Script Notes by Chad Gervich - Jobs Contests Opportunities

READER QUESTION: Are screenwriting contests a waste of time?

Chad — Wed, 28 Oct 2009 23:14:49 GMT

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

Chad — Sun, 25 Oct 2009 19:39:45 GMT

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!

Congrats, C.C.-- A Pitch Workshop Success Story!!

Chad — Wed, 26 Aug 2009 02:45:16 GMT

Hey, all--

Just wanted to post a great email I recently received from C.C., a loyal reader who submitted the logline and synopsis for her TV idea to the Script Notes Pitch Workshop last December. Here's what CC writes...

Hi Chad,

A few months ago I submitted a synopsis for a show called "Sarah Weekly" to your pitch workshop. Well, i went ahead and wrote the pilot and now I'm a quarter finalist in my first screenwriting competition (the 2009 Page International Screenwriting Awards). Granted, i'm a far cry from being "the next big thing," but what it really represents in the first time something I've written has been read by people who are not blood relatives. so far, so good.

Anyway, i was hoping you'd post this email on your blog for two reasons:

1) I want to thank you and your readers for your feedback and support. It's greatly appreciated, and 2) I want to encourage other aspiring writers to write, write, write. Get those ideas down on paper. Show them to people. There is such a feeling of accomplishment that comes from executing your idea and having a finished script in your hands. Don't deny yourself that feeling.

thx again,
cc.

So first of all... CONGRATULATIONS, CC!!! I am so excited and proud for you... this is awesome! And your message to other writers is heard loud and clear... in fact, while being a finalist in the screenwriting competition is AMAZING, and a true validation of your talent, it's a huge triumph just to have written something! That already puts you ahead of 90% of the competition, because most of us never have the courage or energy to get around to actually WRITING the great ideas we have!

I can speak for myself when I say I have a million brilliant (I think) ideas floating around in my head... and the only thing keeping them from being great scripts is-- honestly-- MYSELF. For whatever reason-- and I think of a lot of them-- I always have an excuse NOT TO WRITE. I'm too busy. Not inspired. Need to think longer about the idea. Have to go to the grocery store. Blah blah blah. But the truth is...

As writers, the most important thing is to WRITE. In fact, if we're NOT constantly writing, we're not-- by the very definition of the word-- WRITERS.

So major kudos to you... not only for being a finalist, but for being truly and unequivocally-- A WRITER. Whether you win this contest, sell the script, become a multi-million dollar showrunner, or a best-selling novelist, you are already what most people only think they are: A WRITER.

Please keep us in the loop and let us know what happens with your pilot!

In the mean time, folks-- we'll have more Pitch Workshop submissions coming up (David-- you're on deck)... plus, some great book reviews, reader questions, and more!

READER QUESTION: Will There Be A Pitchfest in New York?

Chad — Fri, 29 May 2009 11:29:09 GMT

Hey, folks--

Wanted to respond to Rosetta's Great American Pitchfest question from a couple days ago...

"When will an event like this [or at least similar to it] be available in the New York City region?... I learned about this coming event a little too late to plan to attend and would like to know about such future PitchFests."

Well, Rosetta, I talked to Signe Olynyk, the head of Pitchfest, who says that while they eventually hope to do a NYC Pitchfest, it's not on the radar quite yet. The event started in Canada, where they did two Pitchfests just before the Banff TV Festival and another in Vancouver, in association with the Film and Television Expo of Western Canada, but these were much smaller than the LA incarnation. While a New York version would be great, it would likely be much smaller-- both in professionals and attendance-- and they'd probably have to fly in many execs from California.

Having said, that GOOD NEWS!... Here are two well-respected New York events that DO have pitching opportunities, so check 'em out... they may be just what you're looking for!...

The New York Television Festival - September 21-26, 2009

Pitch Your Hit: Women-in-Film's Two-Day Workshop - June 9 & June 15, 2009

Good luck! And here's last year's pilot winner of the New York TV Festival's People's Choice Award, Teachers...

FOX & the NY TV Festival - Comedy Pilot Contest!

Chad — Tue, 05 May 2009 18:04:43 GMT

Hey, all--

Thanks to Erica for letting me know re: the upcoming deadline for the 2nd Annual Comedy Script Contest from the New York TV Festival and FOX! This is a pretty reputable festival, and quickly becoming a destination for TV networks, studios, and producers!

Click HERE for all the details... good luck!!

Upcoming Writing Program Deadlines

Chad — Mon, 13 Apr 2009 21:39:36 GMT

Huge thanks to Jen Grisanti-- and her awesome monthly newsletter-- for compiling this great list of deadlines for upcoming network and studio writing programs. For all those applying-- GOOD LUCK!

WRITING PROGRAMS AND DEADLINES FOR TV WRITERS

NBC - Writers on the Verge
This is a 10-week program focused on polishing writers' material and readying the participants for the staff writer position on a television series. Classes concentrate on creating an exceptional spec script and understanding the dynamics of pitching oneself in the television industry.
Please go to http://www.nbcunicareers.com/entry_leadership/Writers_On_The_Verge
DEADLINE TO APPLY - June 30, 2009

ABC Associates Program
This is a 12-month paid program, during which individuals from diverse backgrounds are placed in entry-level positions in the production-related areas of ABC Studios in Burbank, CA.
Please go to http://www.abctalentdevelopment.com/
DEADLINE TO APPLY - April 24, 2009

CBS Diversity
CBS's program focuses on opening doors: providing opportunities to build relationships with network executives and showrunners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed.
Please go to http://www.cbscorporation.com/diversity/cbs_network/index.php
DEADLINE TO APPLY - May 1, 2009.

