Pitching Your Screenplay

Let's talk about the art of pitching everyone. But before we can get to the specifics, let's try to understand what a Producer's job entails. Thus giving us, the Author, a better understanding on how this business works.

- Producing is a largely collaborative process that requires a broad ability to exercise and facilitate all aspects of the industry. One must have the sensibility and creative instinct of a writer and director, while having a polarizing view of material that you often find with Network executives... and eventually the viewer. A Producer will first focus on identifying or creating material that falls within any mandate given by any of their executive buyers at a variety of Network of distribution outlets. That material may come in the form of a hi-concept short pitch, a spec screenplay, a manuscript or novel for adaptation, a news article that will become the subject of a story to be developed, and treatments or synopsis' of original concepts for development.

On to the pitch:

- Pitching a movie or television idea in Hollywood is murder. A screenwriter walks into a room and has 15 seconds to tell what may be a feature-length story to a bunch of grown-ups who listen to stories all day long, told by the world’s most talented storytellers. While the screenwriter talks, the grown-ups check their e-mail, their stocks and their makeup. And when it’s all over, the screenwriter can only hope that the grown-ups will hand over a suitcase full of money and send the writer home to write it all down.

Wow, scary description, right? Why the hell would I want to get myself into that position? Well, a huge portion of being a successful anything in this town is attributed to your ability to fake your way to the top. Essentially we all need to work on our communication skills. Here's a more detailed description on the art of pitching. Feel free to skip this portion and wait for the next post, where we'll talk about pitching resources, I.E. Pitch Seminars, online services, etc.

A pitch is an animated summation of a script with emphasis on the main characters, the conflict, and the genre. When pitching a script, you use this summation to persuade industry professionals to option the work (purchase it for consideration).

Pitches come in two forms: the two-minute pitch, also known as the teaser, and the story pitch,before you contact industry personnel. You never know when you'll be called upon to sell your story or how you'll be asked to sell it. which is traditionally 10 to 20 minutes in length, though the shorter the better. You absolutely must have both types of pitches prepared

The teaser pitch

The teaser pitch is a short pitch. Traditionally, you get three sentences to hook listeners into the premise, the genre, and the scope of your film. When crafting this pitch, pay particular attention to what you think they might be listening for. Producers probably want to know the following details:

• How the film might be cast

• How much it will cost to make

• How they'll market it

• What films it resembles

If you follow those requests, your first sentence introduces the characters, the next sentence illustrates their conflict, and the final sentence leaves listeners wanting more. The conflict generally suggests the film's genre, but if not, consider alluding to that in the final sentence as well.

Here are some examples:

• Europe, 1912. Jack Dawson and Rose DeWitt Bukater enjoy a secret and passionate romance after they meet on a ship chartered toward New York. That ships happens to be the Titanic.

• Jessica Stein has met and refused virtually every man in New York City. Maybe it's time she looked for a woman. (Kissing Jessica Stein)

• Northern England, 1984. Young Billy Elliot, the son of a poor local miner, decides to start training for a career. In ballet. (Billy Elliot)

These examples suggest the skeleton of a short pitch. You might use them at the onset of a meeting to rope listeners into a more detailed explanation, or perhaps insert more details in between these sentences. In any case, practice your pitch at home with a stopwatch. Never exceed two minutes — try to do it in one, if you can. If you maintain the three to five page limitation, timing shouldn't be a problem; you'll finish in well under two minutes. If executives want to know more, they'll ask. Be animated, enthusiastic, and concise. Movie trailers are good examples of this kind of pitch; so are the blurbs on the back of video and DVD boxes.

Some writers craft a teaser pitch for stories that they haven't written yet, in case they're asked what other material they're working on. It never hurts to have two or three teasers on hand, in case you're asked to do the same.

The story pitch

The story pitch is much longer than the teaser pitch, but try to keep it under ten minutes, if possible. People in the industry keep long and frantic hours, which naturally affects their attention spans. If you ramble on or get off-track, they're likely to start planning their next meeting before you're done. Some writers use note cards to help them through this pitch. That's perfectly acceptable, but don't rely on them. Reference the notes occasionally, but keep your focus up and on your listeners. If you practice pitching your story several times before the session, you should have it pretty well burned into your memory, so keeping your eyes on your listeners and off your notes won't be hard.

