VIA: GavinMichaelBooth

VIA: AlanTheEditor

A particularly arrogant film producer once said to me, “I could be a writer, too, if I only had the time.”

Which implied, I guess, that if he didn’t have to attend meetings, deal with studios, manage production budgets—–in other words, if he didn’t have a real job—he too could just sit around, effortlessly knocking out compelling narratives and crafting pithy dialogue.

Yet for most writers, time is exactly that thing they can’t seem to get enough of. Certainly not without carving it out for themselves, strenuously hewing a private space for their writing from a dense forest of financial and familial duties. Most writers understand that they must somehow demand the time to write; that, in many ways, writing is a “job” like any other, requiring diligence, constancy and commitment. But getting others to understand this is not always so easy.

Robert Frost said that the one thing all nations on earth share is a fear that a member of the family will want to be a writer. There are a lot of reasons for this, from parental concern about a child’s ability to earn a living, to legitimate desires to spare the would-be writer the heartbreak of rejection and disappointment, to irrational fears about the aberrant life-style that writers are stereotypically known to indulge. Next to announcing that you want to be an actor, proclaiming your ambition to write is guaranteed to strike terror in the hearts of parents, siblings, and spouses. Especially spouses with whom you’ve had children.

The pressure to provide for a family is acute for most people, but even more so for writers, often struggling with both the difficulties of their craft and the insecurity and fickleness of the marketplace. Finding time to write is hard enough when you have a writing job—on staff at a TV series, say, or developing a screenplay for a studio. At least then you can justify the time spent away from the family, lost in your thoughts, scribbling notes on coffee shop menus, banging away at the keyboard at all hours.

But if you have a non-writing job, some 9-to-5 gig to pay the bills, any time you might need for writing, for pursuing a writing career, seems a selfish luxury. It’s time seemingly owed to personal obligations, to the tasks of running a home and raising a family. In such cases, “demanding” time for your writing carries with it the possibility of frequent relationship strife, as well as a significant burden of guilt.

In my private practice, many of my writer clients deal with this guilt constantly. They feel an obligation both to the demands of their creative ambitions and to those of their families. Even when their spouse or partner goes along with their need for time and solitude, many of them still feel guilty. Often it increases the pressure to achieve quick financial success. It affects their decisions about what kinds of things they should write. It makes them feel that every second spent writing must “count.”

More than one writer has said to me, “What if my script doesn’t sell? I’ve spent all this time doing it, obsessing over it. I’ve been distracted and impatient with my kids. Totally unavailable to my wife. What if it all turns out to be for nothing?”

Sometimes the fissures in the relationship at home become wide enough to cause panic. “I’ve made a deal with my husband,” another writer once told me. “If this spec doesn’t sell, I’ll give it up. I mean, how long can I keep doing this, banging my head against the wall? I’m not getting any younger. And I don’t want to lose my marriage.”

Even successful writers, those who make a living at their craft, find it difficult to continually justify to loved ones their need for private time. “Unless my kids hear the keyboard clicking,” one noted screenwriter confided in me, “they feel okay interrupting me. You ever try to explain to a four-year-old that you’re working, when all you’re doing is staring at the ceiling? Hell, sometimes I have a hard time convincing myself.”

Regardless of the degree of success, or the amount of material a writer churns out, at some level most writers feel ambivalent about the time they need for writing. I think some of this is cultural, in that society validates us in terms of our contribution to the maintenance of its institutions, or to the welfare of others. After all, we know what doctors and lawyers and teachers and firefighters do. We value and honor parenting, working for social justice, volunteering for Greenpeace.

On the other hand, how writers (and other artists) contribute to society is often misunderstood, if considered at all. Their function as story-tellers, explicators of the human condition, champions of our hopes and yearnings, is routinely under-appreciated. At this macro level, it’s hard for the individual struggling writer, just trying to turn out a decent “According to Jim” spec, to justify his or her need for large amounts of private time.

More oppressive than this cultural bias against our feeling entitled to take time for writing are the lessons we learned as children about our intrinsic lovability and sense of worth. In many families, children are reared to be suspicious of their creative instincts, to concentrate instead on interests that will pay known dividends in the “real world.” When I was a kid, spurred by my middle-class parents to achieve, the career options laid out for me were pretty specific: doctor, lawyer, engineer, or—the usual fallback position for a Catholic—priest. Predictably, my subsequent decision to pursue writing as a profession caused huge familial strife.

These kinds of messages leave a lasting impression, as I see every day with the writers in my practice. Taking time for yourself to write, to pursue seemingly nebulous artistic ambitions—especially in the face of real family obligations—feels selfish, unwarranted, and impractical.

