Last week, during the Supreme Court hearing on the president’s health-care law, Justice Antonin Scalia asked an attorney, “You really want us to go through these 2,700 pages? … Or do you expect us to — to give this function to our law clerks?” Never before had I felt such appreciation for something that came out of Justice Scalia’s mouth. Probably the most consistent frustration I — and most others in the film and TV business — experience is how much we’re expected to read. And, just like Justice Scalia, I would assume that those of us with the wherewithal to employ minions below us push much of that reading down to others. Aspiring and established scriptwriters likely fantasize about a high-powered exec or producer personally discovering their genius after a cold read and calling their agents, demanding a meeting. And those dreamers might be distressed to know just how much of their fate — when it comes to getting a staff writing gig on a TV show, a feature-film assignment, or the possible sale of their spec script — is in the hands of inexperienced low-level executives, assistants, and even interns.

The Vulture |

Harlan Ellison’s published works include over 1,700 short stories, novellas, screenplays, teleplays, essays, a wide range of criticism covering literature, film, television, and print media. He was editor and anthologist for two ground-breaking science fiction anthologies, Dangerous Visions and Again, Dangerous Visions. Ellison has won numerous awards – more awards for imaginative literature than any other living author – including multiple Hugos, Nebulas and Edgars.

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VIA: Making Of

There’s a common misconception among new or ‘unrepresented’ screenwriters that only agents, managers, and producers can open Hollywood’s gates, and that without at least one of the three, it’s virtually impossible to sell a script or sidestep Hollywood’s frustrating barriers to entry. The truth is that representation or established producers can, of course, be a huge help, but they are by no means your only way in. Believing this is the first step to recognizing a massive pool of industry insiders – that aren’t agents or managers – who can also help launch your screenwriting career. You have options, lots of them. But to see them you have to be willing to toss aside the Traditional Hollywood Playbook. Continuing to allow its archaic methods to dictate your submission strategy will keep you from doing everything possible to realize your dreams.

Thumb through the pages of any dictionary and look up the words ‘traditional’ and ‘conventional’ and you’ll find definitions such as: “following the accepted customs, especially in a way that lacks originality” and “unimaginative; conformist.” Had dreamers like Mark Zuckerberg, Larry Page, Christopher Lloyd, James Cameron, and Tony Fadell “followed the accepted customs” there would be no Facebook, no Google, no Modern Family, no Avatar, no iPod. More personally, had I “followed the accepted customs” 13 years ago when I set out to achieve my first spec sale, my life since then would have been minus some truly amazing moments.

“Rejects conventional behavior; breaks with traditional customs” – this is how the dictionary defines: Renegade. This also describes the writer I morphed into back in ’98 when faced with empty pockets, an impending eviction, no representation and no Hollywood connections. I hatched an unconventional submission strategy, which included targeting individuals that conventional-thinking writers wouldn’t think to query; but they were industry professionals who I thought might need my script to advance their career. My strategy was based on a simple fact of life: When you’re hungry, you want to eat. So I asked myself “who’s hungry?” The answers became the individuals I would query. I reasoned: the hungrier my targets might be, the more likely (and quickly) they’d consider my query.

The strategy worked. Within 24 hours of firing off 250 unconventional queries, roughly 10% of my targets called and asked me to send over my spec, which was purchased by 20th Century Fox a week later, launching my career. Thinking like a Renegade Writer and maneuvering like one is how I defied the odds. It’s how you can, too.

The following ideas are for Renegade scribes only. Writers with the time, patience, and the luxury to wait for the Traditional Hollywood Playbook to yield results need not read on. But if the following definition applies to you, these ideas will inspire new submission strategies and new targets for your queries.

The Renegade Writer is a writer whose dreams are worth too much to leave a single stone unturned. A Renegade Writer thinks out of the box. Renegade Writers see opportunity where conventional-thinking writers don’t. For this group of scrappy and imaginative scribes, I offer The Unusual Suspects – unconventional groups of industry professionals that can also help launch your screenwriting career.