The story pitch starts with your hook or your logline, and then you run down the rest of the story. Be sure to illustrate those universal elements — the heroes, their goals, the conflict, what's at risk and why they're fighting to save it, any pivotal events or emotional turning points, and the conclusion.

Because you're giving a longer pitch, you have more chances to go astray. Here are a few things to avoid right away:

• Don't compare your film to others too much. It used to be common practice to depict a script through a combination of two existing films. (It's When Harry Met Sally in Waterworld, or it's Goonies meets The Field of Dreams.) Know what your film shares with others, but keep the comparisons brief.

• Don't ever compare your script to box-office disasters. No one wants to make another Ishtar.

• Avoid listing action in chronological order — tell them a story instead.

• Avoid depicting too many subplots or details. Concentrate on two or three characters and pivotal events, or the pitch will quickly become convoluted.

• Don't keep pitching if they express disinterest, and (on the bright side) don't keep pitching after they agree to consider it.

• Don't mention actors that you have in mind. Describe the characters, so that your listeners will envision them.

• Never lie about the story or its hype. Producers discover false information quickly.

As with any sale, personality is paramount. If you're enthusiastic, they will be, too. If you're charming and witty, they'll remember you even if they can't accept the script. And never express desperation. There's always some other way to generate interest. Pitching scares some writers to death. If you're one of those frightened few, do something about it. Acting classes are a great way to build confidence in your presentation, as are courses in public speaking. Or, if you'd rather, practice in front of friends and family. See whether they'd want to purchase the script based on your description.

After you've typed up both pitches and are comfortable delivering them, you're ready to search for an agent and/or a producer.

RESOURCES: wordplayer.com, pitching for dummies, tvwritersvault.com

Tags:script, screenplay, pitch, pitching idea, film, movies, help, advice, hollywood, screenwriting resources, filmmaking, indie films, film trailers, cinema, screenwriting structure, hollywood news, movie reviews, movie scripts, lifestyle

How to Sell a Spec Script: A Marketplace on Fire!

So you’ve written your first, second or maybe even your third screenplay, and by now you’re sitting around feeling accomplished, the weight has been lifted, you start to feel lighter and suddenly you float on to a wave of confidence perpetuating your consciences into thinking that; you’ve just finished writing a great story and it’s about time somebody reads it.

The good news is; you’re right. Initially you will always be entitled to your self-righteousness that is of course until somebody begs to differ, but you know this…you’re a spec writer with all the original ideas. Now, here’s the bad news: nobody in Hollywood cares about spec scripts anymore. Well, that’s not entirely true, there are people still genuinely interested in finding fresh material, grant it if the screenplay is being represented by a third party. Sad to say, if you’re on the opposite side of the fence, the ratio is rather unfavorable until you find someone to rep you. Finding an agent or a manger is a daunting task, which might possibly scare you into believe negative stereotypes regarding green screenwriters. Green is a term they use in the business to identify those with little or no experience.

Just in case you haven’t the slightest clue of what a spec script is -or- what warrants a script to be considered spec, then please allow me to explain.

A spec script is a "speculative" screenplay, one that the Variety slanguage dictionary defines as being shopped or sold on the open market, as opposed to one commissioned by a studio or production company. In other words, an original script with nobody attached is considered a speculative property until a legitimate producer signs on thus making the project live.

*** The importance of representation *** source: wikipedia

The process of going out with a spec script can be an extremely tense and nerve-wracking one for a writer. If the writer has an agent, the agent will identify a number of prospective buyers who may range from small independent producers to executives working in the major studios, and attempt to build up heat under the script. The script is sent out simultaneously to all the prospective buyers, usually to be read over the weekend, in the hope of attracting a bidding war.

Sounds like a headache, right? I would know, I’m experiencing these scenarios first-hand and at the moment it’s stressful but there is light at the end of that tunnel. Luckily we are at a time where spec scripts are becoming hot commodities, first time writers are suddenly striking million dollar deals with top notch studios and production companies are signing writers left and right, trying their best to stock up on material for whatever preemptive strike maybe coming next. My advice, read the trades. You’ll need to better associate yourself with the business before going in head first, personally, I’ll do whatever it takes to better the odds. Every little bit helps.

