by Richard Walter

The first thing we teach our screenwriting students at UCLA is to recite the question: “May I tell you about today’s specials?”

Kidding!

The fact is that while I’ve never driven a cab, years ago, before I was a writer, I did indeed carry a tray.

I was working my way through college as a waiter at a Catskills Mountain hotel north of New York City. On the floor were two classes of waiters: college kids like me for whom waiting tables was a necessary but temporary enterprise we had to do however reluctantly before going on to greater things; and there were older professionals, for whom this was their lifelong lot.

To my everlasting shame and discredit, for these wretched souls I experienced a palpable disrespect. Could they do no better with their professional lives?

At my hotel we waiters had to wash our own water goblets if the customer used them. A pitcher of ice water sat at the center of the table, and if a diner desired a glass she could pour one for herself. Not every guest wanted water, so it was never necessary to wash all the goblets.

One fellow who was among the more mature pros, however, used to greet his patrons warmly, with a broad smile, and he always poured them a glass of water when they sat down, even if they hadn’t requested it.

I thought this guy was some kind of schmuck. Didn’t it just mean that he had to wash extra goblets?

Halfway through the summer, however, I realized that he was right and I was wrong. It was proper to greet one’s guests generously and professionally, even to the point of pouring them a glass of water they might not consume. The point wasn’t that it led to better tips. though it certainly did that. The true lesson was that doing a job fully, wholly, considerately, thoroughly, and professionally not only gives the waiter a richer sense of fulfilling his purpose; somehow it also makes the job not harder but easier.

This may well appear to be a contradiction. Cutting corners and taking shortcuts, such as deciding deliberately not to pour water, would seem, if stingy and withholding, to reduce the workload, at least in so far as washing goblets was concerned.

Again, however, the opposite proved to be the case. Going the extra mile, by doing the whole job without stinting and resenting, engendered a sense of satisfaction that was breakthrough and priceless in its clarity and satisfaction. It rendered the otherwise mundane job more than merely bearable. Indeed, it provided a sweet and sweetly curious sense of fulfillment. It healed the soul and nourished the spirit.

I’m eternally grateful for having learned this early, and for having gotten over my arrogant snot-nosed college-kid sense of superiority. These men and women who were professional waiters were worthy not of my scorn but of my admiration. There is nothing the least bit dishonorable about carrying a tray. Moreover, to embrace the entire job is to make it not more difficult but easier.

This has informed my screenwriting since my earliest days as a writer. Attending to the petty stuff–punctuation and spelling and grammar and syntax and sentence structure and diction and all the nine-to-five, work-a-day paraphernalia that lies at the heart of writing–makes the writing not harder but easier.

The writer’s dream, of course, is to earn sufficient money so as to require no day job. But that often proves to be not so much as dream as a nightmare. As I argue in my book Essentials of Screenwriting and in lectures around the world, writers working alone in their cabin in the woods or cottage at the beach are just that: alone. After very little time they grow antsy and crave distractions such as calling 800 numbers for ski reports even though it’s August. The world of film is a collaborative one. Collaborate comes from ‘co’ and ‘labor’; it means to work with others. A day job keeps a writer more acutely attuned to this essential aspect of the art and the craft and the business.

That’s why the day job is the writer’s friend. It keeps him sane and solvent, which are two closely related enterprises. More important, it keeps writers in touch with the more important resource for their writing: the humanity around them.

Who has a better day job than I? Please don’t report this to the Regents, but I would teach my UCLA classes for free. Our writers butt heads with our faculty, they compete with us, they bob and weave and feint and keep their teachers from falling into the ruts and grooves and routines writers can all too easily fall into, especially within the confines of a freelance community such as the movie business.

Those with day jobs may think they have no time left over for their writing, but they’re wrong. If you go to sleep an hour later each night only five nights a week, that will liberate over a period of a year the equivalent of two entire months of forty-hour weeks. You’re already going to sleep too late? Go to sleep a half hour later. Or go to sleep fifteen minutes later and waken fifteen minutes earlier. Right there is an additional month that’s available to you right now during this year alone to devote exclusively to your writing.

Permit me to repeat a story told to me by the late Colin Higgins, a UCLA graduate who wrote and directed wonderful romantic comedies including such splendid features as FOUL PLAY and SILVER STREAK, among others.

When Colin was finishing up his degree at UCLA he prayed to win first place in the legendary Goldwyn dramatic writing competition, which would have provided enough money to enable him to do nothing but write for an entire year. Instead he won only second prize, and was compelled to support himself at least part time with a day job. He took the perfect actor’s or writer’s job: cleaning swimming pools.

His very first pool happened to be at an upscale home in the flats of Beverly Hills. As he vacuumed the bottom of the pool and adjusted the chlorine and acid-wash levels he noticed a man sitting in a chaise lounge on the deck at the end of the pool under a beach umbrella, reading a screenplay. He surmised correctly that this was the owner of the house and that he was a movie producer. He introduced himself and persuaded the man to read his Goldwyn-winning screenplay. The producer ended up buying and producing the script. It was called HAROLD AND MAUDE, and it launched Colin’s substantial career.

“Had my dream come true,” Colin told me years ago, “had I won not second but first prize, I’d be cleaning swimming pools today.”

About the Author:
Richard Walter is a celebrated storytelling guru, movie industry expert, and longtime chairman of UCLA’s legendary graduate program in screenwriting. A screenwriter and published novelist, his latest book, Essentials of Screenwriting, is available in stores now. Professor Walter lectures throughout North America and the world and serves as a court authorized expert in intellectual property litigation. For more information and to order the new Essentials of Screenwriting, visit www.richardwalter.com. Richard can be reached at rwalter@tft.ucla.edu.

by Signe Olynyk

“Who is the happier man, he who has braved the storm of life and lived, or he who has stayed securely on shore and merely existed?” ~ Hunter S. Thompson

What’s the craziest thing you’ve ever done?

Ten years ago, I didn’t know a soul in Hollywood. Today, I run the largest screenwriting conference in Los Angeles with nearly 2,000 writers attending each year.

Why is that crazy? For starters, I started the event in Canada before moving it to LA. The whole thing is run from my little home office in Calgary, Alberta. The entire team consists of myself, my producing partner (the fabulous Mr. Bob Schultz!), and a handful of dedicated writers all around the world, who meet once a year in Los Angeles to put on this event. It is a labor of love for us all that has helped hundreds of writers to get agents or managers, option their scripts, and become actual working screenwriters. It has changed hundreds of lives, including my own.

To be a filmmaker, you have to be a little bit crazy. It’s true. First you have all these ‘voices’ in your head that you have to capture on paper. And then you spend months and years of your life crafting those words into scripts and eventual productions. And on top of it all, we think we can do this without having to live in Hollywood. Now THAT is crazy, isn’t it? Not so much.

We live in the future, and the opportunities for local filmmakers continue to grow with each advance in movie making technology. The idea that you must live in Hollywood to make your films is as much a fable as most of the popcorn movies that the studios produce. Here are just a few of the real life myth busters who continue to inspire us all, regardless of where they call home:

• David Cronenberg (The Fly, Naked Lunch, Dead Ringers, A History of Violence) started in Toronto, Ontario.
• Joel & Ethan Coen (Fargo, No Country for Old Men) are from Minnesota.
• Robert Rodriguez (El Mariachi, Machete) makes his films in Austin, Texas.
• Martin Scorsese (Taxi Driver, Raging Bull, Good Fellas) started making his films in New York.
• Sarah Polley (Away From Her, Take This Waltz) is based in Toronto, Ontario.
• Kevin Smith (Clerks, Chasing Amy, Zack & Miri Make a Porno) started in New Jersey.
• Richard Linklater (Slacker, Before Sunrise, Fast Food Nation) makes films in Austin, Texas.

These giants of filmmaking all made their films using the resources and contacts they had in the places they were from, and developed their careers from there. There is no reason why we can’t all do the same.

Look at the resources you have in your life. Do you know someone who owns a limo or a sports car or even an old beater that would contribute towards a great story you could tell? What about locations? Do you know someone who has a cabin, or could set your movie in the backwoods using a tent or motorhome? Like every great chef, cull the ingredients from your life and use them to create your own great story. You probably have more resources than you think.

This month’s theme is ‘Embracing the Absurd.’ So take both your hands, reach out in front of you, and wrap those hands around your own opposite shoulders. You are a filmmaker. Celebrate that. Now go do something crazy. I can’t wait to see what.

About the Author
Signe Olynyk is a Calgary-based Writer/Producer who is also Founder of the Great American PitchFest & Screenwriting Conference, held annually in Los Angeles, CA. Check out her movie, BELOW ZERO, or email her directly at info@belowzero.com.

Producers of the Emmy Award-Winning DOOR TO DOOR, as well as numerous other television and cable films such as PURGATORY, THE SECRET GARDEN, HIGH NOON, etc.

Written by Signe Olynyk

…Most writers are taught to write “from the heart”, so the stories and characters they develop are very personal to them. When pitching a “buyer”, a writer needs to understand a few important points -

First, a buyer wants to hear a story idea that is wonderfully compelling and as fresh as possible. Granted, there are many well-worn story ideas, but a good writer should be able to figure out a way to put a fresh spin on a well-worn idea. The more original your story, the better chance you’ll have of impressing a buyer…think of THE SIXTH SENSE – think of that script on a buyer’s desk along with several other thrillers…why did that script stand out? It was the one unlike any other – the protagonist was dead!