At first glance you might question their ability to help you, as their powers aren’t instantly obvious. But what gives The Unusual Suspects the ability to impact your potential screenwriter career is their hunger, their needs, their goals. Querying individuals that need your script as much as you need them is one way to circumvent the roadblocks put up by Hollywood’s Establishment, and to succeed – even without representation – at Breaking In. I believe that among these groups are individuals hoping they’ll come across the ‘right’ script; a script that they can use to go to the next level of their careers. And you just might have what they’re looking for.

Oscar Talent
For many of the actors who’ve won (or have been nominated for) Hollywood’s most prestigious prize but are no longer considered “hot” by Hollywood standards, the desire to play a fantastic character in a meaningful or commercially successful film, still burns. Past Oscar winners and nominees – even those whose stars burned brightest a decade or more ago – still have the relationships, access to script buyers, and the foreign bankability to turn a script that they’ve discovered and are passionate about into a produced film. If your spec offers a unique opportunity for Oscar winning or nominated talent who are no longer on Hollywood’s ‘go-to’ list, consider targeting them with a tailor-made query.

Cinematographers
Cinematographers (or Directors of Photography) are the people responsible for making sure that each of a film’s scenes are shot in a way that brings the director’s vision to life. This being their skill, it’s easy to see why Cinematographer-to-Director is an obvious transition. One notable example: director Zack Snyder (Dawn of the Dead, 300, The Watchmen). Snyder worked as a Cinematographer before Hollywood invited him to helm a feature film. With many of tomorrow’s feature directors emerging from the cinematography world, hot Cinematographers who may be a script away from transitioning to Directors’ chairs make ideal targets for your queries.

First ADs
On any film, the First Assistant Director is the Director’s right-hand. Many First ADs aspire to helm their own film and consider their First AD jobs prep for the day they will direct. Alfred Hitchcock is the most famous First AD-turned-Director. A present-day First AD-turned-Director is James McTeigue. McTeigue, the First AD on the Matrix trilogy and Star Wars: Attack of the Clones, made his feature directorial debut with V for Vendetta. Getting your query in the hands of ambitious First ADs is another strategy that could yield results.

Music Video Directors
Every year the world of Music Video Directors has a graduating class. Past graduates include Spike Jonze (Being John Malkovich), Brett Ratner (Rush Hour), David Fincher (The Social Network), Antoine Fuqua (Training Day) and F. Gary Gray (The Italian Job). By querying hot Music Video Directors poised to become filmmakers, your script could be one of their launch pads, and their interest in your script could be yours.

Commercial Directors
It may seem odd that a Commercial Director could play a pivotal role in the potential sale of a movie script, but studios have long considered Commercial Directors perfect Feature Directors because Commercial Directors know how to convey emotion in 30 seconds. Commercial Director-turned-Feature Director, Joseph Kosinski, directed Disney’s Tron: Legacy. Universal’s upcoming prequel The Thing was helmed by Commercial Director-turned-Feature Director Matthijs Van Heijningen Jr. Both freshmen join a club led by Michael Bay (Transformers), Michel Gondry (Eternal Sunshine of the Spotless Mind) and Ridley Scott (Thelma & Louise), who all got their start directing commercials for brands such as Smirnoff Vodka, the Red Cross, and Gap. Four months ago, in-demand Commercial Director Rupert Sanders chose Evan Daugherty’s spec “Snow White and The Huntsman” for his feature directorial debut. Sanders’ attachment to the spec practically guaranteed the spec’s sale, and made Daugherty’s script even more coveted by studios.

Production Managers
For every Bruckheimer, Grazer, and Rudin, there are Unit Production Managers (or UPMs) charged with the actual physical production of their films; the nuts-and-bolts work. For Production Managers that aspire to more creative, sexier, and higher-paying ‘Producer’ roles, what keeps many of them from realizing their Bruckheimer aspirations is a lack of access to material. You can change this with your queries.

Casting Directors
For every actor whose name you’d know, there’s a Casting Director that discovered him or her. Many of these Casting Directors – all of which are hired by the Producer – would rather be on the other side of the table, using their keen eye for talent and their established relationships with the stars whose careers they help ignite, to be a Producer. But like with Production Managers, for Casting Directors that aspire to Produce, their ability to make the transition is often affected by a common reality: their access to scripts is rarely direct-from-screenwriters, but direct from producers or studios seeking their casting services.