FOX Diversity Writers Initiative
Writers selected will be invited to attend a six-week session at Writers Boot Camp and be offered a consultation with WBC mentors during which time writers will rewrite and improve their scripts. The goal is to execute scripts at a level of professional quality equal to those purchased by Fox in the course of its normal television development.
Please go to http://www.fox.com/diversity/creative/writer_initiative.htm
DEADLINE TO APPLY - July 3, 2009

Warner Bros. Writers Workshop
The Warner Bros. Television Writers' Workshop consists of three components, Lectures, Simulated Writer's Room, and Staffing, all geared towards preparing the writer for a successful career in TV writing.
Please go to http://www.writersworkshop.warnerbros.com
SUBMISSIONS ACCEPTED - May 1, 2009 - July 25, 2009

Spinoff Contest Winners!

Chad — Wed, 01 Apr 2009 21:03:30 GMT

First of all, thanks so much to everyone who entered Script Notes' first-ever writing contest and sent in their TV spinoff ideas! There were some hilarious entries... some disturbing entries... and some downright baffling entries... but all of them were a blast to read!

As you probably know, the winner of the contest will receive an autographed copy of Larry Brody's TV-Writing book, Television Writing from the Inside Out. To choose that winner, I read through the entries and selected the top 5 submissions... then Larry chose the winner from that.

So, without further adieu, here's the winner (followed by the runner-ups) of the first-ever Script Notes Writing Contest: Search for the Best Spinoff!

And the winner is... (drum roll please)...

THERESA WIZA!!!

Here's Theresa's winning submission, In Character...

SHOW TITLE: “In Character”

SPINOFF: multiple shows

LOGLINE: In Character, a spinoff of various television programs, brings actors together who remain “in character” from their different sitcoms, dramas, and reality shows while interacting with a three-generation family of "characters."

SYNOPSIS: Imagine all of your favorite actors from all of your favorite programs coming together week after week in one new offbeat comedy where they remain “in character” from their previous sitcom. That is the idea behind In Character. In Character is a sitcom about an eccentric but young ex-hippie grandmother, a creative attractive ad-copy mother, and a trying-to-find himself college-age son, who daily interact with characters who remain “in character” of the sitcom from which they come. Audiences watch their favorite actors from a variety of programs, perform together in an offbeat comedy where, week after week, different characters work together In Character.

Congratulations, Theresa! To get your prize, please email me your snail-mail address at WDScriptNotes@FWPubs.com... and we'll get in the mail to you asap!

Also, here are the other four runner-ups (in no particular order)... congratulations to the four of you, and thanks for submitting, everyone!

SHOW TITLE: “Booby Traps”

WRITER: Matt Star

SPINOFF: “Scrubs”

GENRE: Half-hour, Single-Camera Comedy

LOGLINE: College is a womb that traumatized Vietnam War vet ROBBIE KELSO seeks at 1960’s era Stanford University School of Medicine to avoid facing the brutal pressures of the real world--and though it does provide some of the refuge he idealized, it also manifests into its own brand of killing field through viperous cliques, university politics, and of course, mid-terms.

SYNOPSIS: Traumatized by his prior experience during the Vietnam War as a Navy SEAL, ROBBIE KELSO enrolls in med school merely to prolong facing the brutal realities of the real world: namely, paying off his student loans and making a livelihood. He has witnessed the most inhumane acts imaginable; but rather than strengthening him, it has only provoked withdrawal. His overprotective friend and war buddy JOHNNY HOWDYSHELL, convinced that Robbie can’t succeed without him constantly checking his back, decides to enroll along with him at Stanford University during the genesis of the hippie movement.

The story follows Robbie as he discovers that med school can be both the refuge he was seeking as well as a killing field of its own. The bipolar nursing student/go-go dancer BUNNY WELLING, whose mind is never truly made up, both agitates and fascinates Robbie as he simultaneously battles to avoid becoming a 25-year-old virgin.

SHOW TITLE: "Creed Bratton, Proctologist"

WRITER: Brian Stampnitsky

SPINOFF: “The Office”

LOGLINE: Dunder Mifflin's quality assurance director, Creed Bratton, leaves Scranton for Miami Beach, where he opens a proctology practice.

SYNOPSIS: After eating some especially excellent psychotropic mushrooms, Creed Bratton has a moment of clarity -- in the mid-1970s, he enrolled in a Costa Rican medical school and received his proctology license. Feeling a renewed sense of purpose, he packs his bags, forgets to bid farewell to his co-workers at Dunder Mifflin, and moves to Miami Beach, where he opens a proctology practice with Darryl's identical twin brother, Darnell. Creed rents an apartment above the garage of a house belonging to a sexy single mom and her precocious young son. The weekly parade of old Jewish patients and the wacky-but-lovable medical staff provide an endless source of amusement, hijinks, and yes, even inspiration for Creed Bratton, Proctologist.

TITLE: “My Name is Randy”

WRITER: Sam Miller

SPINOFF: “My Name Is Earl”

LOGLINE: After his brother Earl dies, Randy goes on a cross-country journey to touch as many lives as he can by helping people in the small towns through which he travels.