So, what triggered the feeding frenzy? Well, it’s complicated. A few major studios have closed shop (New Line) including specialty production companies such as Warner Independent, sad to say because I enjoyed their release catalog but basically the heavyweight buyers are stepping in to fill the gaps. There are more reasoning factors in play here but let’s focus on the good parts of this article rather then the politics.

Okay, well how do I get a piece of the action? Well first and foremost, you’ll need a great script and as I stated earlier, you are always entitled to your own self-righteousness; just make sure you truly believe it. Now, you’ll need to focus on finding an agent or a manager who will help promote you as a viable screenwriter. Here’s the irony; most agencies won’t accept your submission without another form of representation or some type of referral behind it, leaving the inexperienced with very little choices. The other day I was talking to an assistant for one of the bigger agencies in Hollywood, and I was trying to get the name of the person in charge of handling new clients, (never send out query letters addressed to: whom it may concern) instead I was forwarded to a handful of different agencies that may be, in fact: better suited for my needs. So, let’s talk about these options.

Obviously the big firms such as ICM, CAA, UTA, William Morris and Endeavor function on the; don’t call us, we’ll call you method. I mean it’s logical, think about how many people are trying to be screenwriters and in turn how many of them are legitimately talented. They wouldn’t be exclusive if everybody was able to get in. Now there are smaller boutique agencies that have the power of bigger firms, just with smaller offices. Don’t expect a white-on-white Bentley as a signing bonus either, i.e. Mark Wahlberg. These particular agencies are run by working professionals with uber amounts of experience looking for a more intimate setting. They also accept first-person query letters and since you’ve made it this far, I’ll give you the name of two reputable sources you should seek out now: Benderspink and the KSGB Agency. The others you can find on your own steam or you can catch me in an e-mail and I might oblige.

Next, you’ll want to ready your introduction via a query letter which is, usually a one-page description of your film, with a very short biography carefully intertwined within that description. There is a phenomenal article on the subject of breaking the ice located here at www.wordplayer.com including letter samples and everything else you need to do to prepare yourself. Wordplayer is a column heavy website dedicated to the art of screenwriting - written by Terry Rossio (Academy Award ®-nominated writer of Shrek and Pirates of The Caribbean 1, 2 & 3).

Of course, there are other ways to get your script read. Most of these tactics belong to the unorthodox fair, you can always jump some producer’s fence and leave your screenplay at their door which might be illegal -or- you can start a website and write a ton of material about screenwriting, hoping that someone might take notice of your work. I prefer the second choice, obviously. Either way, there’s work to be done! Pick up the trades, browse the internet for screenwriting groups, attend seminars, write, be prolific, be self-sufficient, write some more, start a website, and most of all be happy or at least look happy; when performing all of the above.

The marketplace won’t be on fire for long, “I think this year is unique because of the strike” says Jake Wagner, Energy Entertainment. “I see this going strong through the summer as well. And fall is typically a time where there’s a lot of spec buying going on, so I see it continuing throughout the rest of the year” says Wagner. Well, let’s hope so.

In other news, my blog posts have turned 50! I guess when I hit 100, I'll have a party with punch and pie. Everyone is invited. Any questions for The Slackmistress? Please send em' over.

Tags:filmmaking, indie films, film trailers, cinema, screenwriting structure, hollywood news, movie reviews, movie scripts, lifestyle, how to sell a spec script, marketplace, creative screenwriting, mark wahlberg, caa, uta, wma, endeavor, agent, literary, john darko, how to, advice, article, slackmistress, film-making

Questions and Answers (Back to School) pt.2

I've been getting some great responses to my "Back to School" entry and due to the sudden spike in unique visitors I have been busy as hell maintaining the work load. Also because of this website, I have also been receiving requests for my screenplays. Which makes me even more excited about my future in this career. Look into Social Networking everyone, it works! Big things coming soon! Stay tuned.

So here's another Q&A regarding the admission process for certain graduate film schools located here in Los Angeles. If you are interested in becoming a filmmaker, I suggest you read this post and this one here.