And for a very good reason: writing is selfish, unwarranted and impractical. As a career option, it’s highly dubious. The risks are high. Success is uncertain. And this is all true even if you happen to be talented and hard-working. (If you’re not, magnify the difficulties accordingly.)

Therefore, the last thing a writer should try to do is “sell” the wisdom and virtue of his or her ambition to mates, children or parents. In my experience, it’s far more important that you accept your desire to write, and to own this desire as your birthright. Or, if you prefer, as your particular blessing or curse. The point is, for whatever reason, you want to write. Need to write.

Which means, I believe, that you have a responsibility to your writing talent. A responsibility that co-exists with that which you have to your loved ones. In other words, sometimes your need for time to write will clash with the needs of your family.

Is there a one-size-fits-all solution to this dilemma?

No. Every writer has to negotiate the context of his or her life. Every writer has to balance the requirements of writing with the needs of others. This means conflict, heartfelt discussion, and, hopefully, compromise. This also means that sometimes the writer feels guilty—which, like envy or desperation, is just another of the psychological burdens borne by every writer I’ve ever known.

The good news in all this is that when you do take the time to write, when you make this a consistent and unwavering part of your daily life, you’re honoring the gift of your creativity. Standing up for the legitimacy and integrity of your ambitions.

It’s more than just taking your writing seriously.

It’s owning who you really are.

Dennis Palumbo, M.A., MFT, formerly a Hollywood screenwriter (My Favorite Year; Welcome Back, Kotter; etc.), is now a licensed psychotherapist in private practice in Los Angeles. Palumbo specializes in helping new and established screenwriters, directors, and novelists address creative issues, as well as those involving mid-life and career transition.

His book “Writing from the Inside Out” is a perennial favorite title at the Writers Store.

Source with permission: The Writers Store

“The system consists of a ready-made IGUS DryLin W rail system and a small stepping motor which is controlled by an Arduino interface board. Once the controller program is loaded the system works stand alone. It can be powered by a battery and can be controlled by a simple power switch because the programmed task starts automatically each time the Arduino board is powered on. It’s possible to move loads (camera + mounting head) of up to 6 kg (3 lbs).”

You can find a detailed description of this project along with instructions and build list: HERE

An example video can be found: HERE

VIA: Martin Koch

VIA: knoertz

…Know what goes well with candy corn? Apparently, chestnuts roasting on an open fire.

The Robert Zemeckis/Jim Carrey 3-D A Christmas Carol premieres in theaters Friday, on the heels of the horror shows of Halloween and just in time for the annual observation that the holidays seem to arrive sooner every year.

But there is method — and precedent — for Hollywood opening a yuletide movie so soon.

“It’s now surprising if there isn’t a holiday movie right after Halloween,” says Jeff Bock, box-office analyst for Exhibitor Relations Co.

— USA Today| Read The Full Article

…Last night I went to the Los Angeles Final Cut Pro Users Group (LAFCPUG) meeting to hear editor Eric Zumbrunnen and assistant editor Erik Jessen talk about the multi-year process of editing Where the Wild Things Are.

Some of the reasons for using Final Cut Pro, and not Avid, which Zumbrunnen had used since 1989, were the ability to work with 24bit sound, and the speed of importing Quicktimes. (Remember, they started in 2006 when it was still final cut 5.whatever.)

— Making the Movie| Read The Full Article

…I get this question a lot from freelance editors that are just starting out. They always have a tough time figuring out how to price their services. Creative people tend to have difficulty with the business side of things and get themselves into undesirable situations all too often. Have you ever set a flat rate for a job then found yourself working for peanuts at the end when you did the math? I know I have. I learned a valuable lesson about this kind of situation way back in my graphic design days, and I still use it as a basis for pricing most of the work I do. The following formula doesn’t apply to all situations, but I find it a solid starting point. Here’s how I figure it out…

— PaulZadie.com| Read The Full Article

FilmmakerIQ.com

Formatting Scripts to Sell
Advanced format and style tips that can turn a good script into a great read

10 Story Techniques You Must Use to Sell Your Script
The key question that all screenwriters should ask themselves is: how do I write a script that Hollywood wants to buy?

Writing Loglines that Sell
Have you ever been stuck listening to a friend tell you a joke that seems to go on without ever reaching the punch line? Your mind starts wandering and you stop paying attention as the joke painfully loses its momentum.