SYNOPSIS: Though no one would ever call the Hickey brothers smart, Randy was always the dumber of the two, though the one with the biggest heart. Always following Earl’s lead, Randy would get in trouble with him but then had a change of heart with him. When Earl dies suddenly after completing his list, Randy no longer knows what to do until he sees all the people who come to Earl’s funeral. Randy realizes that Earl touched their lives and he vows to honor his brother by touching even more people (but not in a bad way). Since Earl’s last wish is for his ashes to be spread at Graceland, Randy journeys out of the town for the first time, discovering similar small towns and helping the folks there.

TITLE: “Cash Cabin” (airplane)—a TV game show that takes place on an airplane.

WRITER: Teri Short

SPINOFF: “Cash Cab”

SYNOPSIS: A spin-off of Discovery Channel’s “Cash Cab,” passengers on a commercial flight compete against each other for a cash prize or a free trip.The first question is a difficult question asked of anyone who wants to play. Passengers write their answer on a slip of paper with their seat number on it. The flight attendants collect the cards. Of all the correct answers, three are selected at random and those three people compete for cash for the rest of the flight. Three strikes and you’re out, and it narrows down to two people. Contestants can use their shout-outs to the other passengers who are not playing. Prizes will be paid for by the airline and advertisers—not just Coke or Pepsi, but destination cities, countries and hotels.

Wanna Write a Comic Book Movie?

Chad — Fri, 27 Mar 2009 16:21:27 GMT

Huge thanks to Brenda for pointing out this piece from today's Variety, which reports that Marvel-- the comic book/production company behind Spiderman, Iron Man, The Incredible Hulk, Thor, etc.-- is putting together a group of writers, a la the Disney Fellowship Program, dedicated solely to adapting Marvel comic books into movies!

Very cool!

Click HERE to check out the Variety article...

And here are a couple other interesting links:

Nikki Finke
MTV

Pitch Your Idea to Producers & Agents... Next Tuesday!

Chad — Wed, 25 Mar 2009 20:41:51 GMT

Hey, guys--

Huge thanks to everyone who came to last night's pilot-writing seminar at mediabistro... it was a terrific turnout, and I really appreciate everyone coming and being so interested!

For those of you who couldn't make it... or those of you who have actual TV show ideas you'd like to pitch... or those of you who aren't sick of hearing me talk about television... I wanted to let you know about a very cool event coming up next week here in L.A.

As most of you know, my TV book, Small Screen, Big Picture: A Writer's Guide to the TV Business, came out from Random House/Crown a few weeks ago... so Barnes & Noble and I are hosting a pitch workshop and panel next Tuesday, March 31.

It should be a blast... I'm going to do a short (45-50 minutes) seminar about pitching, and then we'll have a panel of guests who will actually TAKE YOUR TV PITCHES, then offer feedback on your idea and pitching style!

And the best part... IT'S COMPLETELY FREE! (And the first 25 people to buy copies of the book that night will be guaranteed the chance to pitch!)

Our guests will be Lindsay Howard, an outstanding scripted TV lit agent from APA, and producers from Joke Productions (Scream Queens, Beauty & the Geek)... so whether you're interested in writing comedy, drama, reality, or alternative... we've got you covered!

Here's all the info... hope to see you there!

WHEN: Tuesday, March 31, 7:30 p.m.
WHERE: Barnes & Noble, The Grove
              189 Grove Drive, Suite K-30
              Los Angeles, CA 90036
              323-525-0270

(On a totally unrelated note, I am writing this while sitting in my backyard, on a beautiful California afternoon, listening to Johnny Cash's "Hurt" cover on repeat... IS THERE ANY SONG MORE POWERFUL THAN THIS???!" Simply awesome.)

IN RESPONSE TO TYLER'S COMMENT (see below): Hey, Tyler-- so glad you can come... and yeah-- I'll totally sign copies that aren't bought there! As for RSVPing... it's just first-come/first-served. (And again-- this song is awesome... now listening to the NIN version... but I think Cash's cover is better...)

IN RESPONSE TO JOAN'S COMMENT (see below): Joan-- thank you so much for the blurb on the blog... I can't tell you how much I appreciate it-- that's terrific! And wonderful blog! Everyone... please check out Joan's blog/website, The Publicity Hound, which offers free tricks and advice for generating publicity. It's a great resource for writers... especially since we often need to generate our own buzz and heat, but-- frankly-- are rarely that good at doing it. (I mean, come on-- we're writers... we're designed to sit in a room and talk to ourselves... which is why Joan's website is so handy!)

Last Chance to Submit for the Spinoff Contest!

Chad — Sun, 22 Mar 2009 18:25:20 GMT

Hey, guys--

Just wanted to remind you that midnight tonight, March 22, is the cutoff for submissions to the Script Notes Spinoff Contest! Submissions can be emailed to WDScriptNotes@FWPubs.com, or click HERE for all the rules!

We have some awesome submissions so far... so take a shot at winning an autographed copy of Larry Brody's bestselling Television Writing From the Inside Out!

In the mean time, we have some great stuff coming up... I'm behind on a bunch of reader questions, which I promise to get to, plus we've got some movie reviews, book reviews, how to bankroll your indie movie, Pitch Workshop submissions... and more!

Have a great weekend!