Also, remember, you will probably be pitching your script in the form of a logline and a logline should include a hook of why anyone would want to read your script…

For example, “a middle aged female has a nervous breakdown and tries to deal with her demons” …This was an actual logline pitched to me last year by a female writer. When I did not request to read the script, the woman got angry…I told her that what I heard from her pitch didn’t compel me to want to read it…So the woman has a nervous breakdown? Why should I care, I asked her. Lots of people have nervous breakdowns and we don’t make movies about all of them…Furious, the writer took the rejection personally. “But that woman is me! It’s my story!” she exclaimed. Again, I repeated, so what? What is it that happens in this story that is going to want to make me read 120 pages? I was trying to make the writer understand that she needed a specific “hook” of why her character’s situation was exceptionally compelling. But the writer didn’t “get it” – Instead, she cried out, “But you haven’t read it!” Yes, that is true, I agreed, but I told her that it was her job to make me want to read it…Instead of trying to understand that I was trying to help her, the woman stormed off in the middle of the session, in a terrible rage…

If the writer had opted to insert an emotional hook into the heart of the story, she could have struck an emotional chord with me…For example, say she’d told me that the female protagonist had fallen asleep while driving and had had an accident which caused the death of her only child…now, in this case, I would understand why the protagonist was having a nervous breakdown and my heart would go out to her…Ok…that being said, let’s make the logline even better…say then, that because of her depression, perhaps the woman ended up in a mental hospital and encountered a stranger who brought her a message – “the accident wasn’t an accident”…

Now, the logline would read – Emotionally distraught after losing her only child in a car crash, a woman lands in a hospital where a stranger shares that her accident hadn’t been an accident at all…This logline would have caught my attention…there is intrigue, the situation enlists my heart…I definitely would want to read this script. A story must enlist my heart to make me want to read it. Do you think the movie, TITANIC would have been as successful if it hadn’t had the great love story in it which enlisted everyone in the audience’s hearts? Probably, not – as is evidenced by the several prior TITANIC films that were not even half as successful…Let’s examine the second logline again – in it, one gets a better picture of the overall parameters of the story. There is an element of suspense and wonderment – for instance, who is the stranger? Does the woman ever find out the truth behind what really caused the accident? At least there is some kind of “hook” and I have a definite reason to want to find out what happens…in the first logline, a character is presented, but nothing more. One has no idea as to why the story would be interesting enough to want to read.

Second, assuming now you’ve pitched a wonderfully compelling story idea with a very intriguing logline…(and hopefully you were emotionally involved when you were doing so)…you must understand that a buyer usually will respond to what mandates he or she’s been given, meaning “what kind of stories are they looking for?”. This has to do with the current climate of the industry, in regards to both television movies and features.

Third, you must remember that this is a business…we are in the “Entertainment Business”…You must not take rejection personally. But with such a huge personal investment in their script, how does a writer not take a rejection personally? What can writers do to make the most of their opportunities?

Writers need to understand that though their script is their “baby”, it is representative of their story telling techniques…not their personal worth. If you’re not getting bites on your script, then re-evaluate your script – if it was up on the big screen, would you pay $10 to watch it. (Try a little test…try telling your story to a total stranger, can you keep his attention?) Is your script well-crafted with great structure? Does the action further the plot? Are there delicious subplots? Are the characters well-developed and so real they jump off the page? Do we care about what happens to them? Is the plot irresistible and does it build? Is there an element of unpredictability? Is the tension taut? I could go on and on…but if these comments do not “ring a bell” for the writer…then perhaps the writer needs to go back to page one and start over…

I cannot emphasize enough how important it is for writers to do their “homework”…a writer should be in the constant pursuit of trying to master their craft…I must assume that someone who wants to write and sell their scripts would dedicate themselves to learning all they can about writing and storytelling…Have you read all the great classic books? Have you watched all the great classic movies? Have you read award-winning scripts and studied their structure and elements? Do you have possess a personal library of scripts and study them whenever possible? If not, then why are you writing? Many writers dedicate themselves to writing, without ever learning what a great story consists of and how one is structured. You also have to remember that the medium you’re writing for is cinema – that means “pictures” – whatever you can say and whenever you can say it – do it with pictures, not dialogue.

I hear hundreds of pitches each year and have read thousands of scripts during the past eight years. I always tell writers – it’s not about you…it’s always about the story… I am always on the lookout for a great story. If I like a certain script, but it’s not what I am looking for right now, I keep it for when I will be looking for it. Though the story is everything…a bad attitude or inflated ego can totally turn me off.

Over the years, I have worked with many writers and consulted with them on how to improve their scripts. My advice is…Be as easy to work with as possible. Understand that every chance to improve your script is a chance for you to get one step closer to making a sale, or at the least, impressing someone. Take advantage of every opportunity for growth, even if it means listening to grueling critiques. Certainly, a writer can get overwhelmed by listening to many varied comments which can often be confusing, but if he or she starts hearing the same comment over and over – THIS IS A HINT –THERE’S SOMETHING WRONG WITH YOUR SCRIPT! A writer should always be open to learn and extremely malleable. You must want to learn all you can. If your attitude is excellent, at least that’s one less obstacle you have to worry about. It will pay off when you least expect it.

Ego can destroy a career before it’s even begun. I know of one aspiring writer who won a prestigious screenwriting competition and was then hired to write a project for a well-known company. Suddenly this person was making demands and whining about whether or not he felt motivated to do the work. He totally humiliated his manager and alienated the network and production company. This person destroyed a huge opportunity by their own arrogance and hurt others in the process…this is NOT OK. The sad footnote is that he had talent…I now know of many who won’t ever work with this person again.”

Every pitch meeting is an exciting opportunity for both the “pitcher” and the “pitchee”. For the pitcher, it’s a chance to sell your work, to secure a writing job or an agent, to gain insight into what that any given company is looking for, or to make connections. For the Pitchee, it’s a chance to discover your next great project. The writer should remember that they’re not being evaluated, their script is — Again, writers remember — is your script an irresistibly compelling and emotional story? Is it well written? Is it what the market is looking for? Is it a story that merits being told?

Learning to pitch well is a crucial part in the journey of becoming a working writer. Exceptional pitching techniques can open doors towards reaching career goals. What many fail to realize is that “pitching” doesn’t end at the end of a pitch session… It continues with every meeting, phone call, luncheon, and encounter that you have with every other person. It can help jumpstart your career or toss you right out of one. It’s a very valuable skill.

Finally, though the “story is everything”, I would hope that the writers writing them would also strive to be kind, malleable, and humble human being that others want to work with. I know of two writers who were recently up for a job and the one that got it has the nicer reputation. Writers shouldn’t forget – their word should be gold – you don’t hurt others to get ahead. You should treat others like you’d want to be treated. I’ve seen many people get hurt and discouraged…you get one chance in this life…this is not a dress rehearsal…you will reap what you sow…

In conclusion, If writing is your passion, give it all you’ve got and follow your dreams…I have the utmost respect and empathy for writers -There would be no film industry without you – BEST OF LUCK!

MICHAEL HAUGE is a script consultant, screenwriter, author and lecturer who works with writers, filmmakers and executives on their pitches, screenplays, film projects and development skills. He has recently coached writers or consulted on projects for Warner Bros., Paramount, Disney, Columbia, New Line, CBS, Lifetime, Morgan Freeman, Jennifer Lopez and Julia Roberts. He also shares story credit on Heart Of The Atom, now in preproduction for director Luis Mandoki.

Michael’s book Writing Screenplays That Sell, now in its twenty-sixth printing for HarperCollins, is a definitive reference book for the film and television industries. He has presented his screenwriting seminars and lectures to more than 25,000 writers and filmmakers throughout the US, Canada and Europe, and is on the Board of Directors for the American Screenwriting Association and the Advisory Board for Scriptwriter Magazine in London.

Michael can be reached through his Web site.

Q 1: What is a pitch?

It’s a sales pitch. It’s a step in selling your screenplay or film project. There are two types of pitches. One is the pitch meeting, which is an opportunity to sit down with an executive or producer and pitch your film project in their office. These meetings can last from 15 to 20 minutes but they generally happen later in a writer’s career after he or she is established or has sold or optioned a screenplay already.

The pitch that is far more germane to the beginning writer is the 2-minute pitch, where you have less than two minutes to present your film project in such a way that the executive will want to read the material. So during the Great American PitchFest, where you are only given five minutes with each producer, you have to be able to pitch your script in under two minutes so that the producer can then ask questions or discuss your other projects. This also applies to pitches given over the phone to executives. In both cases, a writer must keep the actual pitch to two minutes or less, to save room for questions and discussion at the end.

Q 2: How do you build a good 2-minute pitch?

There are 4 stages of a 2-minute pitch. They are:

1. Relationship – You have to connect personally with the person you’re pitching. You can do this through something you have in common, particularly the common acquaintance who referred you. More often this is done by acknowledging something the producer has done in the past. There’s a resource called the Spec Screenplay Sales Directory, which lists all the spec sales cross-referenced by company. If you find the company has produced a movie you really enjoyed or that inspired you to write the screenplay you’re pitching, tell them that. If you know nothing at all about the company you’re pitching to, at the very least you can acknowledge the time they’ve taken to come down and listen to dozens of pitches.
2. Revelation – You present your story in a way that makes people want to read it.
3. Request – When you come to the end of your pitch, ask them if they have any questions, or if they’d like you to send them a copy. This gives them two choices, both good for you, and let’s the executive know that your story description is completed.
4. Reaction – Once you come to the end of your pitch, the executive will either say, “Yes I want to read it,” she may have some questions about the script, or she may say “No that’s not for us.” Depending on how she responds, you should react accordingly. If she has questions, answer them. If she asks to see the script, tell her you’ll send it and look forward to her response, thank her very much, and then get out of there. Your job is done. If her response is “No, that’s not for us,” tell her that you have another project and ask if you can pitch that one. Having taken just 2 minutes, you should have plenty of time to get through the second pitch. You can also leave the session early (giving the executive a much needed break), and ask if you can come to her with another project in the future.

Q 3: How do you present your story is a way that makes executives want to read it?

You present the elements that are the most likely to make the story sound commercial. Those elements could be a high concept, the story’s main conflict, the deeper meanings and themes of the story, or a character that’s unique enough and complex enough to attract a major star. It all depends on how your screenplay is set up to illicit emotion. One way is to think, what would the trailer or newspaper ad for this movie look like? What elements would it emphasize? How would it be structured? You must also convey your passion for the project, because without your enthusiasm, they won’t be enthused.

Q 4: What is the number one mistake beginning screenwriters make while trying to pitch?

They try to tell their story scene by scene, step by step, act by act. This isn’t an invite to tell your story. The goal here is to get them to read it. There is no way to tell the story in two minutes. Pick the elements that will make them want to read it and focus only on those.

