Script Notes by Chad Gervich

Pilot-writing Seminar next Tuesday!

2009-11-02T19:31:41.84-05:00

Hey, everyone--

Thanks so much to all of you who came to last week's Final Draft/Script magazine and Writers Boot Camp panel, "Getting into the Writers Room." It was a terrific evening, and it was great seeing some of you there!

Wanted to let you all know about another great opportunity...

Next Tuesday, Nov. 10, I'm teaching "Writing the TV Pilot," a 3-hour seminar for Mediabistro, here in Los Angeles.

If you've got an idea for the next "True Blood" or "Modern Family"... or if you're toying with various ideas and trying to decide which to write... or even if you just want to get your creative TV juices flowing... this is a great three hours. We'll cover the creative mechanics of what makes successful pilots work... how pilots and series are developed and produced... how projects are pitched and sold... and how to get to the right people so you can get your idea on the air!

Anyway, if you're interested, click HERE to sign up or get more information... or just go to this link...

http://www.mediabistro.com/courses/cache/crs5219.asp

Hope to see you all there!

P.S. Also, in a shameless moment of self-promotional excitement, I just wanna tell you guys about some cool updates...

My book, Small Screen, Big Picture: A Writer's Guide to the TV Business, was recently selected as a "textbook" for both NBC's Writers on the Verge program, as well as NAPTE's Diversity Fellowship. And as of this morning, it hit some new all-time highs on Amazon's bestseller list...

#2 - Performing Arts career guides
#3 - TV/Screenwriting books
#86 - Writing reference books (I know this isn't super-high, but it's the first time it's ever cracked this particular list!)

Thanks to all of you for your support-- just wanted to let you know!

READER QUESTION: Are screenwriting contests a waste of time?

2009-10-28T19:14:49.0039784-04:00

Thanks to Elaine Luddy Kionicki for today's question, which she asked in response to Sunday's post about Scriptapalooza. Elaine writes:

Hey Chad. Most screenwriting books say that contests are a waste of time and money, and you've said in a previous post that contests rarely pay off, but it sounds like you're endorsing this one. Is Scriptapalooza one of the exceptions? Either way, thanks for the info.

That's a good question, Elaine, and to be honest, I don't think most screenwriting contests are a great way to start a career. Rarely-- and I mean rarely-- have I ever heard of someone winning a screenwriting contest that launches them as a working Hollywood screenwriter.

Many contests, including Scriptapalooza, love to advertise how many scripts they've gotten in front of execs or agents or producers... and maybe they have. But where are those screenwriters now? Are they selling movies? Writing on assignment? It's not hard for someone running a screenwriting contest to call some friends at production companies, agencies, studios, or wherever and ask a favor-- "Hey, we're doing a screenwriting contest... we'd love to have you read the top five winners. Would you do that?" It doesn't mean the exec will meet with the writers... it doesn't mean they'll produce the scripts... hell, it doesn't even mean they'll finish the script. So as with all things in Hollywood, talk-- especially from screenwriting contests-- is cheap.

Having said that-- I don't think contests are necessarily value-less. At the very least, winning something means somebody liked your writing! And in a world where, as a writer, 99% of what you'll hear is rejection-- even when you're an A-list screenwriter-- that validation is nice.

And maybe you'll be the exception, like Michael Martin, who wins a contest and DOES launch a career.

I just think that if you're going to enter a contest, you should be aware of what contests do/don't do for your career... and temper your expectations (and motivations for applying) accordingly.

Also, there are very few contests that I'll actually post up here-- because I usually DON'T think they're worth their salt-- and Scriptapalooza is one of the few reputable ones that Hollywood people know about. It doesn't mean agents/producers/execs necessarily give it a lot thought or credence; the truth is-- I don't know a single agent, producer, manager, or exec who pays a lot of attention to ANY screenwriting contest. But at least Scriptapalooza isn't "Joe's Screenwriting Competition;" it's an established, known entity, so I feel comfortable putting it up here for those who want to apply.

I would never post up here any info on a random screenwriting contest which didn't have any history, reputation, etc.

So do I think screenwriting contests carry a lot of professional weight? Not really. Are they "a waste of time?" Not if you understand their true value, and you're comfortable with your own reasons and expectations when applying. And if you're going to apply, apply to the reputable ones-- Scriptapalooza, the Nicholls, etc.