Chad

5 Days Left...

Chad — Tue, 17 Mar 2009 07:21:59 GMT

Hey, guys--

Just a reminder... only 5 DAYS LEFT in our first-ever Script Notes TV Writing Contest! Submit your logline and 150-word synopsis for a spinoff to any current TV show (comedy, drama, or reality) and win an autographed copy of Larry Brody's bestselling TV book, Television Writing From the Inside Out. The deadline is this Sunday, March 22!

For a full list of rules and details click HERE! We've got some great submissions so far... don't miss out!!

PITCH WORKSHOP: Erica's Logline

Chad — Sat, 07 Mar 2009 17:41:44 GMT

Hey, folks--

Today's Pitch Workshop submission comes from Erica, who's looking for feedback on the logline for her feature film idea, Love Bites. Below is Erica's logline... eagerly awaiting your notes!

Title: Love Bites
Genre: Romantic Comedy
Logline: To reclaim a powerful amulet and battle Van Helsing’s heir, Dracula’s son must learn how to seduce a virgin immune to his powers.

Please feel free to post/comment away... and a huge thank you to Erica for submitting this! I hope you get some helpful criticism!

P.S. In answer to Jorge's question about the Spinoff Contest... "Is it necessary pay anything?"... No-- it's totally free! Remember-- the deadline is Sunday, March 22, so hurry and get your spinoff ideas in!

JESSICA'S QUESTION: What do TV development execs do... and how can a dramaturg in Atlanta become one?

Chad — Fri, 06 Mar 2009 01:14:55 GMT

Hey, folks—

Today’s question comes from Jessica, an aspiring TV development exec/producer living in Atlanta and working in theater. Jessica writes…

“I am currently in Atlanta trying to... save the funds for a move to LA. I am interested in the development end of things. Most of my experience is theatre related. I did a lot of dramaturgy, essentially contextual research for production and script analysis.

“One aspect of dramaturgy that I really wanted to get more involved in was new play development, working with playwrights to fine tune scripts for production. I also write and am working on plays and eventually screen plays myself, so I love all aspects of creative production. I eventually… want to transition into TV Development.

“I wish I knew more specific details about what development entails. I have vague ideas, but I don't know what the day-to-day entails… In short, I am trying to get to LA and would love to have a Production Assistant job lined up upon arriving but apparently this is rare. I do feel like there is a Catch-22 dynamic; you need experience to get a job but you need a job to gain experience.

“I am no longer a student so internships aren't an option. The thought of being unemployed in a new city in this economy is quite frankly a little scary. Any advice you could share about the industry and what I could do to prepare for it (ex. What do I need to know? Is there something I can read?), or how to go about finding job leads (other than perusing major network's employment sites, which is what I am currently doing) would be immensely helpful.”

Well, Jessica—this is a huge, complex question addressing challenges that hundreds of aspirants face each year when debating when or how to move to Los Angeles. So let’s break it into parts and look at each individually.

QUESTION ONE: WHAT’S THE DAY-TO-DAY LIFE OF A DEVELOPMENT EXECUTIVE?

Many of the creative skills needed by development executives or TV producers are very similar to those you have as a dramaturg. Execs and producers work with writers… reading their scripts, suggesting constructive feedback, shaping stories and characters.

They also search for new projects, and the idea for a new show or movie can come from virtually anywhere: a book, a short story, a video game, a poem, a song, a music video, a news story, a stand-up comedy routine, comic books, a short film… you name it. Thus, execs and producers—when they’re not working on projects in active development—spend hours upon hours reading whatever they get their hands on… seeing every movie in theaters… going to comedy clubs and plays. As a purveyor of pop culture, you must be a massive CONSUMER of pop culture.

When I was an exec at the Littlefield Company, my typical day might look like this…

6:30 a.m. - Wake up

7:00 a.m. - Work out at gym or run

7:45/8:00 - Shower

(Quick side note: the above part is a lie. Maybe only twice in my life have I EVER woken up at 6:30 to go running or "work out," and both those times were horrible, horrible mistakes. But it sounds impressive, right? And I know many people who DO do this.)

(A more accurate schedule would've said... 7:00 - Alarm goes off, hit snooze for 45 minutes... 7:45 - Suddenly realize, in a blind panic, that I am running ridiculously late to get to my 8:30 breakfast meeting...)

8:30 a.m. – Breakfast meeting or coffee with an agent or exec from another company

10:00 a.m. – Arrive at office, read trades, check emails

10:30 a.m. – Company meeting to discuss development slate and pitch new projects

11:30 – Conference call to give pilot notes to a Joe Writer, one of the 9 writers we’re working with

12:00 – Studio notes conference call with Sally Drama, another writer we’re working with (this time we’re not giving notes… we’re just listening to notes from the studio)

12:30 – Leave for lunch, roll phone calls while I’m in the car

1:00 – Lunch with agent or manager who pitches me new writers and projects

2:00 – Return from lunch, roll more phone calls from car

2:30 – Casting meeting to discuss casting choices for Ron Comedy’s sitcom pilot

3:15 – Pitch meeting with a writing team from CAA

4:15 – Read episode outlines for “Lisa Laughter,” our sitcom which we just picked up

5:00 – Internal notes meeting to discuss “Lisa Laughter” outlines

5:30 – Phone call with “Lisa Laughter” showrunner to discuss outlines

6:00 – Leave for dinner

6:30 – Dinner with network talent executive

8:00 – Comedy showcase at the Improv

10:15 – Arrive home, read 4-5 scripts

11:30/12:00 – Go to bed

So as you can see, many of a development exec’s daily duties are very similar—or use the same mental skills—to those of a dramaturg.