Q 5: Any other important points that beginning writers should remember.

1. Give them your passion for the story. Don’t simply sit down and say you’re passionate about your story. Focus on the elements that made you want to write this story in the first place. Maybe the story is meaningful and deep, maybe it scares the shit out of people, maybe it connects with your life in a deeply personal way. Let them know why you think this story has to be made.
2. Don’t worry about being nervous. They don’t care. They’re not looking for calm writers, they’re looking for good stories. And once you get into your enthusiasm for the story, the nervousness will disappear.
3. Have in mind at least 2 successful, recent films that are similar to yours in genre, tone, and style. This gives the buyer a better sense of the audience for your film. Saying your film is a horror movie doesn’t tell them whether it is a sophisticated, thought provoking thriller like “The Ring” or “Identity” or a more graphic genre picture like “Texas Chainsaw Massacre” or “Freddy Vs. Jason”
4. And don’t forget the two most important points: Don’t try to tell your whole story and Keep it under 2 minutes!

THE END

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Pilar Alessandra is one busy lady. She juggles her own business, coaches hundreds of students, lectures at numerous speaking engagements who request her presence and somewhere in that mix she manages to be the devoted mother of two adorable children. The Great American Pitchfest is honored to have her back this year to teach her popular Master Class Intensive. This year’s course is What’s Your Story?

Getting Alessandra on the phone for an interview was no easy feat. Seriously. So we did the next best thing that’s near and dear to all writers. We wrote back and forth. What a novel idea. Here, in Pilar’s own words, are a few insights to share with our readers.

Q. How did you get started in the business?

A. A friend who knew I liked writing papers in college asked if I would read a few scripts for her production company. When I found out I could actually get paid for it, I sent in my coverage samples to Amblin Entertainment and they hired me. 5,000 scripts later I have a great career as a teacher and script consultant … and I’m going blind.

Q. What has been the pitching experience of some of your more successful students and clients?

A. They have all kinds of tricks. One of my clients always starts with a personal anecdote that segues her beautifully into a discussion of her project. One keeps his listeners on track by reminding them what act they’re in, saying things like, “So, here we are at the end of act one…” One guy, who sold a huge pitch to a major studio, named the two characters in the pitch after A-list comedy actors. By the time he was finished, the executives had bought the pitch, convinced that those same actors were perfect for the project. It was magic. He hypnotized them.

Q.  What enticed you to speak at the Great American Pitchfest?

A. I’ve taught at the GAPF since year one and I always have a ball. Signe and Bob, the organizers, genuinely respect and care about writers, probably because they’re writers themselves. They work so hard to make it a good experience for everyone.

Q. We’ve heard everything from the 30-second pitch to the 20-minute pitch. In your experience, is there a certain amount of time that you feel is just right for a pitch?

A. At a pitch fest, have all of the major story elements packed into one minute so that you can spend the other four answering the executives’ questions about tone, commercial appeal, casting, etc.  If you’ve hit the main beats, they’ll have lots to talk to you about!

Q. Do you have advice for shy or nervous writers on pitching their script?

A. A pitch is not to be confused with public speaking. When it’s just you and the executive divided by a table it can be a fairly intimate experience. So approach it as you would a lunch with a good friend. Sit down, relax, joke around a bit.  Then, pretend you’re telling that good friend about a movie she’s just got to go out and see!  Only, in this case … it’s yours.

Q. What can students expect to learn from your session at the Great American Pitchfest?

A. For the Pitchfest Prep master class on Friday, I’ll be taking the writers through a premise, story and page workout on their script. It’s important that they’re clear about what makes their project special and have figured out how to communicate that to others. In my Minute Pitch class on Saturday, I use a short script to help writers keep their pitches tight and entertaining.

Q. In your experience with pitch festivals, do you think the majority of the companies who attend are looking for the next big franchise … or the indie-flavored script?  Or are companies moving more towards the new media platforms? What’s the feel out there?

A. Of course it’s easier to envision a high-concept (aka: big idea) script. For that reason, those tend to be the projects producers respond to the most.  But, as I stress in my classes, there’s a way to emphasize “the hook” in any project.  I do think that more and more producers are interested in creative artists who have some knowledge of and an affinity for new media. Things are changing so rapidly and no one wants to be left behind.

Q. What is your opinion on writers producing and/or directing their own scripts?

A. Go for it! (Just don’t go broke).

Q. We know a lot about your acclaimed seminars and conferences as an instructor, but we’d like to know a little something about the woman behind “On the Page,” on a personal level. Will you share with our readers … the one thing in this world that will move you to tears?

A. A school concert. You know, the kind with Christmas music and Chanukah songs and sign language?  Oh my lord, I’m a freakin’ puddle.

Q. If you could teach a child one important lesson in life, what would it be?

A. Love your work.

Q. If you were to be successful in another profession what would it be?

A. I used to sing, sort of. Dinner theater. Summer stock. That kind of stuff. I’d love to have the guts to do it again. But, now I’m too scared to even do writers’ karaoke.

Q. What kind of music do you like?

A. Bluesy standards and anything sung by angry young women.

Q. What is the name of your favorite book and/or author? And what are you reading now?

A. In high school I read all things Kurt Vonnegut.  In college, I wanted to stalk Toni Morrison. In my 20′s I went through a big Raymond Carver phase.Now, it’s just news magazines.Reading so many scripts, it’s important to find out what’s actually going on in the world. Otherwise, I lose perspective and everything starts to look like a big action movie!

Q. What was high school like for you on a social level? Brutal, fabulous or do you consider them lost years?

A.A burning desire to be the popular girl has driven me in all that I do. Eventually, I hope to get there.

Q. If you could change one thing about this world we live in, what might that be?

A. The current love of all things snarky.

Q. Finally, what is your favorite dessert?

A. You’re killing me!  This is like asking who my favorite kid is! O.K. if I really was going to have to choose, I’d say pudding.All things pudding.

Pilar Alessandra is one of the most sought-after script consultants in the business. She also stars on the indispensible (and free) On The Page Podcast and is the author of The Coffee Break Screenwriter. She was recently profiled in LA Weekly’s “Best of LA People 2011.” She has always been one of the Great American Pitchfest’s “Best of the Pitchfest People.”

Deb Havener is a 2-time Nicholl Fellowship semi-finalist who will be assisting Mr. McKee at the 2011 Great American Pitchfest. www.prettyegg.org

It was started by a group of writers to help other writers meet the people they need to know for their careers to move forward. More than 20 classes are presented each year by legends such as Robert McKee, Pilar Alessandra, Syd Field, Michael Hauge, and dozens of other excellent speakers and established screenwriters. You can also pitch your screenplay to approximately 120 film/television executives and agents. More than 60 writers have had their projects optioned, been hired for writing assignments, or have signed with agents or managers. Visit www.pitchfest.com for more details.

Our system is quite different from other pitchfest events you may have attended. First of all, there is no signup process. What we do instead is we take the biggest ballroom we can find, and have about 120 production companies, agents, managers, and other industry execs seated throughout.

Each table is numbered. In the hallway, we setup 120 corresponding lines. What this means is that say you want to meet with Lionsgate and they are at table 30. You would then get into line 30. You would also turn to page 30 to read a full profile about that company, projects they have in development, budget information, contact information and names of the execs, stars they have relationships with, etc.-really detailed information so you can really target who you want to meet with. We also post this information on our website so that you can do your research in advance and study the various companies. Every five minutes, we let the first person from each line into the main pitching room where you have your meeting. If the exec wants more time with you, we simply hold the line until they are ready to go again- so the meetings can be as long as they like. Most are five minutes and we do ring a bell every five minutes, but the lines are routinely held up when execs hear pitches they are especially interested in. When you’re done, you simply get up, go around, and get in line to meet with the next company.

It may sound like you’re in line all day, but it moves really quickly. For every five participants, we invite another company- which means the lines never get very long. And the people in the lines are where you’ll make a lot of your best connections because everyone is sharing what they’ve learned, who they’ve met with, who’s looking for what, etc. If you don’t know anyone in LA, you certainly will by the end of this day. And we don’t charge per meeting- we only sell 500 tickets to the pitchfest, and they are available for $250 each. Most writers have between 12-20 meetings.

If you want to know more about how this event was started or any other details about how it works, please click on About the GAPF
I hope that helps to answer any questions. If you have any others at all, please don’t hesitate to ask. We’re happy to help however we can. And please be sure to say hello when you’re there -­‐ it’ll be nice to meet a fellow writer!

All the best,
Signe Olynyk
Writer/Producer www.pitchfest.com

Meet The STORYLINK All-Stars: Ellen Sandler

To celebrate the 25th Anniversary of the Writers Store and to help launch www.storylink.com, the Great American PitchFest has partnered with the Writers Store to bring you the Storylink All-Stars – a gathering of the best screenwriting instructors in the busines, all under one roof – and all for FREE. Yes. Free. These free classes are our gift to you in the interest of helping writers to master their craft.

We asked some of the Storylink All-Stars a few questions about the Great American Pitchfest, and what writers can do to ensure their success as a screenwriter.

Why is it important to go to The Great American Pitchfest?

The Great American PitchFest is the best organized PitchFest on the market. Buyers know this and many more reliable ones are willing to take pitches here.

How does a writer succeed if they don’t live in LA?

By getting produced or published with reviews where they are. Building a writer’s profile and credentials which give them a platform to approach Hollywood.

Does a writer need representation?

When a writer sells something, a writer needs representation. Until a writer has sold something there is not a lot an agent can help with.

What is a manager?

What is the difference between an agent and a manager? Managers take a larger percentage, will sometimes take on younger, newer writers if they find them promising and will often give notes on material and career guidance. On my website www.SandlerInk.com there is an interview with a prominent manager who answers many questions about what managers do and how to interest one.

How important is it to go to events such as this?

Events like PitchFest are your first doorway to the entertainment major leagues. You also gain immeasuably by meeting peers who are pursuing similar goals.

Do I need a completed script to pitch?

If you are an unproduced writer, yes, you will need a completed script. You will be pitching your script in order to get someone to read it to see if you are a writer they are interested in. An unproduced writer will not be paid to write a script based on an idea pitch no matter how great the idea is.