How Do I get an Agent When I’m just Starting Out?
Short answer: I have no idea. There is no set way to do it. I called agents on a list. Others knew people who recommended their work to Agents

How to Get ‘Em to Read Your Script
It was a big shot producer from a major studio. “Hey, Ken, I love what you’ve done! What a great idea! I’m gonna steal it from you.” Was he talking about one of my scripts? No. What he was talking about was - well, read on.

Writing Successful Query Letters
A great query letter is your key to unlocking an executive’s door. Take your time and be as thoughtful about your query as you were when writing your screenplay.

An Agent, An Agent, My Kingdom for an Agent
Question from Chris Van: I write to you from Johannesburg, South Africa. I have finally completed my screenplay after a six-year haul. Thanks to Writers Store I have used many of your publications on my path to success.

The Eight Steps to a Powerful Pitch
Selling a screenplay or a novel is simple. It’s not easy, but it’s simple. First: write a great story. Then: get lots and lots of people to read it.

Do You Have to Live in Hollywood?
I wrote ‘The Writer’s Guide to Producers, Directors and Screenwriters’ Agents’ somewhat by accident. I quit Hollywood in disgust after two feature screenplays were purchased, but not filmed, this after years of options and some TV work, but no feature credit.

Ten Tips For Being Good in a Room
You’ve worked for months (years!) on your project and a buyer is interested. The meeting is set and there’s a lot at stake. You’re going to get one chance to effectively communicate the value and uniqueness of your
project. Many people get nervous at this point.

Breaking In - Through Hollywood’s Back Door
When you write your first screenplay, the path to glory seems clear: find an agent who will get you a six-figure deal. A hundred and fifty query letters later, you’re languishing at Hollywood’s front gate.

Proven Advertising Techniques Can Make Your Queries & Loglines Stand Out From The Pack
You’ve slaved over every syllable to make it memorable. Your manuscript spills over with high ideas, scathing wit and a dash of drama that would send even the coldest executive producer groping for a box of Kleenex.

WordPlayer.com

A Foot in the Door
“The Warner Bros. Hallway Test” emphasizes the importance of concept. The concept you choose is the first test of your creative sensibilities, and is your calling card to Hollywood.

Death to Readers
Here’s a checklist similar to what many studio readers use when assessing the quality of your screenplay. Does your script pass the test?

23 Steps to a Feature Film Sale
Writing advice I’d give my best friend. A plan of attack once you have your basic idea. The Disney animated feature approach. Much, perhaps even

The Wind-up & the Pitch
Use show and tell to take the focus off of you and put it on your story. Creating a new industry standard for pitching. But you feel silly walking around carrying a big cork bulletin board.

Tinsel-speak
How can you take this town seriously? Look at how they talk! A not-too-serious glossary of insider terms.

You, the Expert
Pretend that every agent in Hollywood has a brain aneurysm. The way they’d pick a doctor is the way they’ll pick a screenwriter. They want an expert. Don’t ask me if your script is good — know enough to tell me that it’s good. You be the expert.

Risk vs. Reward
Spec script or writing assignment? That delicate balance between money, risk, and creative control. Spec script sales torn from trade headlines. What are the odds?

Hard Bargain
What to ask for when the bidding war happens. (May you have such troubles.)

Your First Contract
People breaking in want to see real stuff, not someone’s diluted re-cap of their interpretation of events. Hard evidence, please. So here’s an actual film contract.

I Love LA
So, do you have to live in Los Angeles to be a screenwriter? Yes and no. Or, more precisely… no and yes.

Throw in the Towel
Not all people are going to make it. And you probably won’t. The qualities that people who make it have: passion, history, care for the moment, objectivity. Give up before you waste any more time.

Proper Treatment
The ultimate no-win situation. No matter what you put in, they’ll criticize what isn’t there. And you don’t even get paid.

Breaking the Ice
The query letter. Getting to the second date. Twenty common mistakes from the slushpile. Three real query examples: the good, the bad and the ugly.

Cover Me
Real examples of studio coverages. Step-by-step, the making of a big summer movie deal; how we got one writer over the wall.

Never Wait
Writers are naturally patient. Writers are naturally hopeful. That can be deadly to a Hollywood career. Don’t allow yourself to wait for anything, ever. Take responsibility for making things happen. The proper mindset of a writer: you’re too busy doing stuff to wait for anything, anyone, anytime. Excerpts from Carlos Castaneda and Robert Heinlein.

The Second Concept
Bad news, one great killer concept is not enough. In today’s competitive market, you might need an amazing second concept as well. Push your story past audience expectations by doing the obvious beats quickly; get into uncharted waters, which is where audiences — and authors — really want to be anyway.

JohnAugust.com

Money 101 for screenwriters
Read this before you cash that first check.

