the story treatment or step outline is completely fleshed out. This way your screenwriting will be a breeze as you have a solid road map to follow. It’s such a creative high when you complete a solid day of writing and leave it where you can’t wait to get up the next morning and start again.

My fastest time for writing a first draft was twenty days. That was five pages a day, every day to get the job done. When I finish early, I go over the script again by myself for a polish before I turn it in to the producer. I believe too much time can harm the process because every project has a deadline, otherwise nothing would get into development or be produced. You should work on your spec story treatment for a longer time, because about seventy-five percent of the work should go into the story development of the script. The script itself?  I think two months would be a huge amount of time. If you’re working six to eight hours a day, you should be able to write five or more pages on a normal day. You also have to remain fluid because you never know how the experience will develop and every time out it’s different. I once had to write 26 pages in 24 hours because the German investors were coming into town! I never want to experience that frenzy again, but it’s nice to know my abilities under pressure.

If you want to eventually work professionally, as I’m sure is your goal, you will need to work efficiently under a deadline, and at the best of your ability. It’s basically working quickly at the best of your creativity on a schedule and under a deadline. The only way to get to this place is to always set your own deadlines and meet them every time with your spec screenplays. If you’re not practicing this writing schedule now, I’d suggest starting it on your next project. Respect that first draft, protect it, and you’ll end up with a solid foundation that will lessen the rewrites.

Keep filling your blank pages and keep the faith.

@Scriptcat out!

Copyright © 2018 by Mark Sanderson on My Blank Page blog.

And speaking of first drafts… before you go… if you just completed a new screenplay and need in-depth consultation, check out my screenplay consultation services by clicking on the blue icon below for the link to my website.

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Need help to navigate Hollywood’s trenches as you pursue a screenwriting career? Check out my new book “A Screenwriter’s Journey to Success” now available on Amazon. It chronicles my past twenty years of screenwriting professionally in Hollywood using my tips, tricks and tactics that have helped me to stay in the game.

Click on the book cover for the link to Amazon for purchase.

 

 

 

 

Are you having trouble focusing on your screenwriting goals? Maybe my on-demand webinars can help with a checklist. Click on the icon below for the link to buy or rent my webinars for only $5.99 each.

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“Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized.”—Rod Serling.

“Plot is no more than footprints left in the snow after your characters have run by on their way to incredible adventures.”—Ray Bradbury, Zen in the Art of Writing

“You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.”—Joseph Campbell

 

“Screenwriting is such a very special branch of literature. In some ways, it’s closer to the poetic form than it is to the dramatic. A lot of writers think that they write down to an audience if they do a motion-picture script.”—John Huston

“When I first meet with the scriptwriter, I ask him what is the story about—what do you see—what was your intention?”—Sidney Lumet

“Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it – wholeheartedly – and delete it before sending your manuscript to press. Murder your darlings.” — Sir Arthur Quiller-Couch, On the Art of Writing, 1916

“If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same.”—Rudyard Kipling, “If

Three more tips, tricks and tactics to help on your screenwriting journey…

April 28, 2018 § Leave a comment

alfred-hitchcockreading-script-for-the-movie-rebeccaIf you’re a regular reader of this blog, first of all—THANK YOU! I truly hope you’re busy creating new projects and forging ahead on your screenwriting journey. As you may know, I’ve been adding short posts (nothing is EVER short on this blog!) and sharing various survival tips. I do speak about these tips in the over 250 articles on this blog, but this feature will be a quick reference to glance over and consider as you navigate Hollywood’s trenches. Follow me on Twitter (@scriptcat). and on Instagram. I’ll be posting new articles here when my time allows. Thanks for reading and as always: Carry on, keep the faith and keep screenwriting! Okay, here are three more survival tips that will help you on your screenwriting adventure…

TIP #1: 

