Benjamin Ray's Screenwriting Blog

My Screenplay Pitch To Lindsay Lohan

First thing -- watch Lindsay Lohan's unique pitch --

http://www.funnyordie.com/videos/0d6...armony-profile

Give her time, she will make it in Hollywood as a top actress. I believe in her.

So any producers/actors/directors who want to read my screenplay (for Lindsay Lohan to star in) -- please contact me at
brscreenwriter@gmail.com
www.hollywoodtoronto.com

Here's my pitch --

-----------------------------------------------------------------------------------
During my college and single days in Toronto and New York,
I became friends with some aspiring performers - dancers,
musicians, singers and stand-up comedians. What I learned
and experienced during that formative time led to me to write
the screenplay "Marcus and Faith", which reflects my observations
of good people enduring and struggling against substance abuse,
domestic violence/abuse and psychological torture. But somehow
they managed to pull through and subsist, fighting just to
pay the rent, in the hopes of one day achieving their desires - not
only to find fame, but also true romance and love. For them, survival
is dependent upon having the right partner as a windbreak, preventing
each other from falling into the abyss of self-destruction.
Sadly, relationships don't always work out and can worsen the
lives of individuals, leading to desperate times - poverty, hard
drugs, alcohol, prostitution and pornography while others struggle
with becoming a servant to their lover's drug-infested lifestyle.
So is there light at the end of this tunnel? Is this hellish path
worth following to become a true artist-performer? These are the
concepts and issues addressed in "Marcus and Faith".

With this script, I wanted to provide a prescription for survival
on a cinematic level, to express a truth that encourages viewers
not to escape from life but to find it, and ultimately to touch the
heart of the new generation as it comes into its own.

The story follows the jagged and disjointed lives of Marcus,
a stand-up comedian, and Faith, an aspiring Broadway dancer.
He's addicted to painkillers and she's hiding a dirty family secret.
Like two runaway trains, racing into the past as they try to save
each other from themselves. Will they survive the ride? Will they
jump off before they pass the point of no return? Or are they just
awaiting the inevitable fiery crash that lies ahead?

Sincerely,

Benjamin Ray
brscreenwriter@gmail.com
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Apr 17, 2009 7:34 AM | Link | Comments (0) | Add Comment | Report Content

Bob Heske -- Screenwriter and Graphic Novel Artist Extraordinare! INTERVIEW

I recently interviewed successful Screenwriter and Graphic
Novelist -- Bob Heske. Getting to know Bob over the past year, I
found him to be one the hardest working creative vision in Hollywood.
A leader and inspiring to all writers who specialize in the horror
genre.

INTRO --

Bob Heske is the writer/creator of COLD BLOODED CHILLERS, a comic
horror anthology that Dave Baxter @ BrokenFrontier.com calls "perhaps
the very best of the independently published anthologies that I've
read." Bob has also written a vampire series called THE NIGHT
PROJECTIONIST through publisher Studio 407 (www.studio-407.com) with
film rights optioned by Myriad Pictures (Jeepers Creepers 2). Cold
Blooded Chillers (including the new BONE CHILLER "best of" anthology")
are available as web downloads at www.drivethrucomics.com or can be
ordered as print copies from www.coldbloodedchillers.com. Issue One of
THE NIGHT PROJECTIONIST is available at local comic shops nationally.
Call your LCS and ask them to order THE NIGHT PROJECTIONIST (December
Diamond Preview Order # 084241) if it is not in stock.

THE INTERVIEW --

1. Do you often get this question - "can this screenplay be turned
into this graphic novel?" What specifications do you look for when
reading the script?

Actually, no. The biggest question I get is "I have an idea ... can
you write a screenplay about it for me?'

Graphic novels have become a hot commodity in Hollywood in recent
years and have churned out big box office success (think anything
"Marvel" or this year's soon-to-be-blockbuster Watchmen).

But comic purists will tell you that OGNs (original graphic novels)
are their own form of story telling art - the thing is, because these
tales are essentially already "story-boarded" in sequential
panel-by-panel art form, many are readily translatable to film. In
terms of what makes a great graphic novel also a great film - well,
it's the old standbys of premise, plot and character. If you've got
all three and they resonate with mass audiences - which in today's
market means global audiences - then you've got a winner.

