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Screenwriting Contests Author: Jul 09

Screenwriting Contests

by Michele Wallerstein

Okay, you finished the world’s greatest screenplay.  You’ve sweated out the hours and hours of work.  You’ve managed to get through the days of self-doubt.  You might even have managed to stay married through it all.  Here it is, that great masterpiece, staring you in the face.  You say to yourself: “What do I do now?”

The answers come to you in droves.  There are agents, managers, producers, studio executives, lawyers and consultants that might see your genius and want to buy your script, sign you to contract and/or at least refer you to a powerful friend.  If only you knew who they were and how to get to them.  There’s the rub.  Then, there’s that little voice either in your head or whispered by a friend or screaming at you from the myriad of internet blogs and sites.  It says:  “ENTER THE SCRIPT IN A CONTEST!”  Well that sounds like a very good idea.  It is a good idea if you know exactly what to do if you win, place or even show in that contest.

Winning a script competition is a great feeling and it often comes with a few dollars as a prize.  It might even show some of your friends and relatives that you actually do have some talent.  All of this is fine, but what does it do insofar as your professional career is concerned?

Unless you take the next steps, entering and even winning contests doesn’t do a thing for you.  The steps begin with your showing up at the film festival, event, seminar, etc., that has sponsored your contest.  You must be there to receive your award or prize and to be seen by the people in attendance.  Next, you must connect with everyone who is a professional in Hollywood who attends that event.  Do your networking in a powerful and positive way with these people.  You are someone that they need to know because you’ve won or placed in the contest and because you have a terrific and marketable screenplay that they should read.

Make sure that you have the basic information on all of those professional Hollywood people.  Get their names, addresses, emails, phone numbers and their exact titles as well as the names of the companies for whom they work.  After that you must make sure they have your business card or at least a piece of paper with your name, address, email and a reminder note that you are a writer that they met at the “such & such” event.

Now you are home and the real work begins.  Follow up with those people and remind them that you met and that you were in the contest.  Ask if you can send the screenplay or any other original screenplay that you have.

The next step to using a contest positively in your life is to write query letters to other agents, managers and producers or development executives wherein you mention one or two of the contests that you’ve won or placed in.  Never mention more than a couple of contests.  These people want information delivered to them quickly and precisely. They are not interested in a list of you accomplishments.

If you continue to enter many, many contests without following the above, you will be wasting a tremendous amount of your valuable time and energy.  Use that time and that energy to write another screenplay, or rewrite the ones you have.

A contest is merely an end to a means for getting your foot in that Hollywood door.  Use it wisely.

Michele Wallerstein is a Screenplay & Novel & Career Consultant and author of “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career“.

Email: novelconsult@yahoo.com
Web site: www.novelconsultant.com

Copyright 2009 Michele Wallerstein. Not be used without written permission from Author.

Category: Contests, Industry Advice, Michele Wallerstein  | 2 Comments
Q & A with Michele Wallerstein Author: Jun 11

Do you have a question that you’d like to have answered by a longtime Hollywood literary agent? Send it in!

questions@scriptwrecked.com

Question:

One day I hope to study film and become a screenwriter/director. I don’t know much about the film industry quite yet, so that’s why I plan on getting into a good film program in college. I have only one concern: How do filmmakers such as producers, screenwriters, and directors make money from their films? How do independent filmmakers make money?

Answer:

The basic answer to this question is that Screenwriters, Directors and Producers have agents who negotiate their deals with the movie Studio and/or production companies who finance the film.  Writers, Directors and Producers often receive money during the development phase of the project and usually receive a large bonus if the movie gets produced.

The amounts of these payments are tied in to the budget of the film.  The bigger the budget, the bigger the pay day.  There are many more deal points that can be negotiated by the agents.

For example the artist may receive a percentage of the profits, they may be paid if the movie becomes a TV series and if there are games and toys produced based on the film, etc.

Independent filmmakers usually only make money if they are lucky enough to secure distribution by a major distribution company and/or sell their picture to a studio.

Michele Wallerstein is a Screenplay & Novel & Career Consultant and author of “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career“.

Web site: www.novelconsultant.com

Category: Industry Advice, Michele Wallerstein  | Leave a Comment
How To Present Yourself Author: Jun 05

How To Present Yourself

by Michele Wallerstein

Certainly we all think that this is simple enough. We simply show up. Are there right and wrong ways to present yourself? You bet. But you think that you are cool, hip, with it. You think you dress just fine and in an acceptable manner, especially since this is show biz. You are a “creative type,” so most value systems don’t count for you. You are an artist and can do things your own way. NOT!