QUESTION TWO: THE WHOLE JOB ISSUE – GETTING A JOB FROM LA, GETTING A JOB WITH NO EXPERIENCE, GETTING EXPERIENCE WITHOUT A JOB, ETC.

Well, first of all, Jessica … you’re right: it’s almost impossible to get a PA gig or entry-level job if you’re not in LA… most places won’t even consider you unless you’re local. However—it’s not experience you need to get those entry-level jobs… it’s CONNECTIONS. Most PA’s, assistants, runners, floaters, and mailroomers are hired by someone who knows them… and it’s almost impossible to form those relationships when you’re not in LA.

Here are links to several good posts where I’ve already written about this issue, so check them out… you’ll find recommendations and links to some great job-hunting resources and advice. (I know their titles don't all sound relevant, but they all have different links and advice that I think you'll find helpful.)

How Do Recent College Graduates Break into Hollywood?

What are the Chronological Goalposts to Becoming a TV Writer?

Is It Possible to Get a Job in LA If I Live Out of Town?

I've Won Some Writing Contests... Now What?

How Do I Get a PA Job?

How Do I Contact TV Shows?

Film School vs. the Real World: Part II

As for internships… you CAN do internships even though you are not in school. You can enroll in one or two hours, for very little cost, at local community colleges like Santa Monica College.

HERE is another great blog post, from WannabeTVwriter, which details how to get internship credit through UCLA even if you’re no longer in school (thanks to Sam for sending this in!).

Also, but since you’re currently in Atlanta, I’d look into working or interning for Tyler Perry Studios. Sure, it’s always a long shot to target one particular company and hope to get in, but hey—you’re in Atlanta… why not? And Tyler Perry is a MAJOR player… he produces record-breaking films like Madea Goes to Jail, has a hit TV show, Meet the Browns, that was just picked up for 70 more episodes on TBS, and he’s constantly setting up projects. HERE is an interesting recent LA Times piece from Patrick Goldstein to check out… but as long as you’re in Atlanta, I think he’d be my first stop.

QUESTION THREE: WHAT DO I NEED TO KNOW? IS THERE SOMETHING I CAN READ? ETC.

I promise you, Jessica, I’m not just saying this out of crazy self-promotion, but my new book, “Small Screen, Big Picture: A Writer's Guide to the TV Business,” which just came out this winter, answers EXACTLY the questions you’re dealing with.

The first 75% of the book explains how TV works as an industry—the differences between networks, studios, and production companies… how shows are financed and developed… how a writers room works… what development execs do… etc.—and the last 25% goes through, in detail, how to break in and get a job. It outlines the kinds of jobs you should aim for, teaches you how to network (and how NOT to network), gives examples of resumes and cover letters, and offers tons of job-hunting websites and resources.

Again, I’m not steering you toward the book just to steer you toward it… but because between the book and the blog posts listed above, I think you’ll find many of the answers you’re looking for… most of which are broad and complex.

Anyway, I hope this helps, Jessica… thanks a million for reading, and please feel free to ask if you have more questions or need more help!

A bunch of stuff... including Scott's contest question

Chad — Tue, 24 Feb 2009 06:53:24 GMT

Hey, guys--

A bunch of stuff...

1) Scott asked a good about the Spinoff Contest... "Will you allow entrants from outside the US?"

The answer?... ABSOLUTELY! Wherever you are, Scott-- or anyone else-- please: submit away! Click HERE for all the details...

2) If you're into web video, check out a great website called eGuiders. Using a team of top-notch industry advisors, including Deadwood creator David Milch, as well as heavyweight advisors like Jerry Stiller, Damon Lindelof, John Landis, and Shawn Ryan, eGuiders aggregates the best videos in cyberspace and places them in easy-to-find categories: documentaries, spinoffs, drama and genre, comedy, etc. It's a great way to let industry big-wigs do the heavy-lifting of sorting through all the online crap so you only have to watch the best of the best!

3) This is going to be of interest to almost NO ONE except me, but so I'm SO FREAKING EXCITED I don't care... CLICK HERE to read today's Variety article about Eddie Van Halen's new guitar... and the new album the band is hoping to start this summer!!!

Win a role on CBS's "Numb3rs"!

Chad — Fri, 20 Feb 2009 18:54:19 GMT

Hey, everyone--

Thought this was a fun opportunity I'd pass on!...

The Writers Guild Foundation is conducting an Ebay auction to raise vital funds for our High School Screenwriting Workshops and other community outreach & literacy programs. Thank you for bidding generously!

EBAY AUCTION! - TV SHOW NUMB3RS WALK-ON-ROLE
Auction Ends: Feb-28-09 19:58:07 PST- BID NOW!

This is a "WALK-ON" role on CBS Paramount Television's hit show Numb3rs.

Imagine. You can hear the director in the nearby, you are actually rubbing shoulders with real actors in your scene because you have placed the highest bid on this non-speaking, "walk-on" role and YOU ARE ON THE SET of NUMB3RS!

VIEW AUCTION AND BID HERE!

All winners of the "non-speaking walk-on role" must be 18 years or older to participate. The date of appearance will be by mutual convenience of the winners and Paramount. Appearance will be in Los Angeles, California and transportation to and from is not included in this auction. CBS Paramount reserves the right for security reasons to refuse the admittance of anyone to any of its production facilities in its sole discretion. Auction prize redeemable up to one year from date of auction, and details of the walk-on depend solely on the pending production schedule of NUMB3ERS and are at the sole discretion of CBS Paramount.