When I sit down to write a screenplay or a comic series, I start with
the story premise. Does the story or series summed up in a logline
sound intriguing, unique and marketable? For example, for THE NIGHT
PROJECTIONIST (a vampire series published by Studio 407 with film
rights optioned by Myriad Pictures), the logline was:

The night projectionist at a condemned movie theater takes his
audience hostage on Halloween as a coven of vampires descend upon the
town. As a bloody seige begins, a dark secret unravels and the captive
audience must decide whether the night projectionist is here to
protect them ... or to feast on them!

2. There is a big demand for graphic artists and writers. Where are
some the best places to network on the internet? Would upcoming and
established writers and inkers in this field be interested in reading
feature screenplays and accepting query letters? Is this a trend?

Actually, I think the pool of writers and artists is much bigger than
the demand. Sure, there are lots of people who want to collaborate
with no pay upfront ... but the paying gigs are far and few between.
That's why there are some many indie comics out there and relatively
few "true fans" that follow each.

RE: Networking on the Net - Well, I tried a few places. The first was
emailing local art colleges. I got poo-poohed by haughty professors
telling me their students were too busy with assignments for blue chip
publications. I ended up going to www.comicspace.com where hundreds of
working artists post galleries of their work. I did a key word search
for "horror noir" and then "befriended" the artists on comicspace by
sending them a personal note. Ultimately, I've made almost all of my
key connections this way from one web portal.

I should also note that comic artists are always excited when their
work is transferred to the Big Screen. However, most in the comic book
industry frown upon the practice of writing a screenplay and then
trying to introduce it first as a graphic novel. Plus, the story
structure is so much different from a screenplay than it is for a
graphic novel. For example, a screenplay is paced to have a beginning,
middle and end. Whereas a graphic novel series can be 4-6 single
issues each with their own beginning, middle and cliff-hanger end to
rope in the reader to follow up with future issues. Another thing - a
writer for comics provides a ton of "directorial notes" - e.g., adding
as much visual cue for the artist as possible. If I tried to provide
this much visual direction to a screenplay, I would be scoffed at by
producers and labeled an amateur (after all, the "vision" is the
director's role!).

So, I think what happens is that some really creative writers and
artists develop some very cool, bleeding-edge concepts that they put
out to the world as graphic novels. As these publications get popular,
it catches Hollywood's eye and they option the works they think will
make money.

3. Let's look at the movie THE SPIRITS, why did it fail at the box
office? What lesson is there to be learned from this?

Honestly, I didn't see THE SPIRITS. But it's easy to see why films
like DARK KNIGHT, IRON MAN and the upcoming WATCHMEN inevitably
succeed. Great story. Great character. Great effects. Graphic novels
can have a cult following but once they are churned into movies they
need to retain mass appeal to be considered a financial (not
necessarily critical) success.

4. What are some of your favorite graphic novels and comics?

I enjoy horror noir. And I like the old campy horror like CREEPY and
TALES FROM THE CRYPT. As for graphic novels, I like to peruse the
indie market since that is what I create (so I try to support similar
endeavours). I'd recommend a nice little OGN called HEATHENTOWN by
Gabriel Hardman & Corinna Sara Bechko. I also like the work put out by
Insomnia Publications (CANCER TOWN, CAGES) and Studio 407 who
publishes my THE NIGHT PROJECTIONIST series as well as several other
creepy horror titles (HYBRID, NETHERWORLD, DEMON SQUAD).

5. What are some of your favorite horror movies?

My favorite horror movie of all time is the original HALLOWEEN. Recent
movies I have liked have centered on what I call "suburban horror"
where the monster is man. A great example out of the UK was LAKE EDEN
where a couple on romantic holiday at a secluded lake are terrorized
by a local gang of teen hoodlums.

6. Could you name of some movies that you would like to see converted
into graphic novels?

I'm sure there are lots out there - I don't get to read as many
graphic novels as I want to because they tend to be more expensive
than books and my local "Annie's" used bookstore doesn't carry them. I
spend so much money self publishing and self-promoting my COLD BLOODED
CHILLERS series (available at www.coldbloodedchillers.com) that I
can't rationalize buying new books to my wife and two hungry kids. I
think HEATHENTOWN would be good. Not to mention that two titles from
Studio 407 - HYBRID and THE NIGHT PROJECTIONIST - are both slated to
be turned into films. I am also anxious to see how Hollywood can
dumb-down the complex story of WATCHMEN into a 2-hour movie.