You may be a writer, but you are looking for a writing career. The career part is what you may be playing fast and loose with by way of your self presentation. Remember grammar school? Neatness still counts and so do a lot of other things that may have slipped your mind.

Here are ten dos and don’ts to you, from me, based on my years as a Literary Agent, Personal Manager, Screenplay and Novel Consultant and Guest Speaker.

1. DRESSING WELL: You have a meeting at a studio or production company, or you have signed up for a “pitch” session. You are going to hear a speaker at a writer’s seminar or to meet with a possible agent or manager. It’s jeans, right? OK, but what about the T-shirt? Wrong. What about shorts, baggy or otherwise? Wrong. What about high heels and a tiny, tiny skirt? Wrong. First of all everything needs to be clean. That includes your shoes, pants, tops, hair, skin and fingernails. The jeans are fine if worn with a sport shirt (preferably with long sleeves, rolled up) or a collared knit shirt. Women, the same thing vis a vis the jeans and a nice blouse or shirt. The people you are meeting will notice if you are a mess or unkempt. You want them to notice your work and ideas, not your dirty fingernails or great legs.

2. ARRIVALS: If you are on time, then, you are late. Get to your meeting place a little early. Remember you have to find a parking place, find the right office or building, get a table at the restaurant, and most importantly, you do not want to keep your meeting waiting. If you are ten minutes late they will hate you, if you are fifteen minutes late they will probably not see you.

3. DEPARTURES: This one is hard to quantify but I’ll try. Don’t overstay your welcome. Be sensitive to body language, roving eyes, clockchecking and taking calls. These are sure signs that the meeting is over. Once you’ve pitched your project or yourself and heard what the other guy has to say, the meeting is over. Most meetings don’t go over 30 to 45 minutes. These people are very, very busy.

4. TALKING: Not as easy as it seems. Aside from pitching your project, you must do some P.R. on yourself. That means sharing. Not a dirty word, guys. If you don’t talk a little about yourself, they will never remember you. Share a bit about your life. Try to get the person interested in you.

5. LISTENING: I’ve represented more than one compulsive talker in my life and they rarely got the job. If you talk too much, you’ll be out on your ass and never seen again. Listen to what is being said by others. Ask questions, show interest.

6. ENTHUSIASM: Above all, be enthusiastic. No drooping face, foot shuffling or moody attitudes. If you are terribly shy, get over it, you’re an adult, act like it. Firm handshake, eye-to-eye contact and a big smile are all required. Show that you’re happy to be there and they will react in kind.

7. HAVE THE GOODS: If you are pitching a project, you better have the finished script. It’s even better if you have one with you in your case. Don’t waste people’s time pitching an idea if you are a new writer and don’t have the pages to back it up. It’s OK for the pros, not for you.

8. THE WRITTEN WORD: Show the same respect for your written work that you show for your wardrobe. NO TYPOS. NO GRAMMATICAL ERRORS. Take the time and make the effort to see that your script is perfect. As a matter of fact this applies to all of your writing, even if it’s an email, letter, invitation, etc. Maybe you need to have it read by someone else, preferably someone very smart. Make sure your screenplay has a cover page with the script title, your name and your contact number and/or email. The pages must be numbered, and use the thick brads with washers.

9. FOLLOW UP: Send a thank you note or email. Don’t call unless that was agreed upon for a reason. Keep the note simple and direct.

10. RESPECT: Don’t take crap from anyone except the head of a major studio. If your meeting keeps you waiting for over 30 minutes, politely tell the assistant that you have another appointment and must leave. If they continue to take long phone calls during your meeting, stand up and say that this must not be a good time and that you will call for another appointment. Then leave. If you don’t show respect for yourself they won’t either. If you do show self-respect, they certainly will remember you.

Michele Wallerstein is a Screenplay & Novel & Career Consultant and author of “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career“.

Email: novelconsult@yahoo.com
Web site: www.novelconsultant.com

Copyright 2009 Michele Wallerstein. Not be used without written permission from Author.

Category: Industry Advice, Michele Wallerstein  | 2 Comments
Finding The Truth About Your Work Author: May 21

Finding The Truth About Your Work – Good, Bad Or Indifferent

by Michele Wallerstein

OK, let’s say you’ve come this far as a writer:  you’ve written one or two original screenplays or a novel or one or two TV movies or spec episodes.  Now comes the scary part.  Are they any good?  Are you any good?  Are you the best or the worst anyone has ever seen?  Sure your family thinks you are either a genius or wasting your time.  What’s the truth and how do you find out.