Learn more about the Writers Guild Foundation's programs at: www.WGFoundation.org

THE 1ST EVER SCRIPT NOTES WRITING CONTEST: SEARCH FOR THE BEST TV SPINOFF!

Chad — Thu, 19 Feb 2009 02:23:52 GMT

Hey, folks—

I am very excited and pleased to announce…

THE VERY FIRST “SCRIPT NOTES TV WRITING CONTEST!”

That’s right… you’ve asked for it… you’ve waited for it… and—at long last—here it is… with a prize and everything!

(And hopefully this won’t be the last… I’m planning on doing a bunch of fun contests like this.)

Here’s the scoop…

THE CONTEST: Concoct and pitch the BEST SPINOFF to any TV show currently on the air

THE PRIZE: A copy of veteran TV writer Larry Brody’s best-selling TV writing book, Television Writing From the Inside Out. Larry has written and produced on more shows than most working writers put together, including… The Huntress, Diagnosis Murder, Star Trek: Voyager, Walker Texas Ranger, Heaven Help Us, Star Trek: The Next Generation, Baretta, The Fall Guy, Automan, Partners In Crime, Mike Hammer, The New Rin Tin Tin, Police Story, The Bold Ones, Hawaii Five-0, Here Come The Brides, Partners In Crime, The Rookies, The Interns, The Streets Of San Francisco, Cannon, Ironside, Medical Story, Medical Center, The Six Million Dollar Man, and Barnaby Jones. He’s now the Creative Director of Cloud Creek Institute For The Arts, a not-for-profit corporation dedicated to nurturing young talent working in film, video, or new media.

THE RULES:

• Contestants are competing to pitch the best/funniest/most inventive idea for a SPINOFF to any CURRENTLY RUNNING TV SHOW… comedy (30 Rock, Californication, The Big Bang Theory, etc.), drama (Lost, NCIS, Mad Men, etc.), or reality (American Idol, The City, Little People Big World, etc.).

• Contestants should submit a one-sentence logline and a short synopsis of no more than 150 words.

• Contestants may enter AS MANY TIMES AS THEY WISH… there’s no limit on submissions

• All entries should be emailed to WDScriptNotes@FWPubs.com. In the subject line, please write, “SPINOFF CONTEST.”

• All text and submissions should be included in the body of the email… NO ATTACHMENTS, PLEASE!

• Also include your name, email, snail-mail address, and a phone number.

• The submission DEADLINE is Sunday, March 22, 2009. Any entries received after March 22 (thanks, E. Daniels, for catching the deadline typo!) will be disqualified.

• The winner will be selected by myself and Larry Brody. I’ll select the top five Finalists, and Larry will pick the Grand Winner.

• The winner will be announced here at Script Notes on Wednesday, April 1, 2009.

• The winning spinoff idea, and the other four finalists, will be published here at Script Notes on April 1 (thanks for catching this typo, too, E. Daniels!) (FYI-- we were originally gonna start this earlier, so some of the dates didn't get changed-- sorry!).

• If you have questions, please post them in the comments section here on the blog, or email me at WDScriptNotes@FWPubs.com

• Be creative… get wild… and HAVE FUN!!!

Action, Thriller, or Crime Scripts Wanted

Chad — Tue, 26 Aug 2008 20:38:58 GMT

FROM JEFF GUND'S INFO LIST...

Hi everyone,

INFOLIST.com has forged an alliance with InkTip.com to bring you some great opportunities!

Here's some info on a script wanted that is high concept action/drama story with comedic elements, ala The Rundown - be sure to read the specific details below!

Feel free to forward if you know anyone who would be interested, and please submit only if your script meets ALL the requirements!!

You should always be sure to register your material with the Writer's Guild and the US Copyright Office before submitting to any leads.

Good luck, and have a great day!

-Jeff

Jeffrey R. Gund
INFOLIST.com
Jeffrey R. Gund Music & Sound Design
Jeffrey R. Gund on IMDb
www.myspace.com/JeffGund
If you like the InfoList - Add a Comment on my Myspace page and let me know what you like about it!
______________________________

ACTION, THRILLER, OR CRIME SCRIPTS WANTED

---------------
TriCoast International - Action or Thriller
---------------

We are looking for completed feature-length action/adventure, thriller or crime scripts with name actors attached (meaning actors with feature credits whom we can look up on IMDb) and/or directors attached who have theatrically released credits (also verifiable on IMDb). We are also open to submissions from writers with theatrically released feature credits.

When submitting, please include a list of attachments and/or list your produced feature credits in the personal message space.

Budget will be between $5 and $15 million. WGA and non-WGA writers may submit as long as the above criteria are met.

For further reference, feel free to look us up on IMDb under TriCoast Studios.

TO SUBMIT:
1. Please go to www.InkTippro.com/leads
2. Enter your email address (you will be signing up for InkTip's newsletter - FREE!)
3. Copy/Paste this code: fnu25n34hq
4. You will be submitting a logline and synopsis only, and you will be contacted to submit the full script only if there is interest from the production company.

IMPORTANT: Please ONLY submit your work if it fits what the lead is looking for EXACTLY.