Scriptapalooza deadlines approaching

2009-10-25T15:39:45.133334-04:00

Hey, screenwriters--

Got an email from the folks at the Scriptapalooza screenwriting contest, which opens for submissions in a couple months, so just wanted to pass along the info! Here ya go...

Scriptapalooza is now accepting submissions of screenplays for its twelfth
annual screenwriting competition.

Every script that is entered into Scriptapalooza is read by a manager, agent
or producer at 90 participating companies including Disney, Miramax, Big
Light, and Bender-Spink, among others.

Scriptapalooza has grown to be one of the most recognized
screenwriting competitions with over 30 scripts optioned, two Emmy winners
and is as the only screenwriting competition endorsed by the WGA.

What sets Scriptapalooza apart is that it offers what even the largest grand
prize could never buy: a guarantee that an “unsolicited” script will be read
by leading industry decision-makers. In many cases, the Scriptapalooza
scripts are even bought outright by enthusiastic production companies.

The first place winner, chosen by Scriptapalooza, receives a $10,000 grand
prize. In addition, the Scriptapalooza staff will promote the semifinalists
and finalists for a full year after the winners are announced.

Deadlines are as follows:
• “early bird” deadline is January 5, 2010 (application fee $40)
• regular deadline is March 5, 2010 (application fee $50)
• final deadline is April 15, 2010 (application fee $55)

For more information, click HERE, or visit www.scripatapalooza.com.

Good luck!

Get into the TV Writing Room... for FREE!

2009-10-20T15:10:58.706394-04:00

Hey, folks--

Just wanted to invite you all to a great event next Monday, October 26...

Final Draft software, "Script" magazine, and Writers Boot Camp are hosting a series of FREE writing panels designed to help film and TV writers navigate Hollywood... and I'll be speaking on next week's TV panel, "Getting Into the Writers Room."

I'll be joined by four other AMAZING panelists...

• Rich Hatem (writer/producer: The Dead Zone, Mothman Prophecies, Supernatural)
• Jen Grisanti (former Spelling exec, now running Jen Grisanti Consultancy)
• Carole Kirschner (former VP at Amblin Entertainment and CBS, now running the WGA Showrunners Program and CBS Writers Mentoring Program)
• Cary Okmin (head of Disney Online)

Here's some more info...

GETTING IN THE WRITERS ROOM
Writing for television is challenging, and even more so now that shrinking budgets mean shrinking writing staffs and salaries. Learn from working television writers what the inroads to the writers room are today, and how you can find success in the changing television landscape.

Date: Monday, 10/26/2009
Time: 7:30 - 9:30
Location: Writers Boot Camp Headquarters, Bergamot Station Bldg. I, 2525 Michigan Ave, Santa Monica, 90404

Click HERE for more info and to RSVP!

It should be an incredible, informative evening (and it's FREE!), so I hope to see you all there!

Chuck's question: Am I wasting my time if I don't live in L.A.?

2009-10-18T20:20:05.319-04:00

Hey, folks—

Today’s question comes from Chuck, who writes…

"I am writing some spec screenplays, and a pilot. But let's face it - I will never move to LA. Meetings - yes. Move - no. Am I wasting my time? I've met managers who have said "Send me something when you have something worth sending." I could probably get a rep, but, Chad, I will NEVER move there. Can a guy make any money or sell anything without being there? (Maybe this is a good question for your blog, should it continue under your stewardship.)

"Furthermore, if your answer is essentially NO, would it be wise to get some sort of partner out there (that I know and trust) that could play "pitchman" to my "writer?” Ever heard of any partnerships like that?"

First of all, Chuck, thanks for the questions. These are interesting—and not uncommon—concerns. So let’s dive in…

1) DO YOU NEED TO MOVE TO L.A. TO MAKE IT AS A SCREENWRITER?

The cold, hard, blunt truth is: yes.