Let me share some information with you that will help.  I’m sure you’ve already heard that the opinions of family and friends don’t really count.  By the way that includes any professional writers who happen to be friends or relatives.  The emotional baggage here is always in the way.  Next step you take is to present it in its entirety to your writers group.  “Ahhh,” you say to yourself, “Now I’ll get the truth.”  Not so fast.  The people in your writers groups have their own agendas.  These agendas may be conscious or unconscious, but they are there. Do these people really want you to succeed before they do?  Do they want you to be a better writer than they are?  Do they have the skills to really know???  The answers to these questions are most often NO.  The reason they are in these groups is to learn and to connect with other wannabe writers.  They aren’t pros.

That’s your answer.  Find a pro.  They are easy to find but you must fully “vet” them before you proceed.  Professional writing consultants come in all shapes and sizes.  Their fees vary widely as do their professional expertise and backgrounds.

You also must know exactly what you want them to do for you.  I’ve seen many websites where writer’s consultants offer “coverage” of your script.  Why, in heaven’s name, would you need coverage?  Coverage means that they will tell you your story.  You probably already know it.

You will also need to see that your material is in the proper format, has no grammatical errors, nor spelling errors.  No self respecting writer presents a flawed piece of work to anyone.

When you start looking for a good consultant, make sure that you thoroughly read their websites and that those websites give you all the information that you want.  You should also have a phone conversation with the finalists on your list.  See what they have to say about their work.  A good consultant has had lots of experience in your particular genre.  Perhaps they have worked previously as a development executive, editor, professional writer, agent, or producer.  These are all good things.  They show a history in the business and an interest in it.  Make sure that they have not just started consulting after spending 3 months at their previous work.  Get someone who knows their stuff.  You deserve it.

A consultant can do the following for you:

  1. They can tell you what is working in your material and what is not.
  2. They can advise you on how to fix the problems.
  3. They can give you their opinion as to whether the material is hot or possible cold in today’s market.
  4. They can help you learn more about the craft or writing vis a vis characters, plot, dialogue, story, etc.
  5. They can give you a fair and professional evaluation of your work.

A consultant can not do the following for you:

  1. They can not rewrite the script for you.
  2. They can not promise your script will sell.
  3. They can not tell if you have no talent. (explanation to follow)

Talent is a very ephemeral thing.  It’s not that it is simply subjective.  The ability to become a good writer can be learned.  It is a long and arduous task but there are lots of ways to do it.  When you are first starting out as a writer your work will not be wonderful.  At best it will be OK.  You must continue to practice the craft, learn from others and take good advice.

Sometimes writers choose the wrong genre.  They write novels when they should be writing screenplays.  They might want to write comedy but are better at drama.  There are so many choices to make.  When you start out you should put your toe into all different modes of writing to see what fits for you. Any consultant who tells you that you have no talents is out of line.  They can tell you that your piece needs a lot of work, or that you need to takes some writing classes, but they can not possibly know that your talent will or won’t blossom at some later date.

Getting the good advice from a consultant is half the battle.  Now it is up to you to follow that advice and improve your work.  Rewrite it until it shines and the consultant feels that it is really good.  Don’t get defensive when given notes on how to fix your material.  Listen with an open mind and heart.  Consultants want you to be good and they want you to be successful.  We have no other agenda.  If the first consultant you work with doesn’t feel right to you, than find another one.  You are lucky to be able to get this help.

Michele Wallerstein is a Screenplay & Novel & Career Consultant and author of “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career“.

Web site: www.novelconsultant.com

Copyright 2009 Michele Wallerstein. Not be used without written permission from Author.

Category: Michele Wallerstein  | One Comment
Q & A with Michele Wallerstein Author: Apr 23

Do you have a question that you’d like to have answered by a longtime Hollywood literary agent next Friday? Send it in!

questions@scriptwrecked.com

Question: (Anonymous)

Why is my contest-winning script about an interesting but relatively obscure figure involved in the French Revolution not considered a “Hollywood spec screenplay”?

Answer: (Michele Wallerstein)

The people who judge contests are not usually in the business of making films in Hollywood. The judges are often friends of the people who are putting on the contest or semi-pros. The movers and shakers in Hollywood don’t have the time and they certainly don’t have the interest in reading the scripts of unknown writers. Sorry to say but script contests have nothing to do with selling screenplays.

An “obscure figure” of no historical importance seems unlikely to excite a buyer. It is even more difficult to sell a period piece set in the French Revolution. There is no innate interest in these things in general so the screenplay must be very, very good and very, very compelling insofar as the hero and story are concerned.

Michele Wallerstein is a Screenplay & Novel & Career Consultant and author of MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career.

Web site: www.novelconsultant.com

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Category: Contests, Industry Advice, Michele Wallerstein  | Leave a Comment
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