If you aren't sure if your submission fits, please ask InkTip first. Please mention you heard about this from Jeff Gund at INFOLIST.com and please email any questions to: jerrol@inktip.com

CONTEST: Worst Logline Ever!

Chad — Tue, 19 Aug 2008 04:25:13 GMT

Hey, everyone--

The Guide to Literary Agents and its editor, Chuck Sambuchino, are hosting a hilarious contest... the search for The Worst Storyline Ever!

Basically, they're looking for loglines... and the lamer, stupider, and more ridiculous the better.

The winner gets a query letter critique from Chuck, a follow-up phone call to discuss the query critique, a plan of action for seeing your work published, and copies of the 2009 Guide to Literary Agents and the 2009 Writer's Market. Runners up will receive a free copy of either the 2009 Guide to Literary Agents or the 2009 Writer's Market.

Either way, this contest sounds like a blast... click HERE to check it out!

(Oh-- and the deadline is the end of August...)

Cool Writing Opportunities

Chad — Mon, 18 Aug 2008 18:19:46 GMT

Hey, screenwriters--

Just learned about these interesting new writing opportunities from Jeff Gund's Infolist, a great source for Hollywood jobs and writing opportunities. Check it out...
______________________________

Hi everyone,

Here's an opportunity for a writer for a half-hour animation project ala Family Guy - details are below.

As always, feel free to forward if you know someone that would be interested, and be sure to mention I sent you.

Good luck, and have a great day!

-Jeff

Jeffrey R. Gund
INFOLIST.com
Jeffrey R. Gund Music & Sound Design
Jeffrey R. Gund on IMDb
www.myspace.com/JeffGund
If you like the InfoList - Add a Comment on my Myspace page and let me know what you like about it!
______________________________

WRITERS WANTED
HALF-HOUR ANIMATION PROJECT GEARED FOR ADULT AUDIENCES, ALA FAMILY GUY

Award winning NY animation producer seeking writing talent to work with in Los Angeles. I am open to either new talent or experience writers, as long as you've got the talent.

There will be pay, commensurate with experience.

I am looking for someone to work with and develop a half hour format animated show geared for adult audiences, ala Family Guy.

TO SUBMIT:
Be sure to mention you heard about this from Jeff Gund at INFOLIST.com, and email your RESUME, and WRITING SAMPLE (if available), to: wise1too@aol.com.

Hi everyone,

This is an update to the previous posting - apparently the submission email address was not set up before and gave bounceback errors - but it's confirmed and ready to go now! So...

Here's a great opportunity for playwrights to have their one-act or full-length plays produced by the Edgmar Center for the Arts (Board Members include Steven Spielberg, Jason Alexander, Neil Simon, Kate Capshaw, etc.)

Details are below ˆ as always, feel free to forward if you know someone that would be interested, and be sure to mention I sent you for priority consideration!

Good luck, and have a great day!

-Jeff

Jeffrey R. Gund
INFOLIST.com
Jeffrey R. Gund Music & Sound Design
Jeffrey R. Gund on IMDb
www.myspace.com/JeffGund
If you like the InfoList - Add a Comment on my Myspace page and let me know what you like about it!
______________________________

FULL-LENGTH AND ONE-ACT PLAYS WANTED FOR PRODUCTION

The Edgemar Center for the Arts is a two-theater complex located in the Frank Gehry building in the heart of Santa Monica, with board members including Steven Spielberg, Jason Alexander, Neil Simon, Kate Capshaw, and others. The Edgemar Theater Group is our resident theatre company which is looking for NEW WORKS for the Lab Theatre Season.

We are looking for full-length and one-act PLAYS to be included in our monthly reading of selected scripts, which may then be considered for production by the company.

We are open to all genres, comedy and drama, including "cutting edge" works. Unpublished and unproduced plays are preferred, but we are open to plays which may have had a small run or "limited exposure."

This is a wonderful opportunity for writers to hear their works read by a group of talented actors, with the possibility of having your work produced by an established and reputable company.

TO SUBMIT:
Be sure to mention you heard about this from Jeff Gund at INFOLIST.com for priority consideration, and email scripts and your contact information to Les Brandt at: literary@edgemarcenter.org.

OR scripts can be mailed to:
The Edgemar Center
Literary Dept
Attn: InfoList Priority Submission
2437 Main Street
Santa Monica, CA 90405

For more information on the Edgemar Center, please visit: www.edgemarcenter.org.

We look forward to receiving your submissions!

Top 10 Ways To Win Writers Digest's Annual Screenwriting Contest - Part II

Chad — Wed, 30 Jul 2008 00:09:59 GMT

And here's the conclusion to this weekend's post, the TOP 5 WAYS TO WIN WRITERS DIGEST's annual screenwriting contest...

5) STAGE DIRECTIONS – PART II. Do not over-write descriptions in your stage directions. Give the reader only the bare minimum of what he/she needs to know in order to understand your story. Elaborate scenic descriptions, character profiles, or visuals of props and costumes have no place in a screenplay… no matter how colorfully you see these things in your head. If you enjoy writing these elements, put them in a novel or short story.

4) DIALOGUE. Do NOT write long chunks of dialogue. Like with stage directions, try to keep each paragraph of dialogue under 3 lines. Sometimes, obviously, you’ll need more… if someone is ranting or lecturing… but dialogue should be short and snappy. (And real people rarely speak in long chucks; actual dialogue tends to be in quick exchanges.)