------------

Dear Mr. Darko,

Thank you so much for writing your inspirational blog post about film schools, and for describing the dark/light sides of Hollywood. As a rising sophomore who aspires to be a professional screenwriter in either film or television, it’s hard for me to understand just how tough breaching into the industry truly is. It also doesn’t help that I live in Fredericksburg, VA, about as far away from Hollywood as you can get. But after reading your post, I find it easier to put things into perspective, in terms of the amount of money I should be prepared to dish out (and borrow), and the sacrifices I’m going to have to make in order to make my dreams a reality.

With that said, though, I have a couple questions. The school I go to is University of Mary Washington, which is a small school (about 4,000 students) that is considered a relatively prestigious liberal arts institution. I’m majoring in English with a concentration in creative writing, and have been pleased with the education I’ve been receiving thus far. However, based on your knowledge and experience, I was wondering whether a degree in English/ Creative writing would be enough to get into a graduate program at one of the schools you listed.

The reason I ask this question is to find out if you know whether graduate schools expect you to major in film studies in the undergraduate level before you even consider applying to them? Would you recommend me transferring from my institution and applying to another one nearby that does offer film studies? Keep in mind that I want to be a screenwriter, which from what I’ve learned from many of the books I’ve been reading on the topic (Lew Hunter 434, Screenwriting Bible), seem to focus more on the craft of writing, and has very little to do with technical stuff, if at all.

The only school I’ve personally researched is UCLA’s Film, television, and theatre branch, and it’s probably the one I’d be most interested in getting accepted into, although it’s still too early to tell. My intuition tells me that I’m where I should be, but then I read figures like this: “(UCLA Film department’s) total enrollment, in 2003, consisted of 310 students out of 3,688 applicants (8.4%)” *sigh*

Thanks,
Missak Artinian

------------

Hello Missak,

Don't let the statistics scare you. So far, it sounds like you are off to an amazing start. In my earlier years, I was not even half as productive as you are now. This is a compliment. My advice would be to switch over to a solid B.F.A. program. Speak to your counselor and let them know that you are interested in writing for the screen.

A Bachelors in Fine Arts degree will often require an area of specialty such as: acting, musical theatre, ceramics, computer animation, creative writing, dance, dramatic writing, drawing, fiber, film production, visual effects, animation, graphic design, illustration, industrial design, interior design, metalworking, music, new media, painting, photography, printmaking, sculpture, or television production.

Most of this is irrelevant to your desired goals, except for the creative writing and film production courses. So the transition might not be as difficult as you think. There are also undergrad courses at USC and UCLA that you might want to look into as well.

There is a terrific article on the requirements of the M.F.A. program at USC. The acting chair of the programs Howard A. Rodman comments...

Howard Rodman: I read many, many applications. [We just this week finished selecting this fall's incoming class.] Here's what we're looking for:

1. Writing. Good writing. Not necessarily in screenplay format. We're less interested, at this point, in whether you know what we're here to teach you, than in whether you can put together a sentence. Tell a story. Create a dimensional character. In short: do you have your very own voice? [P.S. - We know the difference between "its" and "it's," and we actually care.]

2. Grades, good enough to pass muster with the larger USC admissions apparatus, and good enough to give us the confidence you'll be able to execute a demanding program. Four point something GPAs and 1600 SATs (or GREs) are truly lovely, but are not in and of themselves guarantors of anything. We're looking for writers [see #1 above], but we do need to know you can handle the load.

3. Diversity. Folks with life experience. Folks from strange and wonderful places. Folks who've had interesting 'first' careers before turning to writing. Not just your typical work/study/get ahead/kill types. The New York Times says that a cinema MFA may be the new MBA; but I'm not sure we'd view it that way.

4. A good mix. Not all Hummers, not all Priuses.

This was discovered on http://johnaugust.com/archives/2005/how-to-get-into-film-school

John August as you may know, is a wonderful screenwriter who penned some fantastic films like "Big Fish", "Corpse Bride", "Go" and my favorite "The Nines" which he also directed. For aspiring screenwriters, his blog site is as informative as they come in regards to the craft and art of screenwriting. In addition he is an amazingly down to earth guy.

So Missak, inquire about your school's Fine Arts program, this will put you in the right direction when it comes to pursing a career as a screenwriter - OR - you can just write an amazing script and come out to Hollywood, roll the dice if you will. It worked for Matt Damon. He was attending Harvard at the time, wrote a story similar to Good Will Hunting, took the dive and well...the rest is history.