But let’s talk about this…

L.A. is, obviously, the center of the American entertainment industry. Sure, TV and films are made in other cities—New York, Chicago, Atlanta—but the heart and soul of the U.S. industry is one city… Los Angeles. And in order to be part of that, you need to be here. Not because there’s something magical about the geography or location, but because this is a BUSINESS, and—as a business—you need to be able to navigate it. You need to understand its rules, its pathways, its processes… and, most importantly, you need to be able to meet and network with other players in the industry. Like most industries, Hollywood is based as much on contacts and relationships as it is on skill, talent, and ability… and if you can’t be constantly meeting, forming, and maintaining relationships, it’s very difficult to progress or excel.

Sure, you can read books, take classes, come out for meetings, attend seminars and conferences… and all of these things will help educate you. You’ll become smarter, your writing will improve, you’ll gain a better understanding of the arts, crafts, and business of Hollywood. But knowledge alone is not enough to power a career; you need on-the-ground experience, contacts and relationships, and the ability to actually participate in the industry.

An aspiring marine biologist can go to school in Omaha or Kansas City or Las Vegas, where they may be the best student in their class and a brilliant scientist. But unless they move to a coast, they’ll probably never fulfill their true marine biologist potential, no matter how brilliant they are. They can certainly make a living as an amazing teacher. Or apply their knowledge to similar areas, like environmental planning. But they’ll probably never be a leading marine biologist, because marine biologists can only work in one place: at the ocean.

Hollywood, for better or worse, is the same way. Now, fortunately, Hollywood may not ALWAYS be that way… and some of the old rules are changing… but for now, L.A. remains the place to be. But more on that in a second…

2) would it be wise to get some sort of partner out there (that I know and trust) that could play "pitchman" to my "writer?”

What you’re basically talking about is an agent or manager—someone who appreciates your writing, understands your creative voice and vision, likes and “gets” you personally, and represents you well in the phone or meetings. …Which, again, is basically an agent or manager.

So, I guess if you want and find a respectable agent/manager with the ambition, ability, and muscle to sell your stuff—sure, go for it. I DO know that many agents and managers are hesitant to signing out-of-towners, for all the reasons discussed above. Someone may be an outstanding writer, but if they don’t live here—if they’re not able to go on meetings, build their own relationships, help pound the pavement—it’s VERY tough, even for the world’s greatest agent, to sell their scripts and get them work.

(A friend of mine, who’s a pretty successful screenwriter and director, always says he knows he can never expect his agents to work harder are care more about his career than he does… and this is good advice. He also works pretty non-stop, and he once told me that he gets most of his assignments and sales on his own… then his agent helps facilitate the deal.)

Now, if you’re NOT talking about an agent or manager… if you’re talking about a more creative partner… well—I can’t say I’ve ever heard of a creative/writing partner whose sole job is pitching. Maybe it could work, but it seems odd to me.

If you write a script that starts getting meetings and attention, execs and producers will want to meet with the writer who created the script. They’re not going to want to meet with your proxy; they want to get a sense of the person behind the words. What’s he like? Is he funny and personable? Dark and quiet? Where did he grow up? Who are his influences? Is he a fun person to work with? A total boor?

They’ll also want to ask questions about your writing and this script itself. Where’d you get the idea? What’s your process like? What storytelling areas interest you?

A proxy can’t answer these questions. Or rather, they could—to a certain extent—but then they might as well be an agent or manager. (Not to mention, you’ll never find a proxy, a pitchman—including an agent or manager—who advocates or talks about your material more passionately than you do. After all, that’s why you wrote it! …You had a burning desire to tell this story! A desire that burned more eagerly in you than in anyone else… because you’re the one who wrote it! So how could anyone talk more expressively about it than you?!)

Lastly, and perhaps most importantly…

3) AM I WASTING MY TIME?

You love writing, right? It’s your release, your passion, your pleasure? Presumably, that’s why you started writing screenplays and pilots in the first place. Because you were BURNING to do it. You had stories and characters trying to claw their way out of you. So why would you give that up?! Because you might not “sell” something? So what? Van Gogh NEVER sold anything… but he painted because he was driven to.

So… if it’s what you love… and it brings you joy… then I don’t see how it could be a waste of time.

You may never become Tom Kapinos or Greg Daniels, but so what? At the VERY least, you’ll become a better writer, a better storyteller, and gain a deeper appreciation for art… and you’ll have a blast doing it. How is that a waste of time?