7. What projects are you working on currently?

I am writing a low budget thriller with a UK director and writing a
spec script which I will market on my own. If I can get an uptick in
sales for my COLD BLOODED CHILLERS series, I will also do a 4th issue
this summer. I am hoping to start work on the screenplay for THE NIGHT
PROJECTIONIST some time in the coming months too.

8. Are you a strong believer that all aspiring and upcoming
screenwriters should enter Screenplay Contests? Was your experiences
any good or/and bad?

Screenplay contests are good things and can both inspire and provide
affirmation if you win/place/show. With that said, there is something
to be said for moderation. Entry fees average $40-$60 and if you enter
a lot of contests it can add up. I spent $2K one year. Sure, I felt
good that a large share of the contests recognized my writing - but
nothing sold. In retrospect, I'd put the money I spent on contest fees
into hiring an artist to create my own comic book series or graphic
novel. That's much more rewarding!

9. After you entered a few Short Screenplay Contests and winning, did
some producers contact you afterwards? What are producers looking for
in a short script?

I've had lots of short screenplays optioned, but only one was made
into a bonafide short that had quality actors and an Emmy-winning
production crew - it was called WAITING (based on a short script I
wrote called THE WAITING ROOM). It stars Richard Schiff and Izabella
Miko and was co-written by director Lisa Demaine. Another film credit
was for a co-writing job where I did an edit of the director's script.
However, I still have lots of hope - particularly that my COLD BLOODED
CHILLERS indie horror anthology gets noticed and a few of the stories
get produced as shorts or as a web series. I should give a shout out
to one contest for paying attention to me post-contest - James Fischer
at The Writers Place (TWP) has kept in touch and included my
accomplishments in updates on his website and in periodic mailings to
producers. TWP is a nice little contest, should anyone be interested
in submitting to a feature or short screenplay contest (they also have
poetry contests).

10. Studios which create and publish graphic novels -- are they
looking for writers? Maybe they just look for a writing team (the
inker and the writer).

Just like production companies are always on the lookout for the next
great "Slumdog Millionaire," publishers are also seeking the next
great OGN. So the answer is "yes" ... but the odds are great (meaning
not very good) that you will be "the one" they are looking for. Feel
free to look up publishers and submit a treatment for your idea.
Personally, in the modern digital "DIY" (do-it-yourself")
self-publishing era, I would hook up with an artist that shares your
vision and passion and make a go of it yourself. It takes time, some
money, lots of commitment ... and maybe luck will shine on you.

Interviewed by Benjamin Ray -- Screenwriter. His screenplay "Marcus and Faith" won first prize in the thriller section at www.928inc.com. Competition judges included Daniel Yost, the screenwriter of Drugstore Cowboy, starring Matt Dillon. And one of Benjamin Rays's short scripts "Bring On The Pain" was recently sold to Resolve Films. For more details, please visit www.hollywoodtoronto.com.

Mar 10, 2009 10:42 AM | Link | Comments (5) | Add Comment | Report Content

Screenwriting Mixed With Soundtracks!

Which is your favourite track in the Slumdog Millionaire soundtrack?

This soundtrack is inspiring screenwriting around the world --
to write a "kaleidoscopically" challenging screenplays.

Why is that?

Atom Egoyan, a celebrated director said that
pre-music production and listening is a vital force in
screenwriting and directing.

Feb 21, 2009 7:45 AM | Link | Comments (0) | Add Comment | Report Content

Tarantino's INGLORIOUS BASTERDS - Most Awaited Film This Summer

This is one entertaining trailer and I
bet it will become a cult movie classic.

Why are movies like these made?

Reason -- it all starts at the
the HighSchool/College/University level...

WHICH IS A GOOD THING!!!!

If you can write or make a popular movie that's loved
by folks between 16-30 foremostly, then you have
a clear-cut BOX-OFFICE winner. You know -- a movie that is
immortal. Eg. Pulp Fiction, Kill Bill etc.