Find filmmaking mentors and apprentice with them. lucas & coppola on set

Another good way to do your homework with regards to learning is to find a filmmaking mentors and apprentice under them or at least have access to them as they are working. Many busy screenwriters need an assistant and they’re willing to pay an hourly wage for the job. It’s a great way for aspiring screenwriters to learn while getting paid. If you can’t find a paid position, offer your time to a working screenwriter in exchange for access to their knowledge and the whole process they go through daily. A true professional is always willing to give back and share knowledge. When you’re able to observe working professionals, be like a sponge and soak up everything you can and ask questions. I’ve been blessed over the years to work with many top professionals and veterans of the film business and a few have become my mentors. This includes directors and a few have become my mentors and friends. I’m currently working with two directors on various projects that we are developing together and will take out into the marketplace as partners. As I worked with them and collaborated on the films that I wrote, I was able to have inside and unlimited access to help build my screenwriter’s toolkit. Seeking knowledge is an ongoing discipline for every artist. Keep filling your blank pages. If you stop you’ll never have any chance at success.

TIP #2: 

Work your way to becoming a multi-hyphenate screenwriter. multi-hyphenate

Eventually to gain more creative control over your projects, you’ll need to become a multi-hyphenate filmmaker and not just a screenwriter who is a “hired gun.” This means along with your talent for creating the script you will move into producing and or directing as a way to keep your total creative vision on the project. This won’t likely happen on your first few screenplays, but eventually you can negotiate your way into being one of the key decision makers or ultimately the director whose vision takes the script to the screen. Your goal is working your way into being a double threat: A writer/producer or writer/director—or a triple threat: a writer/producer/director.

TIP #3:

When you just finish your first draft—do not immediately give it to someone for a read. Let the creative dust settle and go over it by yourself first. karloff script

Avoid the temptation to give anyone your screenplay moments after you finish it. Put it away and let it settle for a few days or even a week before giving it your first read. You’ll be coming down from your natural creative high and you don’t want anyone to harsh your buzz. It’s the necessary time a screenwriter needs to spend alone with his/her script. You’re also in a raw and vulnerable place after giving birth to new material, so you don’t want feedback now to taint your clear vision or perspective. This will only lead to chasing notes because everyone has an opinion about your work. Keep your script close. Don’t boast or talk about it. You did the work, now go and do something to celebrate. You need to enjoy the little and big successes on your long journey as a screenwriter. Keep the faith and keep filling your blank pages. Nothing is guaranteed on this screenwriting journey except one thing— if you quit writing, you’re guaranteed never have any chance at success.

Scriptcat out!

Copyright 2018 by Mark Sanderson on MY BLANK PAGE.

Did you just finish your latest screenplay or a new draft? Is it time for in-depth consultation? Check out the different packages I offer by clicking on the icon below to schedule your consultation. You never get a second chance to make a first great impression with your screenplay. Make the time to get it right before you unleash it upon Hollywood.

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Follow me on Twitter @scriptcat and Periscope.

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Need help to navigate Hollywood’s trenches as you pursue a screenwriting career? Check out my new book “A Screenwriter’s Journey to Success” now available on Amazon. It chronicles my past twenty years of screenwriting professionally in Hollywood using my tips, tricks and tactics that have helped me to stay in the game. Click on the book cover for the link to Amazon for purchase.

 

 

Need help keeping focus on your screenwriting goals? Maybe my on-demand webinar can help. Click on the photo below for the link for the streaming rental.

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Click the photo above for the link to the webinar.

The time we have alone; the time we have in walking; the time we have in riding a bicycle; are the most important times for a writer. Escaping from a typewriter is part of the creative process. You have to give your subconscious time to think. Real thinking always occurs on the subconscious level.”—Ray Bradbury

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

“All you need to do is write truly and not care about what the fate of it is.”—Ernest Hemingway

“No person who is enthusiastic about his work has anything to fear from life.”—Samuel Goldwyn

I don’t think of it as an art. When it works it’s skill & craft and some unconscious ability”—Ernest Lehman

“When the last dime is gone, I’ll sit on the curb outside with a pencil and a ten cent notebook and start the whole thing over again.” — Preston Sturges

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
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