(Now, if you DON'T have a blast doing it... if you hate writing or only want to make a sale... then you have to ask yourself some different questions. But since you took the time to write me, I'm assuming your fueled by a bottomless tank of passion, stories, and something exciting to say about the world!)

Having said that, I understand the desire to sell something, to see your work come to fruition… especially in the world of screenwriting, where scripts aren’t finished products, they’re blueprints for something else—a finished movie or TV show. And while I maintain that it’s nearly impossible to succeed outside of L.A., the world IS changing… and the “old rules” are being broken every day. It’s still tough to be an exception to those rules, to be an anomaly, but it happens.

Like I mentioned before, many cities are stepping up their film and TV productions. If you lived in Atlanta, for instance, I’d suggest trying to get in with Turner or Tyler Perry, who’s not only a writer and director, but a full-fledged mogul and producer. No matter where you live, you could also write a low-budget indie film and find investors to finance it (most film producers will even tell you it’s easier to find indie funding OUTSIDE of Hollywood). Or find a way to pitch your show to a local TV station or affiliate. Put up a play. Enter contests. (FYI—I don’t think contests are usually a “traditional” road into Hollywood; they rarely pay off. Then again—they paid off hugely for screenwriter Michael Martin, a Pennsylvania toll booth worker who won a screenwriting contest and recently had his movie, “Brooklyn’s Finest,” premiere at Sundance with Ethan Hawke and Richard Gere.)

The Internet is also opening doors. This doesn’t mean Hollywood is simply offering three-picture deals and overalls to anyone who makes a YouTube video, but people HAVE found success by making top-notch web videos that manage to find an audience. (Barats & Bereta, Secret Girlfriend, Pink, Lonelygirl15, etc.) So get a video camera, some friends, and MAKE SOMETHING. Shoot a sketch or short. If it doesn’t work, you’ll learn what went wrong and make it better the next time. And the next time. And the next time. And the next time.

Anyway, Chuck… I hope this helps. Thanks again for your question… keep reading… and more importantly—KEEP WRITING!

Oh, and lastly-- here are some other posts I've written to similar questions... you may find some helpful info in here...

What is a stay-at-home mom's best TV career path... if she lives outside L.A.?

How Do Recent College Graduates Break In To Hollywood?

Are there any good TV-writing contests?

Is It Possible to Get a Job in L.A. if I Live Out of Town?

If I don't live in L.A., how should I sell my reality idea?

Is It Possible to Balance Single Parenthood and a Writing Career?

CREATING POTENT VILLAINS - David's Pitch Workshop

2009-10-14T11:38:01.535-04:00

Hey, folks--

A few weeks ago, loyal reader David submitted to the Pitch Workshop a synopsis for his hacker thriller, Hacktivism. So first of all, thanks to David for submitting... and thanks to all of you who responded with comments and constructive criticism.

For those of you missed it, here's the synopsis, followed by my notes. And feel free to post more of your thoughts in the comment section below...

Working Title: Hacktivism

Genre: Thriller

Logline: An honest young programmer loses his job and finds out his wife is pregnant in the same night - and must save his family by hacking the world bank for an egotistical madman.

Synopsis: When young programmer Jack unexpectedly loses his job, he dejectedly goes home to tell his wife Brooke - but stops short when she reveals news of her own: she's pregnant. Desperate to find work before the medical bills pile up, Jack takes the first job offer that comes his way, a position at an internet start-up headed by Bruce, an intense man with a passion to change the world.

But it quickly becomes apparent that all is not as it seems, as Jack's new job turns out to be hacking into banks, stealing from the rich to give to the poor. Meanwhile his relationship with Brooke is strained by lies, as he's unable to tell her of his new job - or risk ending up like Tom, a coworker who had befriended him but is now destitute and living in the slums thanks to Bruce's sense of 'justice.'

When Bruce asks Jack to hack the world bank, throwing the world into mass chaos leaving him to remake it as he pleases, Jack wants out. But with Bruce threatening him and his pregnant wife, and his relationship at home all but destroyed by lies, Jack must make a choice: save his life, or save his soul.

Well, first of all, David (and as snoozn pointed out)-- I think you're definitely playing in some fertile narrative territory, not only because computers and cyberspace are becoming more integral parts of everyone's lives, but because your tapping into issues-- corporate greed, bank power, unemployment, medical bills, etc.-- that are certainly topical hot buttons. And smart, savvy hacker movies-- when well done-- can be really fun and intriguing.