How to handle a meeting
For newcomers, I can offer a bit of a summary

Are studios open on Saturdays?
It’s the wrong kind of question, but you don’t know that at the start.

When is it brown-nosing?
Any sort of application, whether it’s for a grant, for college or for a job, needs to do exactly three things.

Sending out to multiple agents
Rifle or shotgun approach to getting an agent?

How to handle a phone meeting
A play by play of how it should go down.

Shouldn’t I get credit for the outline?
Explorations of ownership in a corporate environment.

What do you do when the buzz fades?
You made a movie. Get the most you can out of it, then get cracking on doing the next project.

How to Meet
Moment by moment; what to expect and how to behave in meetings.

They love it and they’re passing
Capitalize on people’s affection for your script to find something that pays money.

Moving to LA (via NYC)
Sage advice from a fresh transplant who took the plunge.

Starting out in Hollywood
First person account of the glorious drudgery of starting at the bottom in Hollywood.

I talk with my hands
Video links explaining how film and television writers should approach promoting themselves and their work through the media.

How do you become successful?
Ground your notion of Hollywood. While it seems glamorous and lucrative, if you’re coming to the film industry looking to get rich, you’re wasting your time.

What if my agent doesn’t like my idea?
Knowing the market isn’t the same thing as taste, and everyone’s taste is different.

When should I panic?
How to deal with the waiting cycle. The good/bad news: no screenwriter, at any level, is immune.

When do you walk away?
Often, the only power a screenwriter has is to walk away, and the decision whether to do it is almost never straightforward.

Do screenwriters get a chunk of foreign TV money?
When writers do and don’t get paid residuals.

Agency wants me to pay their “editor”
Is your agent asking for money up front? Run away.

Spec, or write it for the producer?
Have it your way first, then compromise if need be.

Why most scripts never become movies
As the screenwriter, there are hundreds of variables I can’t control. So I consider it a minor miracle any time a movie gets made.

Which side of the pond should I choose?
Depends on your sensibility.

Being a reader
Detailed account of the lifestyle of a professional reader.

Someone actually wants to read my script
Not the time to play it cool. Don’t waste a day and risk her forgetting who you are.

Which agent should I choose?
Important questions to ask the clients of prospective agents.

When should a writer become a corporation?
When why and how to incorporate.

Good advice from agents
The single most asked question (How do I get an agent?) answered directly by the source and amended by me.

Good article on Shane Black
Including the best explanation for how to keep a pitch engaging. Two words: “But then..!”

Taking a meeting without an agent or manager
If you can set something up without an agent, go for it. But don’t do it without a lawyer.

Whether to pitch or to spec
For working writers, Craig Mazin says to pitch.

Are four scripts better than one?
You’re much better off with one good screenplay than four noble intentions.

How do I find out who represents a given actor?
Unless you’re calling to offer him gainful employment, an agent is not the one to help you. But here’s where to find out.

The not-so-well-dressed screenwriter
Why the writer should always be the worst-dressed person in the room.

Why agents send out terrible scripts
Do agents submit anything their clients write, or do they ever tell clients that they need to work on something a little longer before they’ll send it out?

Getting a reader job
Where to find the jobs. Warning: you may have to start at slave wages.

Do screenwriters make anything from video rentals?
The writer doesn’t get residuals on rentals, except for whatever Blockbuster paid for each videotape or DVD it bought it from the studio.

Sending a script to an actor
If you’ve written a role that’s “perfect for Tom Cruise,” you have almost zero chance of getting it to him. But the more specialized the actor you’re targeting, the more reasonable it is to try.

Scripts sold
There are resources for finding out what scripts sold for what, but verifying the truth is another story.

Moving to Hollywood
If it’s big movies you’re talking about, big movies require big money, which pretty much means LA.

Agency papers
When you sign with an agent, know what you’re signing and how to protect yourself.

Sold a script, next stop: agency
Finding the right agency means doing your homework and consulting with others.

Finding assistant gigs
Advice on finding those hard to come by writers assistant jobs.

To live and die in LA
Boy does this question come up a lot. If your life’s dream is to become a giant Hollywood screenwriter, then you need to live in Hollywood.

Do i show my scripts or my short?
Not many agents are apt to pop in a videotape to check out a low-budget movie from someone they’ve never heard of. The odds of suckage are just too high.

How I Got My Agent
My personal answer to the most asked question of young writers.

Should I write a straight-to-DVD knockoff?
Don’t turn up your nose to actual paid writing for a company that makes movies.

What should I do in a general meeting?
Taking generals: how to turn a get to know you meeting into paid work.

Movie speak
Terms that will save you some embarrassment on set, unless — writer — you start throwing them around like you know what you’re talking about.