Happy to see there's someone like Quentin Tarantino who
knows how to make movies for the NEW GENERATION!

http://www.traileraddict.com/trailer/inglorious-basterds/teaser-trailer

Cheers,
Benjamin Ray
brscreenwriter@gmail.com

Feb 14, 2009 8:22 AM | Link | Comments (2) | Add Comment | Report Content

'WATCHMEN' THE MOVIE --NEW YORKERS GOT TO SEE A GLIMPSE

At New York Comic-Con on Saturday afternoon -- the lucky crowd gathered into the Warner Brothers panel as the studio KICKED off a thirty-second clip from their forthcoming graphic novel-adapted EXTRAORDINARY blockbuster.

Anyone saw it?

Tell us the details!

What was the crowd reaction at the end?

Feb 9, 2009 5:33 PM | Link | Comments (0) | Add Comment | Report Content

Valentine's Day and Cinema

What are some of your favourite
Valentine's Day movies to share and watch?

Here's my list --

1. A Room With A View
2. Moulin Rouge
3. An Officer and a Gentleman
4. The Year of Living Dangerously
5. Gone With The Wind
6. Always
7. The English Patient

Cheers,

www.hollywoodtoronto.com
"If I can get here, so can you," the 52-year-old Boyle told the
audience in a brief acceptance speech. "Dream kind, dream........."

Feb 3, 2009 7:09 AM | Link | Comments (1) | Add Comment | Report Content

G.I. Joe, Script Review...

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

Read it now and get ready -- this movie will gross over 500 million dollars in one year after the the first day of release...

http://www.latinoreview.com/script-reviews/7

Director:Stephen Sommers
Writers:Stuart Beattie (screenplay) and
David Elliot (screenplay) ...

Release Date:7 August 2009 (USA)

Keeping you in the loop,

brscreenwriter@gmail.com
www.hollywoodtoronto.com

Jan 23, 2009 2:20 PM | Link | Comments (2) | Add Comment | Report Content

Final Draft BIG BREAK Contest Winner from Toronto, YES, Toronto Forever!!

Final Draft has JUST announced THAT Terry O'Brien's Flesh & Blood as the BIG winner of the 2008 Big Break International Screenwriting Competition --

1st Place:
Winner: Terry O'Brien - Toronto, Canada
Flesh & Blood
Kidnapping and murder were never part of the plan. It was supposed to be easy. Dump the car, hike upriver and bust out an older brother from juvenile boot camp. Lost in the wilderness, the volatile gang of city kids turn on each other in a fight for survival.

2nd Place:
Jordan Thomas - Seattle, WA
Arctic Air
An Alaskan bush pilot turns bootlegger to save the airplane he believes houses his best friend's disembodied spirit. He crash-lands in a remote village inhabited by recovering alcoholics and the love of his life. If he can escape before the villagers get to the booze, he won't be forced to choose between the plane, or a promise made to his dead partner.

3rd Place:
Robert Bowden - Bristol, United Kingdom
A Child of Our Time
A shy and secretive artificial intelligence helps euthanize her dying creator only to become hunted by the authorities. When fate offers her a chance to redeem herself she takes it, knowing she faces certain destruction

This is fantastic news!

Benjamin Ray
brscreenwriter@gmail.com
www.hollywoodtoronto.com

Jan 17, 2009 1:10 PM | Link | Comments (0) | Add Comment | Report Content

Sample Query Letter, from my Manager's Point Of View

------------------------------
Recently, the internet was buzzing about Warner Bros. purchase of Andrew Gottlieb's "Drink, Play, F@#k".

My client Benjamin Ray emailed me saying that he would be more than interested in being involved in the process of adapting this exceptional story into a screenplay.

Benjamin has written spec scripts for features, music videos, TV commercials and short subjects. One of his scripts, "Marcus and Faith", a thriller, won first prize in the 2007 Pacific Northwest Screenwriters Contest. The judges, who awarded Benjamin Ray this tremendous validation for his writing, included Daniel Yost, the screenwriter of Drugstore Cowboy.

In addition to placing as a quarter-finalist and semi-finalist in other major contests and getting requests from producers, his screenplay was reviewed by Phil Gladwin - a screenwriter and script editor for both the BBC and ITV. Here's what he had to say -

"Recently I read the script Marcus and Faith, and found it a compelling investigation into evil. The story seldom falters, the dialogue is strong, potent, and vividly alive, and, despite the dark subject and the unflinching tone, the piece glows with hope and a yearning for the warmth of the human heart that manages to bring some kind of redemption into a very bleak world."