I am an engine of hope my friend, so I'm going to say to you, what I say to everybody who aspires to be something great. Never give up and ignore all of the negative factors. There is nothing more powerful then the human spirit. Keep up the good work and look me up when you to get to Hollywood. I'm always telling myself that I'm going to make it someday, it's just a matter of when and how.

Cheers!

John Darko

P.S.
Here are some great books about the art of screenwriting. Anything by Syd Field (he is the Hollywood guru of screenwriting) Save The Cat and The Hollywood Standard (a must have companion to proper screenplay formatting, this is important). I read them all but these are golden nuggets in my library.

Tags:film schools, education, usc, ucla, advice, writing, screenplay, scripts, tips, emails, q&a, john darko, john august, books, schools, film, indie film, movies, hollywood, los angeles, california, back to school

Back to School - Everything You Need to Know About Film Schools in Hollywood

I've been getting a lot of emails requesting advice that I might have pertaining to "good film schools" or if there was any type of method to a "nobody gets hurt" experience when coming out to Hollywood. The funny this is, I don't consider myself to be the authority on making adequate educational decisions. As a matter of fact, I was sort of a bad student but only to a certain degree. Don't get it twisted : )

So before I explode with my hypothesis on the matter, let me explain the type of person I am.

Plain and simple, I react from the gut. I make decisions based on a simplistic theory, which can be interpreted as blind mathematics i.e. "is X better then Y?". That's pretty much the basis to my infallible logic. I'm the "I'll just iron out the details later" type of bloke.

There's upsides as well as some more obvious downsides to this type of decision making. Let's take a look at the scale. It's only fair : )

The Good

• You're open to all types of new discoveries. There is also a tendency (for me, at least) to become more adventurous in life.
• An undeniable sense of freedom, which contributes greatly to your outlook on certain situations.
  
• A better understanding of self.
  

The Bad

• Possible animosity from family and friends due to your sudden departure. Everyone you know, in some way or another wants to support you but might feel alienated if you leave without their feelings in mind.
• When choosing X over Y, what are you leaving behind? Consider the consequences of your actions.

The Ugly

• When chasing a dream or following an ambition, people will follow you and respect you for your courage, they might even cheer for you...of course, this is all until you fail. You can't blame them either because who still wants to hear about your new exciting life plan after you've already been through the entire playbook. If you're anything like me, it gets old. I've failed more then the times allotted to. So, in turn there's sacrifice. But you deal with it.

  It is on our failures that we base a new and different and better success.

Okay, so now that we got that out of the way. Let's talk about schools. If you're looking to pick up a degree in fine arts then stick to the no-brainers; USC, UCLA and CHAPMAN UNIVERSITY (just to name a few). Hell, USC has one of the top film programs in the country next to NYU. Just ask George Lucas and Judd Apatow.

Remember, getting accepted to these schools are tough enough as it is, so make sure you have all your prerequisites on full blast. Also be warned, you will not be able to pick up a camera and start filming until a year's worth of courses in theory. But then again, don't let me stop you, these schools are prestigious and well renowned but sluggish and highly competitive and maybe even a little pretentious for the aspiring filmmaker who just wants to shoot something already!

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UPDATE FROM A READER: In regards to this sentence in your post -- "Also be warned, you will not be able to pick up a camera and start filming until a year's worth of courses in theory."

At USC (where I run the editing department) graduate students shoot and edit in their very first semester. But, because the program is pretty intensive and a huge time-sucker, the undergrads get most of their school requirements out of the way before starting the production program in their third semester. Once they do that, they're shooting and editing from the beginning.

It doesn't make sense for us to teach theory without practice, so everyone is working from the moment they start the program.

I'm not sure but I believe that NYU works the same way.

- Norman

----- Thank you Norman, this entry is intended to inform, apologies for the mix up. Now back to the post : ) -----


FUNNY STORY: I was once told by most of my instructors, that here in Hollywood, nobody cares about the school you graduated from. A degree in filmmaking is just another expensive wallflower to hang up on your mantle to make your parents proud. The main focus here is talent and experience. It's a tough cookie to swallow but the advice was coming from none other then USC and NYU graduates, so I guess they knew the routine. You have to respect that.

