SO, WHAT’S THE STORY?

Written by

Screenplay, Novel & Career Consultant

MICHELE WALLERSTEIN

     Every agent is waiting for you to bring them the next big saleable screenplay that will knock the business off its axis. They want you to show them that piece that will have producers and studios panting at their doors with huge offers of money and multiple deals of future movies. Agents want the best for you, because it means the best for them. I happen to believe that this relationship is a great one. It is an honest quid pro quo - if you are successful…I am successful. How bad is that?
     OK, so how do you make that happen? How do you deliver the perfectly written project that will make the town sit up and take notice? It’s not as difficult as it sounds. The first thing you have to do is STOP thinking that you have to write the most unusual script of all time. This kind of thinking will destroy your chances of not only selling the script, but of keeping your agent. I’ve found that new writers often have the tendency to try to impress people by “thinking outside the box”. Well folks, the “box” is there for a reason, it works. Throughout movie history, audiences have loved certain types of films. They go to see them over and over again. When you are working to get in to the business, go with the flow. Perhaps, after you’ve established yourself as a player, you might be able to expand your horizons, but it’s not the way to get into your chosen field.

Insofar as your early spec scripts are concerned, here are some rules to live by:

     1. No Togas. By this I mean to say period pieces. Keep your early scripts contemporary. Period pieces are extremely difficult to sell. They go in and out of favor with the studios by the minute. You never know whether you are too early or too late with your piece. They are not good as writing samples since they are too specifically time/era dependent. This means manners, customs, morals, societal relationships, styles of speech, etc… . Oh, and by the way, try to stay on this planet.

     2. Keep it simple. Stay away from twins. Don’t make a script too complicated to produce. As soon as a development executive or producer sees this they will toss it into the “circular file”. It is too much of a pain in the neck. Try not to write a script that is so complicated that it would make the casting a horror. Another example, besides twins, is a multi-generational story of the entire cast. This means a nightmare of casting as well as costume and set changes that are a financial pain. Don’t go there. Besides, no one really wants to watch Brad Pitt or Ashton Kutcher age before their eyes.

     3. Keep ‘em young. If you really want to kick start your writing career, try to have your early scripts feature a fairly young cast. In my mind the term “young” means any age up to 29 years old. Not one minute older. The youth market is what is the most viable today. Actually if you can write a script for 9 year old boys, you are really in good shape. The research shows that those boys will return to see the same film over and over again with different friends and family members. Recidivism is the word. Let’s not forget our little friend, Harry Potter.

     4. Location, location, location. This is not simply a rule in real estate. This is a real consideration in movie making. A studio never has a problem putting their money in a viable movie star who can “open” a movie. That means that any movie starring a particularly huge actor is guaranteed a certain bottom line of huge dollars at the box office in its opening weekend. Foreign or multiple locations do not promise this type of money for the film and they are very expensive. It is not a hard and fast rule to keep everything set in one location but simply something to keep in mind. You always want to be realistic in your writing. Think bottom line.

     5. The Star. Here are the rules for your main character and they are hard and fast. These points apply to all genres. Do not try to change them for any reason.


a. The Star’s character is on every page.

b. The Star’s character resolves the problem

c. The Star’s character has the most lines

d. The Star’s character gets the girl (or the guy)

e. The Star’s character is the smartest person in the cast

f. The Star’s character has the last word in the film

g. The Star’s character must grow as a person

h. The Star’s character must learn something about him/herself

     6. Coincidences. They only complicate the plot. Coincidences never, ever resolve the problems. When you have a coincidence resolve a plot point the audience feels cheated.