How do I protect my idea or script from being stolen?

Register your completed script with the Writers Guild – you can do this even if you are not a WGA member. You cannot protect an idea. Ideas are easy, it’s the way you develop that idea; the script that you turn that idea into that counts and that’s what you can protect.

I’m a writer. How do I get a studio deal?

By writing a script and producing on your own, then studios may be interested in working with you.

How do I find a mentor?

Mentors find you when they see promise in your work.

What kind of spec should I write? TV or film?

TV pilots are the script of choice for agents and producers right now. They show you can write orginal material, create characters, write sparkling dialogue and they are shorter to read.

Should a writer write from their heart, or for the market?

A writer who is interested in a career in show business must discover a way to write both from their heart and within the demands of the commercial marketplace. A buyer wants to feel passion and originality in the script but the buyer must also be able to discern that there will be a large enough audience for the subject matter.

What is structure? How important is it?

In film or TV scripts, structure is what you are there to do. If the story structure isn’ t there nothing else will really matter.

What should I ‘not do’ when pitching?

Do not start at the beginning and tell the whole plot scene by scene.

Meet more of the Storylink All-Stars throughout this newsletter. Visit www.storylink.com for information, advice, and networking with fellow screenwriters.

ELLEN SANDLER received an Emmy nomination for her work as Co-Executive Producer for the CBS hit Everybody Loves Raymond. She has worked as a writer/producer on more than 25 network television comedies, including ABC’s long-running series, Coach. In addition to staff work, she has created original pilots for ABC, CBS, NBC, Fox Family Channel, Oxygen, The Disney Channel, and the Australian Children’s Television Foundation in Melbourne.

Sandler Ink, the consulting company Ellen founded, provides script development and career coaching for professionals and emerging writers in the entertainment industry. She is also a sought-after seminar leader at conferences and universities both in the U.S. and abroad.

The Great American Pitchfest Interview – by Jim Cirile

Coverage, Ink sat down with us recently calling us “arguably the Rolls Royce of pitch festivals.” The following interview originally appeared at Coverage, Ink:

The next Great American Pitchfest rolls into the Universal City Sheraton in Los Angeles the weekend of June 22nd. Over 70 companies are slated to attend. And unlike other pitch fests that limit you to 4 or 5 meetings, with The Great American Pitchfest, the average is 12-20 meetings, sometimes more! If you’ve got material you’ve honed to perfection (you have honed it to perfection, haven’t you?) and are now ready to approach the industry, there is no better, stronger, faster way to meet a whole room full of industry than the Great American Pitchfest.

Coverage Ink has been to many pitch fests over the past decade, but we really like the way these guys run their ship. That is why we approached them to be a cosponsor for our Writers on the Storm contest. Like CI, these guys are writers themselves and really do care about bringing quality and opportunity to the emerging writer. For more about the Pitchfest, including companies list & bios, and to enroll, please visit their website at www.pitchfest.com.

Jim Cirile: Hi, guys. Tell us how this ball got rolling.

Bob Schultz: It was all Signe’s brainchild. She had already done one in Canada.

Signe Olynyk: It was really borne out of frustration. I went to other pitch fests, and I attended as a participant.

JC: So you’re a writer also.

SO: Yeah, I’m a writer and a producer. I’ve sat on both sides of the table. I’ve attended as a participant looking for companies to coproduce with, or option my scripts to. And I’ve also sat on the other side of the table looking for material and writers to work with.

BS: All of us who are involved with putting on the Pitchfest are writers. We pride ourselves on being by writers, for writers , just like Coverage Ink. .

SO: We tell people this isn’t our Pitchfest, it’s everyone’s Pitchfest. We’re writers. We developed an event—well, for ourselves, really. We were trying to find something that helped writers and producers connect in a way that we didn’t feel was being done.

JC: I’m a long-time veteran of a lot of pitch fests, and I’ve made a lot of good long-time industry contacts from them. Some people you sit with are a waste of time, but others, you really can make a connection. What weren’t you seeing from those other pitch fests that you wanted to bring to the Great American and Great Canadian Pitchfests?

SO: Well, let me give you some background on how this thing started. I was at the Screenwriting Expo the first year as a participant. I think the Expo is one of the best events out there for screenwriters, a fantastic event—if you’re a screenwriter, you’ve got to go.

JC: Plug, plug, plug. Go ahead.

SO: (laughs) I have no affiliation with the Expo.

JC: I do. It’s okay.

SO: Anyway, I really admire that whole event, but what I had a problem with was their pitch fest. I attended as a participant, and I stood in line that first year from 5:00 in the morning till 2:00 in the afternoon. You’re dressed up, you’re wearing your heels—well, maybe just me and Bob…

BS: Hey! You promised not to tell!

JC: Hopefully not matching.

SO: I was so frustrated by that experience. Or the ‘having to be at your computer at a certain time and date to sign up for the meetings you want’. The idea of a pitchfest is a great idea, but there had to be a better way.

JC: So how is yours different?

SO: The biggest difference is with our event, you don’t get a scheduled time. You don’t have to wait online to book your time. What we do is we have 70 to 100 companies in one room, spread throughout so there is privacy between tables . In the hallway outside, we have 70-100 corresponding lines. So let’s say you want to meet with Disney at table 30, you would get into line 30, and you would also turn to page 30 in your booklet, where you’d read a full profile about that company – their credits, what they’re looking for, the stars they have relationships with . Really specific information.

BS: If you check out our web site (www.pitchfest.com), all the profiles from previous Pitchfests are up there.

SO: What you won’t find online is the contact information. You have to register to get the contact info for the executives.

JC: So how do you prevent somebody from taking 45 minutes once they sit down and grab somebody’s ear?

SO: We do have a general time, which is 5 minutes. But if that executive wants more time with you, all we do is hold the line. The execs can take as long as they want.

BS: We found that our participants, instead of being frustrated because they’re delayed, everyone’s really excited, because it means someone has generated interest, and everyone’s sort of rooting for each other. I’ve never experienced anything like our event before. It’s such a positive, encouraging, energetic environment. Everyone seems to be having a good time, and I think that’s partly why it’s such a successful event. The Execs feel that way too, and seem to be more receptive to new writers and their material because of that positive atmosphere.

SO: Plus writers are meeting on the lines, saying, “I just met with that company. What are they like? What are they looking for?” So they’re sharing a lot of information . We’ve had a lot of long-term relationships that have developed as a result.

JC: It also means a writer is not necessarily limited to only, say, four meetings.

SO: Most of our participants get 12 to 20. There are some people who meet with every company there. I’m not kidding. They just keep getting in line. And the lines are never very long because for every six people who attend, we invite another company.

BS: At the beginning of the day, we have a lot of people who are rushing, because they are accustomed to rushing (at other pitch fests). So in the beginning it’s rush, rush, rush, and then after lunch and by the end of the day, we have people sitting down and saying, “You know what? I’m done, and there’s still half the day left.” They’re satisfied to the point of exhaustion. And I feel like that’s why we’ve had a lot of success getting return customers and production companies, too, because they get bang for their buck. The 20 pitch number that we throw around is not one of these extremely rare occasion things. It happens quite frequently.

JC: So tell us about some success stories that have come from all of this.

SO: We’ve got about 30 success stories—actually it’s higher than that, and these are just the ones we know of. We really rely on our executives and our participants to tell us. We’ve got over 30 confirmed success stories, and that’s where participants have had their screenplay optioned , or signed with agents or managers, or been hired for writing assignments.

BS: My first option, my first representation, my first internship, my first writing assignment for actual money, all came from the Great American/Great Canadian Pitchfests. I started as a volunteer and participant, then stuck with it because it’s an event I can really believe in.

SO: Most of the volunteers we have become a big part of our team, because they see (the benefits.) Lorene Lacey, same thing—she found an agent out of it.

BS: I’m going to be back in LA next week doing some scene work on a film, and I met them through the Pitchfest.

JC: A lot of times companies will send the lowest guy on the totem pole—the plant guy, for instance—to pitch fests see if there’s anything out there, but these people aren’t really decision makers. I know that frustrates some writers. But on the flip side, eventually those guys will work their way up, and this is a chance to get in on the ground floor.

SO: We get a mix. We get studio execs who attend. Some of our best support has come from one of the execs at Fox.

BS: Also Imagine Entertainment (Ron Howard’s Company) has been a fantastic supporter. They even came to Canada for the Great Canadian PitchFest, and they were absolutely wonderful about reading the scripts they requested and getting back to participants. We work really hard to use our connections to find the best companies and the best people who are seriously looking for material to option, and writers to hire. We also get actors and their production companies, so we get someone who’s one person removed from the celebrity.

SO: I work really hard at making sure the people we have are credible. I also produce, so a lot of the companies that attend are contacts I’ve developed a relationship with . I go to all the markets—NATPE, MIPCOM, Cannes, and I meet these people and work really hard at establishing my relationships with these production companies and agencies. I also read a lot of scripts, so I am in contact with a lot of agents and managers.

BS: We also offer classes on pitching, so we’ve built a reputation with the decision makers so they know that a large percentage of the pitches they’re going to get are (not going to waste their time.) And we treat them like VIPs across the board. It gives us credibility. I feel like we do a really good job of getting decision makers at those tables who can actually make decisions. The people are pitching to someone who can seriously affect their careers.

SO: I think we’re the only pitch fest that does this – we ask the writers who attend to tell us who they want to meet with, and we invite those companies. So if you want the producers of “ Crash,” or “Little Miss Sunshine,” for example – we go after them. We can’t promise, but we do our best to get them there.

JC: Thanks putting on a top-flight event. Do you have any parting advice for writers who are going to attend the Pitchfest? Other than being a good writer.

BS: You can never be too prepared. Although you said aside from being a good writer, that’s critical. But just as critical is selling yourself. You need to know your story. I know a lot of people are nervous. They feel like they’re putting on a performance when they’re doing their pitch. But when you only have five minutes, it’s more about having a good conversation and being yourself.

SO: Building a relationship.