So logically you'll want to get to a school that'll give you an immersive hands-on experience. So you can build your resume, create short films, crew on other projects and write screenplays without the restraints of overbearing class schedules. In other words, you'll have the chance to "fast track" or expedite your learning process and get to the core of this career; WORK!


For this choice there's the infamous conservatory choices. AFI, THE LOS ANGELES FILM SCHOOL and THE NEW YORK FILM ACADEMY (which is located in Hollywood, go figure). All of these institutes promise a full on "all inclusive experience" and are all conveniently located within miles of each other. Some of these school's now even offer associate degree programs. So ya got the best of both worlds. The equipment is free to use, as long as you pass a simple test on the mechanics of whichever camera you'd like to take out and destroy (sd, hd, blu-ray, 16mm, 35mm) you'll also be looking at about a $30,000 to $50,000 tuition for a one-year certificate program. Which in my opinion is the way to go.


Now which school is right for me? Well that's really up to you. Do some research, I jumped in as fast as I could and I made some mistakes here and there yet I don't regret a single moment. The people I've met and the information I've absorbed has been indispensable compared to my enormous loan interest rate. Don't worry, I was only kidding about the interest rate, but not really : )

Just make sure you get to keep the rights to all the films you make. This is a biggie so make sure to inquire about that. Also ask about the quality of their equipment and if they update and clean the gear regularly. I knew a guy who spent $10,000 on his thesis project only to find out later that the 16mm camera he took out had scratched all of his film!!! Making the footage unusable. I mean, the cinematographer should of ran a scratch test but still, these things are not supposed to happen.


*I almost forgot, here's a tidbit of information, if you are planning to tour the schools from a different state or country then inquire about them paying for your way back. Surprisingly enough some of them will, grant it if you sign up for the program. Also try to make them waive the initial application fee which can be anywhere from $100 to $200. Doesn't really take much to do this, just say you can't afford it.

When it comes to housing, just make sure you don't pay through the nose like I did. I went with the first place that accepted my credit and wound up paying $1650 a month for a tiny one bedroom. The location was prime - on Hollywood Blvd - but overall you need to save. Life in Hollywood is expensive! I later discovered that down the street, the one bedroom flats were going for $1200 and with more searching I even found an $1100 dollar two bedroom on Melrose!!! Unfortunately I signed a fat contract so I was locked in at my place. Oh well. I threw so many parties, it's not even funny. Good times.

So to sum it all up, go with your gut and make it out to Hollywood, just make sure you get the most out of your experience by studying the land and being smart about the logistics. Hollywood is an exciting place to be when it comes to film, you'll see advanced screenings, maybe run into celebrities, attend premieres, meet industry professionals, eat great food, enjoy the insane LA nightlife. Seriously, nobody sleeps. My city screams so enjoy it to the fullest.

Remember to network, network, network and network. Be kind and genuine because "real deal people" can see right through a fake, just as it goes in real life. Also don't be afraid to fail, you'll learn through your mistakes.

So listen to your heart but be smart. Any questions or, if you've already made it out here and need a friend, don't hesitate to email me, stay tuned to the blog.

John Darko
johndarko1@gmail.com

ANOTHER UPDATE: The reader who informed us about the updated content is none other then Norm Hollyn.

Norm Hollyn is a long-time film, television and music editor including Sophie's Choice (1982), The Cotton Club (1984), Heathers (1989), Fame (1980) and Oliver Stone's Wild Palms (1993). He teaches courses in production and advanced editing at USC.

He is the author of the standard editing textbook, The Film Editing Room Handbook, and has been published in many magazines and journals. He lectures both nationally and internationally.

Norm is also a contributing member to the blogosphere, you can find his blog site here. Tell em' I sent ya.

P.S.
Thanks for reading. I've been so busy lately that's it's been tough to keep up with my e-mails but I gotta tell you, they all inspire me to follow through with the updates. So, if I have not yet responded to your e-mail, just give me a few days and I'll try my best to get around to all of them. Also a huge thank you to the 340 + people who have added me on linkedin.com over the last two weeks.