Yes, all of Benjamin Ray's scripts are dark, maybe darker than the book and that's why he could make it fly, jump and spit off the page and attract major interests. A writer who continues to market his writing with real passion and crazy energy he would like to be known as the thinking man's "Parkour" of screenwriting.

Sincerely,

Writer's Bio - While working as a stand-up comedian, Benjamin Ray caught the screenwriting fever and never looked back. Unlike screenwriters who learned their craft through film school, he's self-taught and honed in his skills while working on stage, juggling three shifts and a family. Consequently, he developed a fusion of controversial pop culture, and exciting and daring cinema.

======================================================================================
Benjamin Ray
www.hollywoodtoronto.com

Jan 15, 2009 8:04 PM | Link | Comments (1) | Add Comment | Report Content

Top Script Consultant William M. Akers & Ron Peer Provides Timely Advice. From an E-mail I Just Received

Hi folks, I just got this fantastic email, an I would like to share it with the members of Storylink.com

"Hello Fellow Screenwriter,

Today I want to share an excerpt from a great book by
William Akers. This short excerpt will give you food for
thought as you prepare to write description for a new scene.

Hope you find it useful -- Ron Peer

===============================================

From William M. Akers:

I've been doing exactly what you do, writing, for a long, long
time. I've taught and critiqued screenwriters for almost that long,
and, lo and behold, I discovered that all beginning writers make
the same mistakes. So I wrote a book, a checklist of stuff to do to
your script before you send it out.

Here's an excerpt from Your Screenplay Sucks!, 100 Ways To Make It
Great. I hope it proves helpful as all get out.

***

One fine sunny Los Angeles afternoon, I was sitting in an
assistant's office, waiting for the producer, and her door was
closed. Probably inside her kitsch-packed office playing paddle
ball. I'll never know. Anyway, killing time, I looked above the
assistant's desk, and there were two shelves overflowing with
screenplays. They ran around three walls of the room. For mental
gymnastics, I estimated how many scripts there were. 1,400. One
thousand four hundred screenplays, and they all had agents.

To someone at a typewriter or a computer in a city other than Los
Angeles, far from the agent's desk, or the producer's office, it is
impossible to conceive of the staggering volume of material the
system has to contend with. The number of scripts that gushes over
the transom of every producer, or agent, or executive, every week
boggles the mind. You're one writer sitting in your room, or at a
park, or coffee shop, writing your screenplay. There are thousands
of people sitting in parks all across this great land of ours,
writing screenplays too. So, what you're writing has to be really
good.

Writing a spec screenplay (writing on "speculation," hoping to sell
it) is all about the reader, not your teacher, or a friend who
critiques your material, but someone who is paid to read your
stuff. You know, a reader with fifteen scripts to plow through each
weekend. If you're not actually in the business, you have no idea
how monumentally difficult it is to find someone "real" to read
your material. If you ever get that chance, you don't want to mess
it up.

While it's true a reader really, really wants to unearth a
fantastic screenplay, and opens each one with that uncrushable hope
in mind, he is also dying to quit reading so he can flop by the
pool with a delightfully refreshing umbrella drink. Therefore, if
you give him any excuse to toss your script, he'll take it. And
poof!, all your effort will be for naught. A big fat waste of six
months of your life. Or a year. Or seven years, like one guy I
know.

For some of you, this may come as heartbreaking news: the only
people who want to read your work are your parents, maybe, and your
boyfriend or girlfriend, depending on how new the relationship is.
Remember the umbrella drinks? Readers want something that reads
like lightning. Something with plenty of white space. Something
where they don't have to fight to figure out what you're trying to
say.

For the reader, reading a screenplay is like sprinting through a
dark swamp across a hundred yards of floating lily pads while
getting shot at by savages. The last page is the shoreline the
reader is desperately trying to reach. If something breaks her
concentration, even slightly, she may stumble, lose her balance and
fall into the piranhas. Do everything you can to keep her on the
lily pads!

That said, here are tips from my snarky little book!