BS: Yeah. Writers need to know their story well, be comfortable talking about their story, be able to answer questions and have fun. When you’re facing someone who could change your career forever, it’s hard to just kick back and relax, but all things being equal, if the executive has the opportunity to go with a project where they have a good rapport with the writer, they’re going (to hire that person instead of someone they’re uncomfortable with). So just be yourself and have a good time. If you have five minutes with somebody, and after 15 seconds they pass, that doesn’t mean the relationship has to end. If you have a good rapport, somewhere down the line you could just pick up the phone and call this guy because you’ve established a good relationship earlier.

SO: People like to work with people they like. I’m about supporting writers. I say go to every event you can, even our competitors’, because you never know when you might meet someone who can help your career.

BS: And I say buy as many tickets as possible for our event.

SO: (laughs) I know I’m totally biased, but our event really is the best one out there. We’ve made it that way. I’ve sat on both sides of the table. I know the frustrations I felt when I went to pitch fests as a producer, and you have to fight to get your parking covered or get some coffee or water, or they don’t tell you the right room to go to. It’s communication and organization, and those are things we’re really good at. We really try to make this rewarding for everyone.

You can meet Signe, Bob, and Jim at The Great American Pitchfest on June 23 – 24. Come say hello!

JIM CIRILE is a multi-produced, WGA-member writer/artist/musician and columnist for Creative Screenwriting magazine. He is also the founder of Coverage, Ink, which seeks to provide affordable agency and studio-style coverage to all screenwriters, and the Writers On The Storm Screenplay Competition.

Four Short Weeks To More Powerful Writing With A Writers University Online Course

Mastering the Habits of Highly Successful Screenwriters is the best course on writing I’ve ever taken, even after years of film school. I asked Karl for his opinion about a crossroads I’d reached with a pitch and he presented a solution no one had suggested. Two hours later, I received a call from my agent strongly recommending the same option. Writer’s University was ahead of my reps!

- Sean M.

As writers, riveting our readers from beginning to “The End” all depends on our storytelling skills. Fiction or fact, fantasy or biography, no matter how lofty or lowdown, a writer’s first requirement is to recognize the importance of learning the essentials of the craft. So whether you are just starting on your first story or are a seasoned professional looking for that extra little boost, Writers University will make the difference in your creative life!

Founded by The Writers Store, this online creative writing school delivers easy, affordable instruction by world-renowned authors and educators of the writing craft, such as famed screenwriting teacher Karl Iglesias, acclaimed literary agent and author Noah Lukeman and former studio executive Kathie Fong Yoneda. Their courses are designed to fit into your schedule. You can log in to your classes from any computer with Internet access, any time, day or night. Writers University courses are presented in a clear, straightforward format and contain all the elements you look for in a live class, including lectures, writing exercises and feedback from your instructor.

Where else can you get all the tools you need to begin writing your blockbuster screenplay in just four weeks? Our Screenwriting Basics course, the result of over 25 years of helping writers succeed, guides you from FADE IN to FADE OUT – for only $49. There’s no easier way to learn the fundamentals of writing a page-turning script.

Is novel writing more your speed? Successful writer Tom Sawyer designed Storytelling: How To Write Stories That Will Grab And Hold Your Audience specifically for Writers University. Tom will teach you his practical, take-it-to-the-bank approach that guides you through the fiction writing process and shows you techniques for turning your idea into a workable, gripping tale. And along the way, you will acquire a mindset that’ll make you a truly effective storyteller.

If you’re ready to expand your writing skills, then you’re ready for Writers University.

Next session begins July 9th – so don’t delay. Enter promotional code “GAPF” during checkout and save 15%. Offer ends 06/25/07.

Visit www.WritersUniversity.com today.

Call for Volunteers

We are currently recruiting for well kept, friendly volunteers for this year’s Great American Pitchfest.

Some of these volunteer positions include:

• Assistants to PitchFest Producers & Crew
• Assistants to Storylink All-Star Speakers & PitchFest Participants
• Assistants to Development Executives
• PitchFest Crew
• Registration Staff

Volunteers will be needed to help in the week leading up to the pitchfest, as well as during the event, and after to help with inventory and wrap. All volunteers will receive meals for the days worked, a ticket to the Executive Luncheon, and their choice of a ticket to the Executive Breakfast or Sweet Taste of Success Wrap Party. Volunteers must be prepared to cover their own transportation and parking expenses.

If you are interested in volunteering, please send an email to Rob and Andrea at info@lotusevents.ca with the following information:

1. Your name & contact info (including phone number, cell phone, & email address). Please indicate if you live in LA or not.

1. Please indicate the hours and dates you would be available during the following timelines, and put AVAILABLE if you are able to do that entire time period. Please note that those volunteers who contribute a significant number of hours are eligible for a pitchfest pass in exchange for their assistance. Those volunteers who are able to write ‘AVAILABLE’ next to each timeslot will also be given priority in crewing positions:
   

   FRIDAY, June 15, noon – 6 p.m.

   SATURDAY, June 16, 10 a.m. – 8 p.m.

   SUNDAY, June 17, NA (office closed)

   MONDAY, June 18, 10 a.m. – 8 p.m.

   TUESDAY, June 19, 10 a.m. – 8 p.m.

   WEDNESDAY, June 20, 10 a.m. – 8 p.m.

   THURSDAY, June 21, 10 a.m. – 8 p.m.

   FRIDAY, June 22, 9 a.m. – 8 p.m.

   SATURDAY, June 23, 8 a.m. – 6 p.m.

   SUNDAY, June 24, 6 a.m. – 8 p.m.

   MONDAY, June 25, NA (office closed)

   TUESDAY, June 26, 9 a.m. – 4 p.m.

2. Please write a short paragraph or two explaining:
• Why you want to volunteer with us.
• What is your background, and what are your future goals? How does volunteering with us help you achieve your personal and professional goals?
• What specific skills do you have that you feel would be of benefit? (ie you have volunteered with other events, you have worked in registration or assisting executives before, public speaking, etc.)

1. Tell us how well you know LA and the Studio City/Burbank area. Are you willing to drive? Do you have access to a vehicle

The Great American PitchFest thanks all who express interest. Only those volunteers selected will be contacted.

Meet The STORYLINK All-Stars: TJ Lynch

The Writers Store and the Great American PitchFest are proud to present TJ Lynch, our latest Storylink All-Star. TJ is a Nicholl Fellow and produced screenwriter, who will be sharing his insights into how to write a screenplay that not only wins contests and gets noticed, but gets produced. TJ will be teaching his class on Saturday, June 23rd. Visit www.pitchfest.com for schedule details and more info.

Why is it important to go to The Great American Pitchfest?

The Great American Pitchfest really is a great event because it puts you the writer directly in front of the people who buy scripts. You don’t need an agent, you don’t need a manager, you just need a great pitchable idea.

How does a writer succeed if they don’t live in LA?

There are a couple people I know who are very successful screenwriters who have never lived in Los Angeles. How did they become so successful without building up contacts in Tinsel Town? They won Nicholl Fellowships and their scripts got produced. That’s about the only way I’ve heard of breaking into the business without actually living in LA. You need to be here to make contacts. Then again, who knows? Maybe you’ll fly in from out of town, attend the Pitchfest and nail a script sale!

What does Hollywood want?

What does Hollywood want? They want movies that appeal to their core audience, mostly males 18-24. They want ‘high concept.’ What’s high concept? A movie that has a really clever pitch. The best movie ideas are the ones where you hear a one or two sentence logline, and you can ‘see’ the whole movie spool out in your head. Sometimes it’s just the concept itself — ‘A lawyer has to tell the truth for 24 hours.’ Sometimes the title alone is enough — ‘The 40 Year Old Virgin.’ Famed pitchmeister Bob Kosberg once sold a pitch without saying a word. He simply held up a mockup movie poster — “Hardy Men.” As in, the Hardy Boys as adult detectives.

What does Hollywood NOT want? Heartfelt character studies, period dramas, westerns, anything that won’t appeal to a wide audience. I submitted a script to a major company which they rejected because they were looking for ‘elevated genre.’ When you figure out what elevated genre is, let me know.

What genre is most likely to sell?

Horror is an easy sell because it doesn’t rely as much on big name casting, and teenage boys eat the stuff up now matter how bad it is. Comedy and romantic comedy are easy sells because they don’t have high production and special effects costs.

What is structure? How important is it?

Beginning, Middle, End — this is the most elemental form of Structure. For some simple forms of storytelling, jokes or campfire stories for instance, this may be as much structure as is necessary. However, movies are a different, very specific form. The Language of Film has its roots in storytelling traditions of Western culture, and thus it incorporates the things we as a society ‘expect’ to see in a story. If those things don’t happen—a story without a moral, or a story without a resolution for example—it doesn’t ‘sit right’ with us. One strays from the standard film structure at his or her own peril.

But what is the purpose of structure? It is to reveal the TRUE CHARACTER of the Lead Character in your screenplay, the person some refer to in shorthand as THE HERO. The title of ‘Hero’ is apt, in that s/he will indeed have to rise to the level of a Hero if s/he is going to make it through the story in one piece.

True Character is revealed in the choices a person makes under pressure. These choices slowly peel the Hero’s layers back to reveal his/her Essential Nature.

They say it’s who you know. I don’t know anyone. Any advice?

If you don’t have any connections in Hollywood, there are two tracks you can take. First, make some. Live in Hollywood. Find a job, any job, in the movie business. Second, win a major screenwriting competition. When I won the Scriptwriters Network Carl Sautter Memorial competition, and suddenly I had two agencies vying to sign me. The following year I won a Nicholl Fellowship, and the phone really started ringing off the hook. I had more connections than I knew what to do with.

But here’s the interesting thing. I’ve had one movie produced and several scripts optioned, one with A list talent and directors attached, and neither the screenwriting competitions nor my agent had anything to do with it. They all came about through personal connections. A friend of a friend of a friend. That’s why it’s just as important to cultivate personal relationships as it is to study the craft. Career advances can come about from the most unlikely places.