     7. Depressing/Dramas? There is a fine line between being depressing and being dramatic. You need to understand the difference in your early writing career of dramatic film writing. I love a good dramatic relationship film. I hate depressing movies that have no other saving grace but to be sad. “HUD” was a great drama starring the late Paul Newman, another great drama was the 1957 film titled “A FACE IN THE CROWD” starring Patricia Neal and Andy Griffith. These are films that must be seen by serious film writers. As an agent, some years ago a client brought in a brand new script that he had never discussed with me. He proudly handed over a large box of them, with leatherette covers with gold embossed titles. This sent a clear message that I was not to give him any notes and that he wanted them to be sent out just the way they were. The story in those scripts was about the murders of elderly, helpless people in an old age home. It was so depressing that I could barely read it. Not only couldn’t I submit this well-written script, but I had to let the client go.

     8. Choices. Write a contemporary drama, comedy, suspense, thriller, murder/mystery, teen-comedy, romance, etc… . Keep your characters interesting and believable- make us care what happens to them. Try to write “up” to the audiences’ intellect and emotions. We want to leave the movie theater feeling like we were entertained and that we learned just a little bit about the human condition. The movie studios like this too.

Michele Wallerstein is a former Literary Agent who now works as a Screenplay and Novel Consultant.
Email: novelconsult@yahoo.net
Website: www.Novelconsultant.com

Today's guest blog is by Michele Wallerstein.

HOW TO BE AN AGENT’S DREAM CLIENT

By

Michele Wallerstein

     An agent works very hard to guide a writer’s career. We help them with their material, we set up important meetings for them, and we see that their material is read by the right people, we negotiate their deals, we share information with them and we even listen to their personal problems. Is that enough? OK, we also show an interest in their spouses and children, we try not to hurt their feelings when their work is rejected; we are loyal and often very caring. We keep our eye on the ball and an ear to the ground. We know what’s going on in the business and who’s buying what. Is that enough?

     But……then we must let the writers go out into the world by themselves and we pray that they do not do themselves harm. This is the most daunting of our tasks.

Here are ten (10) things that clients mustn’t do:

1. Getting stuck on one idea. I’ve had clients that have written the same basic story in novel, screenplay and theatrical play form. This is an incredibly huge waste of time.

2. Thinking everyone is wrong, except you. When your project has been turned down by more than five (5) companies, chances are it won’t sell. This can happen with a pitch or a completed novel or screenplay. Right or wrong, they aren’t buying and there’s nothing you or your agent can do about it.

3. Ruining a meeting. Are you talking too much or not enough? Are you listening to the principal person in the meeting? Did you arrive late? Did you dress inappropriately? Did you argue too much? Did you stay too long?

4. Missing your big chance. I’ve represented many writers who really wanted to direct. In one specific case the writer became a producer on various TV series over the years. I kept telling him to direct some episodes, but he said that he was too busy. He never became a director.

5. Calling your agent too often or not often enough. If you don’t seem interested in your career, why should your agent. If you are calling every day without new material or ideas, you are nagging. Big no-no.

6. Not showing appreciation to your agent, manager, and lawyer. Yes we all get paid, but sometimes that isn’t enough. Everyone wants to feel approval. We all want someone to simply thank us for a job well done. Take them to lunch; buy them a simple birthday or Christmas gift. Say “thanks.”

7. Changing agents. Most of the time when clients change agents it’s because they aren’t getting work or selling their material. Is that really your agent’s fault or are you not doing your job very well? Have you brought in new ideas and scripts? Are you keeping up relationships with people you’ve met via your agent? Are you doing everything you can to further your own career? Remember, you get to keep 90% of the money.

8. Moving from a small agency to a very big one. Bad idea. If a small agency has worked hard to build your career, you can bet a larger one will come along and make tremendous promises to lure you over to their client list. Invariably, you will be ignored, forgotten, mistreated and overlooked.

9. Demanding too much. This can mean time from your agent, producer, development person, manager or lawyer. It can mean money for your project that may not warrant as big a deal as you want. Once you earn it….you’ll get it all.

10. Drugs and alcohol. They will ruin your career.

     Getting into the world of screenwriters and published authors is difficult enough. Making the mistakes listed above is a sure-fire way of losing any toe-hold that you may gain, at any time. All too often I’ve seen successful writers fall off the “hot writer” list in Hollywood because of any of the above errors. Don’t let it happen to you.