You have not paid attention to image order in scene description!

As someone reads your scene description, they create images in
their mind. Image after image pop into their head, telling your
story -- in the order that they read it. You have to give it to
them in the right order, or they won't see it the way you imagine.

Here's an example of confusing image order: "During the American
Revolution, Andrew Jackson was captured and wounded by British
soldiers." Does that mean they grabbed him, handcuffed him, and
then shot him? Probably not.

Laura and Dutch race monster trucks at a video arcade.

Here's how it appears in the reader's mind as he moves image by
image through the sentence:

Laura and Dutch race monster trucks WOW, WHEN DID LAURA AND HER
GRANDPA BUY MONSTER TRUCKS?! I THOUGHT THEY ONLY RACED HORSES. OH,
WAIT, NOW I SEE. at a video arcade. I GET IT. FINALLY. OOPSIE.

Say it this way:

At a video arcade, Laura and Dutch race monster trucks.

I think about the reader, standing beside the camera, their feet on
the edge of the frame, watching the story unfold, image after
image.

THE STREET
Frantic Vietnamese drop from the struts as the Huey reaches treetop
height.

The first image is of Vietnamese dropping from helicopter struts.
But we don't know anything that allows us to place that image in
context. After rearranging, it makes better sense.

THE STREET
As the Huey reaches treetop height, frantic Vietnamese drop from
the struts.

If we don't know a helicopter has reached treetop height, it's
confusing to prematurely talk about people dropping from the
struts.

The best way to unearth this problem is to read your work out loud!

This counts in sluglines too. Tell us what we need to know as we
need to see it. Here's a mistake I made.

Original slugline:

EXT. CHAOTIC STREET - XUAN LOC ("SWAN LOCK") NIGHT

REFUGEES stream past. The CREW rapidly sets up, The reporter,
ELLEN, exuberant, healthy, in her thirties, is a total pro. One
crew member, TU, is a young Vietnamese man.

And, a slugline on the same page:

EXT. U.S. MARINE - SAIGON AFTERNOON

A young black MARINE GUARD looks out unblinking from under his
white cap. He sweats with the heat.

Uhh, stupid.

I should have had the wide shot first, then the close up. Tell us
we're in Xuan Loc and then say it's a crowded street. Tell us we're
in Saigon, then tell us we're looking at a Marine.

EXT. XUAN LOC ("SWAN LOCK") - CHAOTIC STREET NIGHT

REFUGEES stream past. The CREW rapidly sets up, The reporter,
ELLEN, exuberant, healthy, in her thirties, is a total pro. One
crew member, TU, is a young Vietnamese man.

And, on the same page:

EXT. SAIGON - U.S. MARINE AFTERNOON

A young black MARINE GUARD looks out unblinking from under his
white cap. He sweats with the heat.

Makes more sense this way, and every little bit helps.

Remember, scene description is only what the camera sees. Don't say
"a manila envelope filled with a stack of papers" until he opens it
and you reveal to the camera that it's a stack of papers. You can
say "a bulging envelope," but you can't tell us what's inside
unless the camera can see it.

Here is an example of incorrect image order:

EXT. SIDEWALK - DAY

American gothic-like Gary and the SOD SQUAD are on a billboard
reading, "Got Grass? Grassguru.com."

Interesting writing problem here. When you re-read what you have
written, you have to keep the readers in mind. The first words they
see are going to be the first picture they put in their head.
"American Gothic-like, Gary" makes me imagine that Gary is standing
up straight on the sidewalk with a pitchfork.

Then I see the words "sod squad." I am thinking he is standing next
to a bunch of people, all of them on the sidewalk. Then, and only
then, do I see the word "billboard." Suddenly, I have to rearrange
the picture in my mind. This is confusing. You must be aware of the
picture you're creating for the reader. The reader can only get
information in the order you give it.

EXT. SIDEWALK

High above them, on a billboard, Gary and the SOD SQUAD, American
Gothic-like. "Got Grass? Grassguru.com."

Final example:

The stake hits the rock floor as Francis rolls out of the way.

Francis has to roll out of the way FIRST. Then the stake can hit
the floor. Don't make us imagine the stake hitting the floor and
then try to conjure up Francis rolling out of its path. If it's hit
the floor, why does he have to roll anywhere?