TJ LYNCH is a working screenwriter and a recipient of a Nicholl Fellowship in 1999 for is screenplay The Beginning of Wisdom. The previous year he won the Scriptwriters Network Carl Sautter Memorial Scriptwriting Competition for the same script. The Beginning of Wisdom also won 7th Place in the 3rd Annual Final Draft Open Door Screenplay Competition and was a finalist for the ABC/Disney Fellowship, the Chesterfield Writer’s Film Project and the Slamdance Screenplay Competition.

To fulfill his Nicholl Fellowship obligation Lynch wrote the screenplay that would become A Plumm Summer, which went before the cameras in summer 2006. The script is based on an actual incident that took place in Lynch’s hometown of Billings, Montana, in which the puppet/mascot of the locally produced kiddies’ show was actually kidnapped and held for ransom. A Plumm Summer stars Henry Winkler, William Baldwin, Brenda Strong, Lisa Guerrero, Peter Scolari, Rick Overton, with narration by Jeff Daniels. To learn more click HERE.

Mr. Lynch also does private script consulting on a limited basis when time permits. For further information, call (818) 293-1693, or visit Writing Is Rewriting.

June 23 & 24, 2007

Sheraton Hotel at Universal Studios

Los Angeles, California

Visit www.pitchfest.com for details

Do you have an idea for an article
in The Great American Screenwriter?

Pitch it
to us via email at bob@pitchfest.com!

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Meet The STORYLINK All-Stars: Dr. Linda Seger

To celebrate the 25th Anniversary of the Writers Store and to help launch www.storylink.com, the Great American PitchFest has partnered with the Writers Store to bring you the Storylink All-Stars – a gathering of the best screenwriting instructors in the busines, all under one roof – and all for FREE. Yes. Free. These free classes are our gift to you in the interest of helping writers to master their craft.

We asked some of the Storylink All-Stars a few questions about the Great American Pitchfest, and what writers can do to ensure their success as a screenwriter.

How does a writer succeed if they don’t live in LA?
Writers who don’t live in L.A. do what writers who do live in L.A. do – they write. They enter screenwriting contests. They go to conferences, in L.A. as well as around the country. They meet producers. They submit scripts to producers and production companies and sometimes to the studios. They learn about marketing. They work with consultants. The only difference is – they should save some money to come to Los Angeles once or twice a year and try to arrange appointments while they’re in L.A. And, always, they just keep writing.

Does a writer need representation?
A writer usually can’t get representation on their first or second, or sometimes even their third script, so they don’t need it in order to get someone interested in their work. If someone is interested, and they need an agent, it won’t be difficult to find someone who will do the deal for them. Most agents don’t want to represent a writer until they have a number of scripts, and maybe an option or sale that they got on their own.

How important is it to go to events such as this?
It’s very important to go to events such as conferences, pitchfests, etc. Writers meet potential buyers, they learn more about how the business works, they meet others with whom they can develop support systems, they don’t feel so alone, and they learn more about the craft and marketing. They get an insider’s look.

How do I protect my idea or script from being stolen?
Register the script with the WGA and/or the Library of Congress. Keep track of everyone who reads the script. Keep a log of where you sent it, when you sent it, and whether you spoke to anyone, whether the script was covered by the company, and whether you received any response from the company. Don’t talk about your story in restaurants or bars or other public places. You never know who might be sitting at the table next to you. Then, don’t worry about it. The only way to really protect your script is to not show it to anyone. But then, it will never get noticed or sold either. Don’t presume, because a movie comes out with a similar idea to yours, that they stole your idea. Ideas do float around. Familiarize yourself with the standard of proof for copyright infringement cases. And read Mark Litwak’s books and Brooke Wharton’s book on protecting your work.

How do I get hired as a writer?
Your first jobs may be low paying, or no paying, or might just be an option for very little money. At the beginning, generally don’t worry about money. If you get an offer, yes, get an agent or lawyer to look at your deal, but don’t, absolutely don’t, kill the deal to get more money, or in hopes of someone else being interested somewhere else. Be careful of getting uppity with your first sale. Once people know you’re a good writer and others like to work with you, you’ll have a better chance of getting hired. And, knowing that writing is filled with hard knocks, get a good therapist, and get a spiritual life of one kind or another. You’ll need it!

What is structure? How important is it?
Structure is the shape of the story, and brings balance and harmony to your story. It integrates the plot and the subplots, and helps focus your story and make your script cohesive, as opposed to being made up of many arbitrary elements. Many great writers say the 3 most important elements in screenwriting are structure, structure, structure. If you don’t have structure, you don’t have anything but some interesting scenes and some good character quirks. That doesn’t make a film!

How can a private consultation help me?
Every writer needs an objective eye. It’s difficult to know what works or doesn’t work, because the writer is too close to the material, but also because the writer usually doesn’t have the experience of a consultant. While a writer might be working on one or two or three scripts over a period of five or ten years, the consultant has, meanwhile, been working on about 50 or 100 or 150 scripts a year. And if a consultant has stayed in business for some years, chances are, it’s because the consultant has helpful insights. They aren’t just there to render an opinion. They are there to help you get what you want out of your scripts, and see all the elements that the writer can’t see clearly. It might not lead the writer to selling the script (although it might), but it can certainly help the script improve.

They say it’s who you know. I don’t know anyone. Any advice?
If you don’t know someone, you will know someone after attending some conferences. And remember, often it’s not the most important person in the industry who will help you. That person is too busy producing films and having drinks with studio executives (or might be a studio executive having drinks with producers) to take much time with you. Many times the most helpful people to know are secretaries, teachers, other writers who will read your work and might know someone. The people who have been the most helpful to me in my work have not been the most important people in the industry, but people who are generous. Look for the givers, not the takers. And be willing to give yourself, in whatever way you can to help others.

Any other advice?
Train yourself to take rejection – you’ll get a lot of it. Don’t get too bent out of shape from the many set-backs, disappointments, devastating moments, and the terrible despair that can come with this business. As they say in the West, “you gotta cowboy up!” As they say in the Army, “take it like a man!” As they say in show business, “don’t take it personally, even when it seems to be meant that way!” Don’t put off your life while trying to sell your script. Find balance in your life, so your life isn’t only about writing and selling the script – it will drive your friends crazy! Always have at least one good friend who’s not in the business, and who you can be honest with, and who will encourage you when you’re down, and who will celebrate with you when things go well. Have some friends in the business who know some of the ins and outs and who will go through the process with you. Celebrate often! Celebrate even the small successes that don’t seem very important. Celebrate when you start your script. Celebrate when you finish it. Celebrate when you get your first letter of interest. Celebrate when you get a sale. Celebrate when the movie comes out. And celebrate when you’re nominated for the Academy Award (and don’t be afraid to spend a lot of money on the dress! Or tux!) And don’t lose your values while you celebrate – no drugs, not too much alcohol, no (big) orgies, don’t lose your integrity, and don’t get mean! Drama, whether film or theater, is (I believe) the most humane of all the arts, or should be. Or, as Stanislavsky said, “Don’t go into the theater with mud on your feet!” You have a high and important art to serve!

DR. LINDA SEGER created and defined the job of script consultant in 1981, when she began her business, based on her doctoral dissertation project. Since then, she has consulted on over 2000 scripts from six continents, given seminars in 30 countries around the world, and is the author of 8 books on screenwriting (the most recent to be published in February, 2008).

Click here to Register!

Why is it important to go to The Great American Pitchfest?
A great networking opportunity. A wide selection of speakers. A community of writers.

How does a writer succeed if they don’t live in LA?
With an LA cell phone, correspondence by e-mail and a “don’t ask, don’t tell” policy.

What’s a logline?
A one-sentence description of the premise of your movie. Don’t be coy. Nail the hook.

Should a writer write from their heart, or for the market?
By the time you’re done chasing a trend in the market it will be long gone. When you’ve written a smart, clever movie from your heart, the market chases you.

What is structure? How important is it?
Structure is a story well told. It doesn’t matter if you jump time, or tell the story backwards. If the reader and audience can follow your film and remain engaged, your structure is working.

How is the Great American PitchFest different from any other event?
I’m a fan of the PitchFest producers, Signe and Bob. They truly like and understand writers.

Pitch your session – Why should writers attend yours?
For the “fix it” tools, practical advice and corny jokes.

They say it’s who you know. I don’t know anyone. Any advice?
Take a look around at the pitchfest. You now have over 200 peers and a dozen potential mentors. Connect with them with a smile, a handshake or a great pitch and you’ve made a connection.

What should I ‘not do’ when pitching?
Apologize. Argue.

What should I do when pitching?
Relax. Tell a great story.

PILAR ALESSANDRA is the director of “On The Page” Script Consultation and Screenwriting Classes and former Senior Story Analyst for DreamWorks, ImageMovers and Radar Pictures. As a writing instructor, she’s taught at UCLA and Writer’s Boot Camp. As a lecturer and guest instructor, she’s taught at Nickelodeon, MTV, Final Draft, The Mammoth Writer’s Conference, the Great Canadian PitchFest and the Great American PitchFest.

Don’t miss the

FREE Classes with:

Pilar Alessandra
(Script Consultant & Director ‘On The Page’ & former Sr. Story Analyst Dreamworks & Radar Pictures)
David Freedman
(Agent & Owner of ‘Hollywood View Agency’)
Michael Hauge
(Author of ‘Writing Screenplays That Sell’ & ‘Selling Screenplays That Sell’)
Karl Iglesias
(Author & Consultant ’101 Habits of Highly Successful Screenwriters’)
Viki King
(Author, ‘How To Write A Movie In 21 Days’)
Ellen Sandler
(Emmy Nominee & Co-Exec Producer of ‘Everybody Loves Raymond’)
Dr. Linda Seger
(Author of ‘Making Good Scripts Great’ & ‘Creating Unforgettable Characters’)
Blake Snyder
(Screenwriter & Author, ‘Save The Cat’)
Kathie Fong Yoneda
(Former Exec with Disney, Touchstone & Author of ‘The Script Selling Game’)

Storylink and the Great American PitchFest are offering
ALL OF OUR SCREENWRITING CLASSES FOR FREE!