Email: novelconsult@yahoo.com
Web site: www.Novelconsultant.com
Copyright 2009 Michele Wallerstein. Not be used without written permission from Author.

Michele Wallerstein’s new book titled:

“Mind Your Business:  A Hollywood Literary Agent’s

Guide To Your Writing Career”

Will be in book stores on July 1, 2010.  The book covers all you need to know about the business side of your writing career.  It includes chapters on the agent/client relationship, how to network successfully, the differences between agents, personal managers, business managers and lawyers, the right query letter and much, much more.  There is no other book on the market that covers the insider information that you need to know to have a successful career as a film and television writer. 

Pre-order now at:  Amazon.com

Email Michele at:  novelconsult@yahoo.net

WGA REGISTRATION vs. COPYRIGHT REGISTRATION

For screenwriters who use the latest version of Final Draft ® to help write their script, one nifty feature is the ability to register the screenplay with the WGA-West Intellectual Property Online Registry with the touch of a button. Many (if not most) screenwriters register all of their scripts with the WGA Registry, and, believing that they have done all that is necessary to protect their script, they neglect to register the script with the U.S. Copyright Office of the Library of Congress (http://www.copyright.gov).

Imagine their surprise when someone steals their screenplay and they learn for the first time that, other than establishing a date of creation, the WGA registration gives them almost no benefits at all. In fact, relying solely on the WGA registration can prove extremely costly for the following reasons. 

First, although copyright protection exists at the moment of creation, registration with the Copyright Office is required before a lawsuit can be brought. Because it can take up to six months from the time the application is mailed to the Copyright Office until the application is processed and returned, if the writer needs to immediately file a lawsuit (i.e., in order to enjoin the movie's distribution), he must apply for an expedited registration, for which the Copyright Office charges an additional $760.

Second, if the writer registers the script with the Copyright Office only after the infringement has taken place, he will be barred from recovering attorneys fees or statutory damages in the lawsuit.

Third, if the script is registered prior to or within five years of its publication, the registration acts as prima facie proof of ownership of the script in the event of a trial. There is no such benefit from the WGA registration. 

The only real advantage of the WGA registration is that, in the event of a lawsuit or a credit arbitration, the WGA will have an employee appear and testify concerning the date of the registration. But this is rarely an issue during litigation. 

Therefore, if you are a screenwriter wondering whether to register with the WGA or the Copyright Office, the answer should be clear - always register your script with the Copyright Office, and, if you have the extra $10 or $20, register with the WGA as well. And if you have scripts in your drawer that you registered in the past with the WGA, but never bothered to register with the Copyright Office, now is the time to do so. Before the work is infringed. . 

	WGA Registration	Copyright Registration
Cost	$10 WGA members $20 non-members	$35
Duration of Protection	5 years, but renewable for additional 5 year terms	If author is a natural person – author’s life plus 70 years; If author is a corporation, anonymous or pseudonymous, then 95 years from publication or 120 years from creation, whichever is shorter.
Allows Immediate Access to Court?	No	Yes
Allows for Attorney’s Fees If Infringed?	No	Yes, if registered prior to infringement or within 90 days of publication
Allows for Statutory Damages If Infringed?	No	Yes, if registered prior to infringement or within 90 days of publication
Will Accept Submissions Over The Internet?	Yes	Yes
Acts as prima facie proof of ownership?	No	Yes
Will have employee appear in court to testify about date of submission?	Yes	No

Larry Zerner is an entertainment attorney in Los Angeles who specializes in copyright infringement litigation. He can be reached by email at  Larry@Zernerlaw.com or by phone at 310-203-2299.

Ian Fleming Interviews Raymond Chandler

Nice rare BBC archive find a friend located on the net:

http://riordansdesk.markcoggins.com/2007/03/his-masters-voice.html

Kevin Brownlow re Abel Gance

Noted film historian Kevin Brownlow discusses Abel Gance. Nice rare footage of Gance directing.




Don't think SAG would allow the pistol firing on the set...