3) VOICE-OVER. If you’re going to use voice-over, use it VERY sparingly. Many writers believe V.O. is a crutch used to avoid dramatizing story. I don’t necessarily agree with this—there are many stories that use voice-over to great effect—but it’s often easy for it to BECOME a crutch, to use a character’s voice-over to set the stage, color the world, or give us exposition that isn’t necessary to the story. Some entries began with two, three, or four pages of one character’s V.O., and even without reading it, seeing this is as much of a turnoff as pages of stage description. Treat V.O. like any other piece of dialogue… it should be short and to the point.

2) SOUNDING CONTEMPORARY. Do NOT worry about making characters sound “cool” or “contemporary” at the risk of honesty. In other words, don’t use slang or speech patterns if you don’t use them naturally. There were many entries where writers seemed to be writing about foreign places, people, etc. This is fine—the whole point of storytelling is to transport the reader (and writer!) to new places—but capturing accurate speech patterns is less important than capturing emotional honesty. So if your story is set on the streets of Watts or in the backwoods of Georgia… but you’ve never been to those places… don’t try to recreate your version of street slang or southern drawl. You’ll be much more convincing if you accurately convey how your characters FEEL—even if their speech is totally inaccurate—than if you throw in a bunch of misused colloquialisms.

1) WRITE WHAT YOU KNOW. I know we all hear this a lot, but this does NOT mean you should write something autobiographical… or you shouldn’t set something in a faraway time or place. It means “write what you know EMOTIONALLY,” and be honest about it. If you’re writing about a medieval knight who longs to leave his home and family to see the world, tap into what you dislike about your own home. Listen to fights you have with your family and transcribe them into your script. Many entries were set in interesting places, but they didn’t seem to reflect any emotional reality in the writer’s life; they didn’t ring with the truth of universal emotions. We all experience love, loss, grief, elation, melancholy, wistfulness… and while we all have our own life experiences, the experiences of these emotions are usually identical. The more honestly you can type into your own feelings, the more strongly we connect to your writing and see it as a reflection of our own lives.

Top 10 Ways To Win Writers Digest's Annual Screenwriting Contest - Part I

Chad — Sun, 27 Jul 2008 20:09:18 GMT

Writers Digest’s annual writing contest is in full swing… fiction, poetry, non-fiction… and, of course, screenwriting. I’ve been judging the screenwriting division for the past few years, and I always love it—it’s a blast reading and discovering new talent. And this year is no different, so I’ve been poring over hundreds of scripts, many of which are really good.

Unfortunately, not all scripts can be terrific, and I often notice that the not-so-terrific ones are not-so-terrific for the exact same reasons. In fact, many of these scripts COULD be terrific, but they fall into certain traps that keep them from being as good as they could/should be.

So I wanted to dedicate a couple blog posts to the WD writers contest… and how to give yourself the best possible chance of winning. So here’s Part One of…

THE TOP 10 WAYS TO WIN WD’S ANNUAL SCREENWRITING CONTEST - PART I

10) YOUR SYNOPSIS. Writers Digest asks you to submit a synopsis along with your script. Do NOT write a full-page, single-spaced, tiny-font synopsis. The purpose of the synopsis is to give a QUICK overview of the story; not detail every plot turn. Thus, your synopsis should be one tight paragraph. When I see more than that, I rarely read it… and it tells me the writer doesn’t know how to tell his/her story quickly and succinctly.

9) FORMAT. Make sure your screenplay is in PROPER SCREENPLAY FORMAT. I’m always stunned at how many entries aren’t written in standard script format; some are written as plays, some are single-spaced without tabs, others just make up their own format. Here’s the thing: if your screenplay is NOT in standard format, it’ll be glanced at, but its chances of winning are greatly diminished. And in a real-life situation, an exec or producer probably won’t read it at all; it’ll just go in the trash. I know this seems nitpicky and harsh, but in an age where everyone is only moments away from the Internet, a library, or a bookstore, there’s no excuse for not having proper formatting. (And with software like Final Draft or Movie Magic Screenwriter, the computer formats the script for you.)

8) YOUR FIRST PAGE – PART I. Even before I actually begin reading your first page, I’m judging your script. If your first page consists entirely of stage directions, it looks dense, daunting, and uninviting. To be honest, I probably won’t even read the whole thing or make it to page two. This is true in the real world as well; execs and producers are looking for any reason to not turn the page, and a big paragraphs of stage directions are a great one.

7) YOUR FIRST PAGE – PART II. Jump into major conflict on your first page. Do NOT take time to “set the stage.” Jump into action, dialogue, and conflict at the top of page one. It’s a gross misnomer that stories need a few pages to establish the main characters or setting. Not only do we rarely need this info in order to start a story, but it’s more effectively conveyed if it comes through as we watch the action/conflict unfold. If you begin by “setting the stage,” I promise you: your reader will be bored by page two.

6) STAGE DIRECTIONS – PART I. Do NOT write huge paragraphs of stage description. I try to never write stage directions over 3 lines long. If I need more, I’ll OCCASIONALLY go to 4 lines… but never more. If you still need more, break it up into different paragraphs. But few things turn readers off more than seeing massive chunks of stage direction. (And the truth is: you DON’T need more than 3 lines. The job of stage directions is to give us only info and action we MUST know to follow the story; don’t waste your readers’ time with detailed descriptions of people, places, clothing, etc.)

Stay tuned for the next five tips... have a good weekend!

Chad