Yes, for free. Nada. Zip. Zilch. And no, there’s no catch – This is our gift to you. As the ONLY pitching event created BY screenwriters FOR screenwriters, this is your chance to learn from the best screenwriting instructors in the business. Get a free ticket for yourself and a friend by registering now. For free tickets, register here. You may also register at the door, but only registered participants of The Great American Pitchfest are guaranteed seating.

June 23 & 24, 2007
Sheraton Universal Hotel (Los Angeles, CA)
www.pitchfest.com

If you’re reading this article, you’ve no doubt wondered at some point what it’s like to win a Nicholl Fellowship. I certainly did. You and I both know what it’s like to be the poor wretched peasant, our covetous eyes fixed on the impenetrable castle walls of Kingdom Hollywood, envious of the artisans and benefactors ensconced therein, them whiling away their days creating art and amassing riches while we toil in ignominy, tilling the infertile fields of our day jobs. Now imagine you’re suddenly scooped up, wedged into a catapult and fired like a human projectile. With dizzying acceleration up over the walls you go, careening into the center the courtyard. Of course there’s no telling what’s going to happen when you land, but you’ve breeched the walls, you’ve made it inside. And you’re going to attract a lot of attention.

So what’s it take to actually win a Nicholl? The answer is deceptively is simple. Write a great screenplay. Want to know the secret to getting an agent? Same answer. And of course the biggest question of all–how do sell my screenplay and get it made into a movie? Same same same. It really is that easy, and that difficult. Of course there’s more to success than the script alone. But having a truly superior screenplay is the prime prerequisite of all three. Without that, the chances of realizing any of them is nil.

I’ll forever be indebted to Don and Gee Nicholl for their largesse in endowing the Nicholl Fellowship. For those lucky enough to be chosen, one’s life is forever changed. The first thing that happens is the phone starts ringing. And ringing. And ringing. Agents want to sign you. Producers who wouldn’t accept a query letter, development execs who snubbed your idea at the pitch fest, are all suddenly dying to know you. You begin a cavalcade of ‘meet-and-greets.’ These are ostensibly meetings with producers or their development people to see if you’re the kind of person they might like to work with. You’ll be courted, you’ll be called ‘brilliant’ until the word ceases to have any meaning, indeed until you actually begin to resent it. Soon you come to realize that these folks are actually more interested in seeing what other scripts you have than they are in offering you a writing gig. Nonetheless, any contact is a good contact. More on that later.

The first week is a whirlwind. There’s the five-star awards gala at the Beverly Wilshire. There’s a luncheon at the Academy with the final round judges. You get to brush elbows with famous actors and producers. The year I won Gale Anne Hurd was one of the judges. She hosted a little get-to-know-you for the winners and finalists, but was annoyed repeatedly by someone calling on her cell phone about some production problem or another. It was pretty heady stuff when she clapped her phone shut and proclaimed, “There. I just hung up on James Cameron for you guys.”

As amazing as it all was, I was probably less overwhelmed by the whole thing than a newer writer might have been. I’d already landed an agent. I’d had a couple previous near brushes with success. Years earlier a writing partner and I had written a CIA thriller that his agent at the time was certain was going to be a big spec sale. He boasted that he’d buy us tickets to Hawaii if it weren’t. He was so certain in fact that the agency decide to ‘go wide’ with it. For the uninitiated, this is a calculated practice that’s done to try to gin up a bidding war. At 9 am on Friday the script went on sale. Twenty messengers arrived en masse on the agency’s doorstep to spirit copies of our magnum opus all over town. The hours ticked by as we waited for the bidding to heat up. In the end there were a couple parties interested, but not sufficiently enough to actually make an offer.

By 4 pm the script, as well as our dreams, was dead. The agent said there was no point in trying to revive the patient. The script now had the stench of death all over it. No one would touch it. The agent, my writing partner and I parted ways. The deceased was buried deep in my closet where it lies to this day. We never did get our tickets to Hawaii.

In hindsight it’s no surprise it didn’t sell. It was a good script, good enough to fool my partner’s agent at least. But it wasn’t great. My writing partner and I were young and admittedly a bit arrogant. We thought, come on. We’ve gone to film school, we’ve seen lots of movies. How hard could writing a screenplay be? We leafed though a little Linda Seger, skimmed some Syd Field. But we eschewed the rest as a waste of time, bound and determined to go our own way, to learn by doing. The end result was a script that had some great set pieces, but it lacked an emotional core. It was structureless, our characters had no ‘character.’

Dubious, but desperate for answers, we hired one of the first well-known script consultants back when her rates were still reasonable. It turned out to be something of a revelation. It was clear from her analysis that there was more to this scriptwriting thing than we’d realized. Experience is one thing, but it’s no substitute for knowledge of the form. We definitely had some learning to do. We made a stab at incorporating some of her comments, but we’d done several drafts already and the die was cast. It was too late to patch up stuff that was conceived wrongly from the outset. At that time at least, we simply didn’t have the chops. Try as we might, and humbled by our own lack of knowledge, our efforts culminated in the debacle chronicled above.

With our partnership dissolved and any hopes for a writing career in tatters, the situation called for something drastic. So I quit writing. I decided to go back to the drawing board. I made a commitment to myself to put down the pen, roll up my sleeves, and learn everything I possibly could about the Craft of Scriptwriting. I read everything from Robert McKee to William Goldman to Joseph Campbell. I went to lectures by the scriptwriting gurus, Hauge and Freeman and Truby. I explored Vogler’s Mythic Storytelling and Jung’s Collective Unconscious. I experimented with story creation software and joined the Scriptwriter’s Network. I took a little piece from one source and something else from the next.

And I read scripts, dozens and dozens. As time went on it all began to make sense. I started to understand the form, the rules became clear. I’d taken the best of all those disparate sources and cobbled together my own expert database of scriptwriting knowledge. A full year had passed. It was time to take up the pen.

I set out to write my next, and possibly last, screenplay. If this one didn’t shine it would be due to a lack of imagination, not of knowledge. I’d be forced to concede that I just didn’t have what it takes. I began in earnest. I consciously set aside any ulterior goals such as getting an agent or winning a competition as distractions. I had but a single objective–to take what I’d learned and write the best script I possibly could.

During my sabbatical there were a couple pieces of advice I heard over and over. “Write what you know,” and “Write a personal story.” I thought, if this is to be my swan song, why not give it a shot? So I did, and the most amazing thing happened. I fell in love with writing. Before it had simply been a means to an end, my ticket to the big-time. But now my characters were taking on their own voices. They became as real to me as my next-door neighbor. Their foibles made me laugh and their losses made me weep. I was writing for the right reasons and it showed. I had taken the time to learn my craft, and in the process discovered the magic.

The end result was a script entitled “The Beginning of Wisdom.” I thought it turned out nicely, but it remained to be seen what the rest of the world would think. As was my habit, I’d planned to enter it in scriptwriting competitions as a convenient yardstick by which to measure how well I’d succeeded. The first contest I entered was our own Scriptwriter’s Network Carl Sautter Memorial Scriptwriting Competition. The grand prize was a list of producers and agents who’d agreed in advance to read the winning script. One of the biggest breaks of my career happened when “The Beginning of Wisdom” was declared the winner. Suddenly two agencies were vying to sign me. I couldn’t believe it. Me! I’m still with the one I chose to this day.

One of the perks of entering the Carl Sautter was that the judges did anonymous coverage of the entered scripts. In fact I got some very good feedback that helped me improve the script even further. In subsequent years I was a judge myself and did coverage of entered scripts. I enjoyed sharing my knowledge and went out of my way to help by going into depth, in effect doing a mini critique of each entry I judged. In fact I did one for a nice little script that wound up winning the Carl Sautter itself some years later. I’d like to think my critique might have had something to do with that. Unfortunately the Carl Sautter was discontinued last year.

I submitted the new-and-improved “The Beginning of Wisdom” to the major competitions. It made the finals of the Chesterfield Writer’s Film Project, the ABC/Disney Fellowship and the Slamdance Screenplay Competition. It was also optioned by actor John Bennett Perry, father of Matthew Perry. The two had wanted for some time to play father-and-son roles in a film, and chose my script as their vehicle. If I’d ever needed validation I was getting it, in spades. There was just one more competition out there that could spin this whole business into the stratosphere.

The big kahuna, the Nicholl Fellowship. Granted, my script had done well, better than I could’ve hoped. But I had no illusions about actually winning. I mean, let’s be real. At a thousand-to-one odds there’s no way. It was impossible.

Don’t let anyone tell you the impossible can’t happen. By the same token, one shouldn’t have pie in the sky notions either. Of course winning the Nicholl opens doors like nothing else, but it’s no guarantee your script will get made. In fact the kinds of scripts that typically win the Nicholl are precisely the kind that are most difficult to sell. The final round judges tend to be older Academy members, many of whom were in their career prime back when movies were made primarily for grown ups. They’re by and large sophisticated filmmakers of monumental accomplishment, and, based on the winning scripts I’ve read, their tastes lean toward character-driven dramatic pieces. That said, a number of Nicholl scripts have been produced and their writers’ gone on to phenomenal success, Ehren Kruger’s “Arlington Road” and Mike Rich’s “Finding Forrester” among them.

As for me, I have two scripts being cast right now, both with name talent already attached, both of which should go before the cameras within the next several months. I also have a third script that’s been optioned by an established producer who hopes to set it up as a big budget studio picture. And here’s the part that may surprise you. Each of these scripts found its way into the hands of its respective producer not through my agent or contest wins, but solely through my own personal contacts. There’s a lesson in that. Yes, the Nicholl resulted in lots of meetings and visibility, but none of that produced a buyer for my script. And the little known truth about agents is that their job is more about negotiating a great purchase price that it is about finding a purchaser. In most cases that task is left to you. Developing and maintaining personal contacts is one of the most important parts of a successful writing career.

In my opinion most emerging writers place too much emphasis on getting an agent. But it’s not the agent who sells your script, it’s your writing. Your top priority should be elevating your skills to a professional level. I humbly suggest that if you aren’t writing at a level where you’re placing high or winning scriptwriting competitions, don’t waste your energy trying to land an agent. It’s a distraction. Concentrate on what’s important, your writing. Study the craft. Learn to speak the language. When you become fluent the agents will notice you. After all, it’s their job to recognize good writing when they see it.