Tags:film school, back to school, los angeles, new york film academy, usc, ucla, chapman university, afi, picking the right school, going back to school, advice on choosing the right film school, california schools, john darko, www.johndarko.com, judd apatow, geroge lucas, film school alumni, advice, life, general, hollywood, celebrities, writing, screenplays, urban

Some stuff, more advice and a treatment for "5 Ways to Split Apart the Day"

Hey everyone! Another late night update "we're open late!" there it is; an instant slogan of mass copyright infringement proportions. What fast food place doesn't have that glowing sign stuck to their windows?

Let me tell ya, I wouldn't ming getting into a shoving match with Ronald McDonald at all.

There's something up with that guy. I know it, you know it...we all know it. McDonald's is like the gateway to hell, approach with caution.

Sorry everyone, been hanging out with my anti-establishment friends today. Also had a fun time at the park. Today was my nephews birthday, his name is Jude Byron (I take credit for naming him) and he just turned three! Great day, we ate, got drunk and had a huge brawl over who's got next on the Spider-Man jumper. When I see we, I mean...me and the kids. Just jazzing y'all. I'll post up the photos when I get the time.

On to the treatment.

This is for all you writers out there, or for anyone interested in becoming a screenwriter : ) So, you've just finished your first feature. Congrats! you're now almost half way through the gauntlet!

Grant it that you have producers or editors who are helping you pitch to some big s*** Hollywood players, pumping out a few more drafts to their specifications is always a given. This is why I always turn in my first draft as the sixth or seventh revision.

NOTE: I do not suggest you do the same. I have a different writing style, where I feel the need to iron out earlier scenes before I can write new sequences. So literally when I finally type "Fade to Black:" I must have been through the entire script six or seven times, dicing and slicing to a certain level of satisfaction. Surprisingly it works, but only to the degree of what you think a polished script should look like. Does it have a rhythm? Did you nail the beats? Is it spaced correctly? Any typos or grammatical errors? The list goes on.

So now you're through the "fix all these red marks on your screenplay" phase. If your lucky, someone is now helping you line your script for an estimated budget. This is what they call a top sheet. It sits on top of a presentation that fits into a fat three ringed binder. Inside you'll find a cover letter with; your overall intentions for the screenplay, a ROI estimate sheet, a compare and contrast to similar films with budget and box office analysis, a treatment and a sell sheet.

That's a ton of prep and all this after you just spent the past few months locked in a cage. Confused? Well there's good news!

• Good: You can easily do a google search for "script repair" and run through a few good places that'll happily charge you for all of the services listed above.
  
• Bad: It'll cost you an arm and a leg! A thousand for some of their basic packages and a few more for complete budget breakdowns and etc.

Hopefully you already have someone helping you out with the monstrosity mentioned above. My partner and I did and it helped tremendously. They are now busy on an unnamed big budget film, so kudos to our producers!

I hope you found this interesting. If you have any questions or would like some resources in the form of book suggestions or some real cool linkage, please feel free to contact me. I'm here to help. I'm just trying to cut this short because I'm super tired and I don't wanna make this too long.

So here's the treatment Jeremy and I wrote and the sell sheet I designed. You can either download the treatment by clicking here or by clicking on the image below.




So this concludes my night. It's 4:26 and I need some rest. But before I go here's my weekend shout outs! Lol. Who does that?

• Jason Baxter: Old roommate, college bud and semi-pro friend (also the guy who gets to write a Jet Li film) Hey bud!
• Slackmistress and Betheboy: Awesome bloggers, great live chat's. Check em' out. They're cooler then the other side of the pillow. Check for "slack daily" to the left, to the left.
• Mervin Luwee Ho: My cousin who paid me an unexpected visit. I hate you...just kidding. Thank you for the smokes.
• Matt and Charina: I hate you guys also.
• Jcorn: Love the awesome comments and kind words, thank you so much for the inspiration. Top rated amazon reviewer and an awesome content producer with hundreds of thousands views to her material. Linkage here.
  
• Wall-E: For being awesome.

Hope all of you had great weekends! Here's a treat for being soft and fluffy. Click here to download the 5 Ways title track in mp3 form. The artist is Surreal from The Sound Providers also known to me as Jeremy Thomas co-writer of this film.

It is now 4:43 and I am almost asleep. Tell your friends about me. Night!

Tags:5 ways, hollyweird, hollywood, john darko, update, treatment, advice, screenwriting, mcdonalds, slackmistress, betheboy, jcorn, jason baxter, mervin luwee, download