Image order. It matters!

Again, and not for the last time, read your stuff out loud!

Your sense of entitlement is in overdrive! a.k.a. "Don't fight the
notes!"

No one owes you a read.

"If I read a bad script, which takes me forty five minutes, I can't
ask for my money back or my time back and I am filled with
incalculable amounts of rage."
-Los Angeles Producer

No one owes you anything. Just because you took the time to write
your fabulous screenplay doesn't mean anybody Out There is honor
bound to read it. It may be the greatest screenplay on earth, but
there are plenty of scripts floating around and if they miss out on
reading yours, they won't lose sleep over it.

Remember the massive amount of stress and time involved to be in
the movie and television business. When you approach someone
"real," be aware of their schedule and what you are asking them to
do. If you ask someone to read your script, you are begging for a
couple of hours out of their life, that you can't give back. You
can give them a nice present, a cool book, or a Starbucks gift
card, but listening to their advice, and taking their suggestions,
is not a bad idea either.

If someone agrees to read your screenplay, you must treat them like
a precious jewel and never assume they'll get to it this weekend,
despite what they say.

Be sweet. Be patient. Be tolerant. And don't act like an idiot.

The last thing you want to do is come at somebody, guns blazing,
put out that they haven't gotten to your phenomenal screenplay
quickly enough to suit you. You're lucky they'll take your calls,
so act accordingly.

And, if perchance, they are thoughtful enough to give you notes,
take them!

"No one is as arrogant as a beginner."
-Elizabeth Ashley

If somebody reads your script and doesn't want to canonize you as
quickly as you'd like, but they have notes, then dutifully write
them down and act interested. I get this a lot with writers who
have never had anything produced. Newbies are often less open to
criticism. Maybe they figure the advice is worth what they paid.

Do not fight the guy giving notes. Do not say, "but the act break
is there, you just can't see it." Do not claw for every yard like
it's Omaha Beach. Copy down what they say, murmur gracious
acceptance, and say "thank you" at the end. Don't act like you know
more about screenplays than they do. Don't act like they're idiots
because they don't understand what you've so generously taken the
time to have written!

When I was in film school, we showed our pathetic little first
projects and one guy's was terrible. It happens. So, we were going
around the room and giving our most afraid-of-being-hurtful
comments, and he said, really put out, "It's a personal film!
You're not supposed to understand it!" He vanished soon thereafter.

If you find someone to read your script, the door to Hollywood
opens. Slightly.

If someone reads your script and is kind enough to give you notes,
but because of some insane sense of entitlement, you fight them on
the notes, that great golden door will begin to close. You won't
see it close either, because these guys are smooth, like the
Flusher in college fraternities -- the pleasant guy during rush who
leads the loser to the back door, all charm and grace and
understanding. He gently explains to the dweeb that perhaps he
might try his luck at a frat house down the road, and the guy
leaves all smiles, unaware he's a dead man walking. That's how it
is when the Hollywood door closes. You never feel the needle enter
your brain.

These people read twenty or thirty scripts a week. They have no
time or tolerance for arrogance. Remember, it only crosses the
reader's mind how long it took to read, not how long you took to
write it.

If you refute the notes, he or she is absolutely going to think,
"Dude, I took an hour of my weekend to read your script. You're a
guy who has never done anything, and there's a shot I could know
what I'm talking about - at least listen!"

And the great, golden door will lock. The producer will go off to
her production meetings and casting sessions and free lunches and
massages and first days of principal photography, and you will be
left alone on a raw, windy sidewalk, clutching your screenplay,
looking at the high wall and the closed steel door, wondering why
it's got no handle.

Author of Your Screenplay Sucks!, 100 Ways To Make It Great,
William M. Akers is a Lifetime Member of the WGA and has had three
feature films produced from his screenplays. Akers has written
scripts, series television, and documentaries for the MGM, Disney,
and Universal Studios, as well as Fox, NBC, ABC, TNN television
networks. Currently, his screenplay about the fall of Saigon is
under option to Overture Films with director Jon Amiel. He teaches
screenwriting and filmmaking at Vanderbilt University."

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Ron Peer
The Screenwriting Visualization.com

P.O. Box 22279, Phoenix, AZ 85028, USA

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