UnknownScreenwriter.com

The Elevator Pitch
The Elevator Pitch. You’ve heard of it before… Right? They’re called elevator pitches because you need to be able to pitch your screenplay in the length of time it takes for the person you’re pitching to — to arrive at their floor and exit the elevator.

Get A Manager To Get An Agent?
So I have this script… I’ve worked on it off and on for approximately three years. I don’t need coverage. I don’t need anyone to tell me it’s good. Why? Because I had basically sold it before…

We Pass
So a friend of mine who just happens to be a reader for one of the big agencies as well as screenwriter trying to break in, sent me an email today… I thought this communication would make an outstanding followup to the last post.

Copyright Your Screenplay
In case you’ve not yet heard, U.S. Copyright Form PA is being phased out. To register a copyright for your screenplay, you should now use U.S. Copyright Form CO. And, unless you’ve already filled this particular form out before, I highly recommend that you read the instructions for completing Form CO.

Always ask for a referral…
Another slew of email I’ve been getting recently is the same old tired, “Unk, how do I get an agent?” The email then goes on to complain that of course they can’t get an agent because no agents will talk to them and yada yada yada.

Just the facts, Ma’am…
So before we put high concept away for another day, let’s take a look at what I’ve come to know as the FACTS:

What market are YOU writing for?
It occurred to me today that we toss around the phrase, SPEC SCRIPT as if we know what we’re talking about.

Screenwriters are LAZY!
If I’ve heard this once, I’ve heard it at least fifteen times this year… Screenwriters are LAZY. Who’s telling me this? Producers. Why are they telling me this? Because it’s true?

How much would you spend to make a million dollars?
Half a million? A hundred thousand? Ten thousand dollars? A grand? You tell me.

SellingYourScreenplay.com

How to Sell Your Screenplay (in a nutshell)
Since the title of my blog is “Selling Your Screenplay,” and I want that to be the focus of my blog, I figured an obvious first post was to write a simple guide to getting your screenplay sold.

Writing A Screenplay Logline
You will need a great screenplay logline to sell your script. The logline will be a one or two sentence pitch of your film.

Writing a synopsis for your screenplay
You’re going to need a short synopsis for your script. It should be a little less than 1 page long and clearly show your characters and story.

Getting your screenplay to producers and production companies
Getting your screenplay to production companies is actually a lot easier than most people think.

How to write a professional query letter for your screenplay
When you submit your screenplay to a producer or director you’re going to need to submit a professional query letter before you send the full script.

Submitting your screenplay to Craig’s List postings
If you’re an experienced screenwriter there’s probably better ways for you to sell a script than submitting to postings on Craig’s List but if you’re trying to make your own breaks and get your scripts produced this is probably a pretty good place to start.

How long should you wait after sending out your screenplay query letter?
I got this question recently: “I’ve recently submitted 100 query letters to production companies and am just wondering how long should I wait for me to decide to work on my query or my next wave?

What is a screenplay option?
An option (as it relates to screenwriting) is when a screenwriter gives a producer the right to purchase the writer’s script.

Query letter responses
Below is an email exchange between myself and a writer who emailed me.

Should you mention personal experiences that relate to your screenplay in the query letter?
I got this question recently: “I’ve written two screenplays. One is a stoner/office comedy derived from my own experiences but with a fictional storyline, and the other is a drama/dark comedy which is essentially the telling of my own true story about a 15-year-old girl whose boyfriend commits suicide.

Should you set up a website for your screenplay project?
I got this question recently: “Would you advise I buy the domain name for one of the scripts that I’m polishing right now, a contained thriller. I will give it all up should I sell the script.

How to decide if you should option your screenplay to a producer
There’s not an easy “right” answer to this question but there are some factors to consider.

How long does it take to sell a script
I got this question recently and I wanted to make sure that people who were thinking about getting involved with screenwriting didn’t have this same fantasy.

Taking a Trip to Los Angeles to Jump Start Your Screenwriting Career
A got a few questions from two aspiring screenwriters a couple weeks ago who were planning a trip to Los Angeles.

Who Do You Address Your Screenplay Query Letter To?
“When submitting a query letter, should you send it to the company in general, should you send it to a specific representatives of the company (after looking in the HCD), or should you send it to multiple representatives of the same company?”

Submitting Your Screenplay Via Email – How To Create A Catchy Subject Line
“I’ve noticed that e-mail queries are becoming more accepted. When sending an agent an e-mail query, what should the subject line be? Should it say Query or the script title or Attn: Agent’s Name?

VIA: robag88

Part One

Part Two