Having said that, there are 3 places where-- for me-- this is falling down a bit right now...

1) We're not entirely sure what makes Bruce evil and, therefore, a formidable foe for Jack. The first thing we learn about Bruce is that he has a "passion to change the world," which-- while vague-- sounds fairly admirable. In fact, he never seems to exhibit any behavior that's truly dangerous, despicable, or "villain-worthy." Sure, he's stealing money... but he's giving it to the poor. So while he's breaking a law, he actually has a respectable moral compass; we can't hate him any more than we would hate Robin Hood, and we recognize that they both answer to a higher, more righteous law.

(And by the way-- I love "righteous villains," bad guys who have understandable, pseudo-moral motivations... the fact that they have SOME type of twisted moral compass makes the human and relatable. So don't lose this. But we also need to see exactly how diabolical they are... and I'm not sure we get a good sense of this with Bruce.)

Now, we and Jack soon come to realize that Bruce has a much grander plan-- a plan that DOES seem more insidious-- but what is it? Sure, Bruce wants Jack to hack the world bank, throwing the planet into chaos so he can "remake it as he pleases," but what does that MEAN? Does Bruce envision a Utopian world where everyone is equal, living peacefully side-by-side, and all our basic cares (food, health care, etc.) are taken care of? Or does he envision a world where he is the sole leader, ruling with an iron fist, using cyberspace to watch and control everyone's every thought and moment? Either scenario-- or any other scenario you might have in mind-- would make us feel VERY differently about Bruce... and help us discern exactly how evil he is, how much danger Jack is in, etc. Without knowing this, however, it's tough to determine exactly how much trouble Jack is actually in.

2) Bruce doesn't seem very dangerous. This goes hand-in-hand with my note above, but rather than focusing on Bruce's big-picture plans, I want to look at the small actions Bruce does... which aren't much. In fact, I'm confused as to why Jack can't just leave. You say that Bruce keeps threatening Jack and his pregnant wife, but Bruce doesn't seem to have much real power. After all, Tom, the one guy who opposed Bruce before, simply got fired and is now "destitute." ...Which, frankly, doesn't seem like a very powerful or scary punishment coming from Bruce, someone who's supposedly an evil megalomaniac. I mean, Jack's "soul" is at stake here... and the worst Bruce does to people is leave then "destitute" when they leave? Not very dramatic. Tom, Jack's co-worker, should end up dead... or get publicly framed for some international terrorist plot, where he's shipped off to be tortured in a Middle Eastern prison... or wind up getting beheaded in some horrible snuff film. If we're here to believe that Bruce is a serious force to be reckoned with, we need to see how his wrath and power is EXTREME. His opponents won't be left "destitute," they'll be left completely destroyed in the worst possible way.

3) What does Jack DO? You end your synopsis by saying that "Jack wants out... [he] must make a choice: save his life, or save his soul." Well, first of all-- I'm not quite sure what this means. Does this mean that if he tries to do the moral think and save his soul-- I'm guessing by protecting his wife and baby-- he'll lose his life? So his only way out is suicide or sacrifice? Or does this mean that if he does the right thing and extricates/protects himself and his family, he'll lose all the material things he's acquired-- his house, his car, his nice suburban existence, etc.? What, in specific and tangible/material terms, is Jack's choice?

Perhaps more importantly, you've set up a nice battle between Jack and Bruce, but the real meat of the story, the true action and conflict, lies in how this battle plays out... how Jack will act as he tries to solve that final question, saving his life or soul. I.e., once Jack decides he wants out of Bruce's plan, what does he DO? Does he try to hack Bruce's personal computer to dig up dirt on Bruce? Does he warn the authorities? Does he try to murder Bruce himself? In HERE is where the real substance of your story lies. These are the moments after John McClane decides to free the hostages... after Carl and Russell decide to move the house to the falls... after Frodo determines he must continue to Mount Doom.

...Yet this is exactly where the synopsis ends! I'm not suggesting the synopsis needs much more in length, it just needs to give us-- and you, the storyteller-- a sense of where the STORY is going, how it plays out, what happens.