Produced Screenwriters
For screenwriters who’ve penned successful films, they have the relationships, credibility, and the track record necessary to ‘set up’ projects penned by other writers. Established screenwriters who also Produce or aspire to Produce (or Direct), should definitely be considered for your queries. Note: targeting writers whose films reflect the genre, tone, and sensibility of your spec will increase your chances of one of these writers responding to your query.

Tomorrow’s Agents & Managers
Every week there are Assistants who are promoted to agents and managers, and every new agent or new manager has the same priority on their first day in their new position: develop his or her own client list. Recognizing that many of the gatekeepers in the offices of agents and managers will be tomorrow’sagents, managers, and players, is an opportunity for Renegade Writers to implement a strategy that I call The Day One: instead of pursuing the interest of established agents and managers, court their Assistants. In your query, tell the Assistant that you’re interested in being his client – when he makes agent or manager. There’s a chance that the Assistant will appreciate your vote of confidence and your willingness to wait ‘til he’s in a position to represent you. By establishing and maintaining relationships with the Assistant, you increase your chances of being one of a new agent’s or new manager’s Day One recruits.

Bottom line: whether you include The Usual Suspects I’ve suggested here to your submission strategy or not, I hope these ideas inspire you to think out of the box.

With an Establishment that seems more determined by the day to keep unrepresented writers out of its exclusive club, the writers who approach their submission strategy like they’re playing chess have the best chance of defying the odds.

Over the next 13 years, Michael Elliot’s writing credits would include the films MTV’s Hip-Hopera: Carmen (MTV), which launched the film career of Beyonce Knowles, Like Mike (20th Century Fox), Brown Sugar (Fox Searchlight Pictures), and Just Wright (Fox Searchlight Pictures), which starred Queen Latifah, theatrically released in May 2010.

Source with permission: The Writers Store

“How do I break in?”

It’s the most often-asked question I get at classes and conferences around the country and from my clients. And honestly, I hate this question. There is no ONE answer. Everyone has a different “breaking in” story and everyone gets in a different way. And of course some don’t get in at all. It’s hard to break in – but here are some keys to finding your way.

My no B.S. answer to the question is – you should’ve gone to school for it! Going to film school doesn’t give you any guarantees, especially in this economy, but it does increase the chance you’ll MEET someone that can help you, connect with alumni in the industry, and it will give you a better perspective on what you’re good at and give you some formal training. And let’s be honest – it’s easier to break in at 22 than 52.

If you didn’t go to college for film or screenwriting, there are classes you can take (especially in LA) including the Peter Stark Program, UCLA Extension classes, AFI, and plenty of courses at The Writers Store, where you will meet people and learn things that will help you break in.

If you read the trades or screenwriting magazines (which you better if you want to break into this business), the most frequent break-in story is that a writer knew ONE person who happened to be an assistant, agent, manager, producer or executive and he sent that one person his script, and it made it up the flagpole and BAM – success! It all starts with knowing ONE person. This is why networking is important. It’s all about having that viable referral.

If I’ve said it once, I’ve said it 100 times – you don’t need a gimmick! You don’t need to take out full page ads in Variety or billboards on La Cienega. All you need is talent, determination, and contacts. You have to know someone, but you don’t have to go to extraordinary lengths to reach everyone. And often, doing so will end more possible relationships than create them. It’s all about being normal and being someone with whom companies want to work. There seems to be an ever-thinning line between persistence and insanity.

With the insane growth of the internet and sites like YouTube, Twitter, and Facebook, more and more talent is being found online. You can make a video, post it on Vimeo or YouTube or get it on FunnyorDie, and become an overnight sensation, garnering a following, an agent, and a career if you know what you’re doing and can duplicate the magic time and again. Ashton Kutcher just sold his second TV series based on a random guy’s Twitter feed. The floodgates are open, and there are assistants and interns whose whole job is searching online for the next big thing. Hello, Justin Bieber!