Of course a great script stands on two legs, great execution and a great concept. Now the screenwriting gurus will tell you to ignore market trends and spend your time writing something you’re passionate about. They claim it’s fruitless to target trends; they’ll have changed by the time you finish your script anyway. Development Executives on the other hand will tell you it’s absolutely imperative to know the market and target your work toward a specific audience.

I tend to subscribe toward the former. Writing a script is a long, difficult process, and it’s important you choose subject matter you can remain passionate about over the long hall. You’ll stick with it through multiple drafts and it will be better as a result. By the same token, one should give at least perfunctory thought to what type of people might attend one’s movie. Is it a potential blockbuster or more of a niche market art-house movie? Between the two, the wide-release blockbuster is potentially more lucrative, but keep in mind there are only a handful of major studios who can green-light an expensive blockbuster script. Conversely, there are dozens if not hundreds of producers who may be able to scrape together enough money to finance a little character-driven indie film.

In either case you’ll be best served if your concept is really unique. Try to come up with a concept that can be explained in one or two sentences. Try your concept out on a few friends. When their eyes light up and they say, “Yeah…Yeah, I get it!! That sounds good!” chances are you’ve got a winner. And above all, make sure the Setup has a built in Conflict.

But what’s really unique? Well, you are. Often newer writers try to chase trends, try to write what’s hip at the moment. Earlier I mentioned the phrase, “Write what you know.” My own career took off like a rocket when I deigned to follow that sage advice. So why not write something about the world you know? Something unique to you, to your past. I think the reason most writers avoid doing so is that they don’t think their own lives are particularly interesting. But take a look at all your experiences, the world you grew up in, the places you’ve seen, the things you’ve done. You have your own history, your own unique insight into the world. Explore it. Explore yourself.

It really is that simple. Dig deep, learn the craft, and set your sights on the one thing that’s really important–becoming a better writer. Concentrate on that single goal and forget about the all the rest. And if you’re successful, who knows? You just might win a Nicholl without even trying.

Reprinted from the Scriptwriter’s Network Newsletter, Fall 2005. For more script writing tips, or to read TJ’s Nicholl Fellowship winning script, visit www.writingisrewriting.com.

TJ LYNCH can be seen as part of the Storylink All-Stars day of Free Classes, teaching his class “A Nicholl for Your Thoughts.”

June 23 & 24, 2007
Sheraton Hotel at Universal Studios
Los Angeles, California

Visit www.pitchfest.com for details

Why is it important to go to The Great American Pitchfest?
Signe Olynyk put together the Pitchfest in the spirit of a need she saw on the part of creative individuals in search of their place in the film community. Pitchfest is an opportunity for new writers to interface with those who are looking for content. Signe’s desire is to be sincere help and to create a meeting ground for buyers and sellers of great content to find each other for the benefit of mutual fruition of good works. She’s done a splendid job. Come join us.

What does Hollywood want?
If you’re asking this question you’re not going to be happy in your relationship to Hollywood. Give what you have that is yours to give, not what you think someone else wants from you.

What genre is most likely to sell?
The genre that sells for you is the one you’re best at writing. If you’re really good at comedy you don’t need to force a thriller out of yourself.

Should a writer write from their heart or for the market?
You will always write from your heart – that’s just natural. You may fight that, thinking you are writing for the market but that’s still you being you – the movie will be about a hero who fights himself until he learns not to do that anymore and just go directly to his winning heart. What will be your greatest success is what is the universal truth that comes bounding out of you. If you think you’re writing for the market the market is already obsolete. What you see on the screen this year was years in the making.

PS. You’ll know you’re in the zone when you’re told ‘it can’t be done’ and ‘you’re crazy’ this is because you are creating the market and you’re doing it with your heart.

Pitch your session. Why should writers attend yours?
Regarding my session “How To Be Heard in Hollywood” – I like to let everyone who’s coming to Pitchfest get together one night in my dreams and let me hear their collective prayer about what they need. This year I hear the call of the participants who long to be seen and heard. So come to our session, together we’ll talk about what it really takes behind-the-seen and at the bottom of your heart to stand and deliver and be understood.

How can a Private Consultation help me?
Your story is completely unique to you. In a private consultation we sort out your personal reason why this story belongs to you as the one and only authority to tell it. You get the exact through line for your life; you get it clearly for your hero as well. So, not only can you pitch it; you can exude it.

They say it’s who you know. I don’t know anybody. Any advice?
It’s not who you know, it’s how you know who you know. Success in any area is your ability and ease in making connection to others. Actually your greatest success in Hollywood has to do with how you cultivate support and inspiration from your closest loved ones. Create a team around you and just keep expanding that team to include Heads of Studios, producers, the midnight pizza delivery guy. Think of it as equal opportunity friendships – all supporting and supplying one another.

Enjoy people and let them enjoy you and magic happens.

Any other advice?
Congratulations on answering the call inside you to dare to have a go at your dream. See you at the Pitchfest. Watch what happens. Welcome.

The following is an excerpt from
How to Write a Movie in 21 Days – The Inner Movie Method by Viki King (HarperCollins)

This excerpt is taken from the section on
How To Stop Getting Ready and Start

Transition: from “Getting Ready” to “Go”

Imagine you’re on a talk show to plug your movie. You have three minutes to tell us what it’s about.

Write for three minutes: “My movie is about…”
++++++++++++++++++++++++++

Great!!

Also on this talk show we’re going to get to see a one-minute clip from your movie. Choose a one-minute clip now. Set it up for us in a few sentences. Explain where it appears in the context of the movie. Now run the one-minute clip on your inner projector.

Welcome to Hollywood. You have just created an entire promotional campaign for a movie that you’re going to start writing tomorrow.

VIKI KING has an uncanny clairvoyance about your story and why you are telling it. She is author of the industry standard book “How To Write a Movie in 21 Days – The Inner Movie Method” and is a leading force of nature in the Hollywood community working from development to launching of dozens of films. She is consultant to a wide clientele of prominent Entertainment figures regarding their film work and humanitarian actions. She can be reached for private consultation at www.vikiking.com.

Why is it important to go to The Great American Pitchfest?
The Great American Pitchfest is the most organized & finely-tuned event of its kind that I’ve attended. It’s writer-friendly, enabling you to network, meet other writers, and make the contacts that could help you to bring your screenwriting career to another level. This Pitchfest has the best ratio of contacts to writers — for every six attendees, The Great American Pitchfest adds another producer, exec, agent or entertainment attorney or manager to their roster! In addition, they have free classes & panels to tell you how it’s done. And if that weren’t enough, The Great American Pitchfest has private consultations where you can practice in front of an industry professional who can give you feedback on improving your pitch before you meet the producers and agents.

How does a writer succeed if they don’t live in LA?
If you’re a writer who lives outside of the LA area, it’s important to invest in yourself & your career. Hollywood can’t always come to your hometown or your country — by investing in your career, I mean by attending screenwriting conferences, pitchfests & entering script competitions where you can introduce yourself & your work to decision-makers. Also, with the internet, you may want to gather pertinent information on the industry through websites, blogs and in screenwriting chat rooms. And don’t forget that no matter where you live, you can take on-line classes from industry professionals, i.e., Writers University.

What kind of spec should I write? TV or film?
It’s totally up to you. What kind of ideas do you have? Ideas for TV series or ideas for films? If you have ideas for both arenas, then you’ll need to have writing samples for both, which means a proposal for a TV series, some episodic writing samples for popular TV series on the air, and/or a script for a full-length film (either live action or animation). Also, please be advised that producers and agents are always more impressed if you have more than one script or sample…after all, they want writers who are prolific and are interested in a career and are not a one-script wonder!

How can a private consultation help me?
By nature writers pretty much keep to themselves and aren’t always used to “putting themselves out there”. But how else will Hollywood know about you and your projects? Private consultations give you the opportunity to practice your pitch and get immediate suggestions/feedback from an industry professional who can help you to make the most of your pitching opportunities…all in private! In addition, if you have other questions which may not have been covered in the panels or workshops, you’re always welcome to ask your questions during the private consultations…by the way, I firmly believe that there is no such thing as a stupid question — just people who are afraid of asking questions! So consider a private consultation to practice and fine-tune your pitch and to get some of your questions answered! If you’re wondering if it’s worth the extra money, just remember that The Great American Pitchfest has the most reasonable rates around for private 30 minute consultations!

They say it’s who you know. I don’t know anyone. Any advice?
You may not know anyone when you initially enter The Great American Pitchfest, but I guarantee you’ll know a lot of other writers and will have made contacts and picked up an enormous amount of information by the time you leave 3 days later! By the way, be sure and network with other writers — the best advice I can give you is to not look at other writers as competition, but as allies! Ask each other questions; ask for advice — Do you know anything about this producer? Who would be a good agent for my animation project? Would you mind letting me practice my logline on you? (of course, offer to reciprocate!)

With over 25 years in the industry, KATHIE FONG YONEDA has worked at Paramount, Columbia, MGM, Universal, Fox, and Disney, specializing in analysis and development of live action and animated projects. Her career includes executive posts with Disney, Touchstone, Island Pictures and Disney TV Animation. Kathie is also an international seminar leader and script consultant. She penned The Script-Selling Game: A Hollywood Insider’s Look At Getting Your Script Sold and Produced and is a principal in TalkStory Productions, which co-produces the cable series Beyond the Break.

As the old saying goes, in Hollywood, it’s not what you know, it’s who you know. At StoryLink, we believe it’s both who you know and what you know, so we’ve made it our mission to provide the resources and the professional networking opportunities that help you live out your silver screen dreams now.

A free membership with StoryLink gives you access to a whole new world of artistic involvement. Use StoryLink to:

• Soak up knowledge from the informative articles and educational lectures by our ever-expanding roster of industry insiders.
• Stay in the loop with StoryLink’s up-to-the-minute events calendar featuring workshops, seminars, retreats and lectures.
• Start invaluable connections and build strategic alliances that will be the launching pad for your creative career.

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June 4-5, 2011 Marriott Burbank Hotel & Convention Center