Anyway, I hope this is helpful. Thanks again for submitting... and keep reading!

Talk to you soon...

Chad

Colbert Nails Glenn Beck - BRILLIANT!

2009-10-09T18:04:02.445-04:00

Hey, guys--

Just had to post this clip from last night's Colbert Report-- it's not only hilarious, but it's one of the most powerful pieces of social/political satire I've seen in a long time. Dead-on, never-wavering, and pulls no punches... and Colbert's summation at the end is sheer genius. Love this... wonderfully written!

The Colbert Report

Mon - Thurs 11:30pm / 10:30c

Bend It Like Beck

www.colbertnation.com

Colbert Report Full Episodes

Political Humor

Michael Moore

Don Draper > Barack Obama?

2009-10-07T12:01:53.994-04:00

Is Don Draper (the main guy in Mad Men) more influential than Barack Obama, Steve Jobs, and Simon Cowell? According to 500,000 men who read AskMen.com-- YUP.

Check out this poll abput the 49 most influential men in the world... pretty interesting!

(And people say scripted programming is dying! Uh, apparently it's more influential than THE PRESIDENT.)

The State of Hollywood... from a Mogul

2009-09-30T20:01:49.463-04:00

Hey, folks-- check out Nikki Finke's post of former Fox Films CEO Bill Mechanic's (Coraline, The New World) keynote speech at yesterday's Independent Film & Television Production Conference. Great insight into the state of movies today...

Click HERE to read the speech...

Pitch Your TV Idea to Agents, Execs, and Producers... on Oct. 5!

2009-09-26T19:07:53.433-04:00

Hey, folks—

Just wanted to let you know, I’m hosting and moderating Mediabistro’s “Pitch Slam” next Monday, October 5… and for anyone working on an idea for the next “Royal Pains,” “30 Rock,” or “Kitchen Nightmares,” this is an incredible opportunity!

Here’s how it works: we bring in a panel of TV industry experts… you show up and pitch your idea to the panel… the panel gives you feedback on your pitching technique, your presentation, your idea, etc.

You also get to watch everyone else’s pitch—and they get to watch yours—so it’s a terrific way to learn about pitching, and what people respond to, even when you’re not in the hot seat.

It’s been a while since the last “Pitch Slam,” and we’ve got an incredible panel lined up… Jill Young, a creative executive at The Littlefield Company (former NBC president Warren Littlefield’s production company with ABC Studios); Alan Moore, an alternative/reality TV agent at APA; and BJ Ford, a TV literary manager/producer at Roar Entertainment, one of the hottest new management firms in Hollywood.

We’ll be doing pitches for all kind of TV: comedy, drama, reality, and everything in between. So if you’re interested, here’s the scoop… hope to see you there!

PERFECTING THE TV PITCH + PITCH SLAM

Pitch Your TV idea to Producers and Agents

So you have an idea for the next Mad Men or The Big Bang Theory? Do you want to be the new Larry David or Damon Lindelof? Do you think you're ready to run your own hard-boiled procedural or sexy soap? Well, before you can create the next great TV show, there's something you gotta do first. Pitch it!

In this pitch slam -- limited to 20 attendees -- you'll have the chance to pitch your TV idea to a panel of television's top agents, execs, and producers. Whether you're developing TV's next big comedy, drama, or reality show, this is your opportunity to bounce it off some of Hollywood's smartest, most influential buyers and sellers.

Everyone who signs up will get one chance to pitch their idea to our panel of guests, followed by a round of feedback. While we can't promise you'll sell something, we do promise you'll get top-notch, no-nonsense constructive criticism guaranteed to make your idea -- and your pitching skills -- better, stronger, and more sellable.

Panelists will include:

-- Alan Moore, alternative/reality TV agent, APA

-- Jill Young, creative executive, The Littlefield Company/ABC Studios (Keen Eddie, Love, Inc., Like Family, Do Over)

-- BJ Ford, manager/producer (TV Lit), Roar Entertainment

Click HERE for more information…

WHEN: Monday, October 5, 7-9 pm

WHERE: Los Angeles, CA (details to come upon sign-up)

COST: $65 ($50 for avantguild members)

TO SIGN UP: Call 212-547-7890 or click HERE

http://www.mediabistro.com/courses/cache/crs5146.asp