However, execs HATE being pitched on Facebook by a stranger. I’ve been vocal about not adding random writers I don’t know to my personal friend list. This isn’t because I don’t like writers – I love them! This is because I don’t need someone going through my 700 friends and blanketing them with friend requests, pitches or queries because they’ll know I was the connection. Instead, create a group for yourself on Facebook and let others decide if they want to be a fan, or send out newsletters to people you know about what you’re working on and ask them to forward it to anyone who might be interested.

Writing a blog is a great way to get your voice out there, but you need to really have a point of view and something to say. You have to be original and special and engaging. It’s okay if your blog is about what you eat for breakfast every day if you write it in a way that makes people riveted to every bite. Everyone knows the story of Diablo Cody and her stripper blog, and she’s not the only one who went from blogger to major player. Hell, I’m still waiting for my column to make me famous!

Despite the mobile breeding ground of talent the internet has become, there is one more controversial trend you will find among writers who have broken in. I get into many a battle over this one but here goes… Ready? …Move to LA!

I will preface this point by saying that I’ve met some wonderfully productive and determined film people in Albuquerque, Dallas, Vancouver, Chicago, etc. Many of them work harder and make more actual movies than those in LA! And I’ve optioned scripts from writers who live outside of LA who have gone on to nice careers. So is it possible to break in without moving in? Absolutely!

However, you can’t walk into a Starbucks in Iowa and sit next to 10 other screenwriters all trying to perfect their craft. You can’t be a waiter in Missouri and serve Hollywood elite or an agent or manager that will give you their card. You can’t soak up the lingo, the attitude, the business, the experience, and most importantly the contacts unless you are in the middle of it all. Sure, once a year you can attend a screenwriting conference in your town and meet 20 people. But in LA, you could meet 20 people a day if you wanted to.

If you are in your 20s and you want to be writer, move to LA and get an assistant job in a manager, agent or development exec’s office. It’s the best way to break in and will give you a great perspective on your own work, and make it much easier to land a manager or agent when you’re ready. It’s unpopular, but there’s a reason executives live in LA and NY – they can’t be executives and live in Oklahoma! So why should it be any different for writers? There is an attitude in LA that those who are TRULY serious, will live here for a while. Not forever – no one wants to live here forever – but for a while. Bottom line – it’s harder to break in when you’re not here to do it in person.

But before you start writing your hate mail, there are ways to break in from outside of LA…

Those screenwriting conferences and pitchfests I mentioned CAN be quite useful. I’ve optioned 4 things from pitchfests and continue to think that if you work the event correctly and have a commercial and well-written project, this can be a viable way to break in. Most conferences offer classes given by professionals and those pros have contacts. Some conferences bring in big name writers or producers to speak who will often allow for some personal interactions after their lecture. Use that time but don’t abuse it. Don’t come off as crazy or too aggressive and don’t ask to send them your script – just try to make a personal connection where they ask YOU for your card. You never know where a mentor could come from.

Next, there are screenwriting contests out there that get press, and whose finalists and winners do make a splash. But beware you’re not wasting your time and money. Choose prestigious national contests, contests with prizes that can actually help advance your career, ones where there is more than ONE judge and the judges have a clue, and ones where it is clear who is running them and where they do not force you to sign over rights to your script (or future scripts) if you win. And look especially at contests where the prize is a meeting with an agent or exec or getting your script read by the town.

The Nicholl Fellowship is the biggest and most prestigious. It’s the only contest where saying you are a quarterfinalist actually means something. The Disney, Nickelodeon, and Sundance Fellowships are also quite impressive and can launch your career.

The Writers Store’s new “Industry Insider Contest” is a really different way to break in, where A-List writer Simon Kinberg has provided entrants with a logline and their job is to write the first 15 pages of that script. The 10 finalists go on to write the script with the help of great industry mentors, and a winner is chosen by industry heavyweights. And even if you don’t win – you’ve written a whole script you know is ready to be read.

Final Draft’s Big Break Contest, Creative Screenwriting’s Expo Contest, Page Int’l Awards (which I judged this year), Scriptapalooza Moondance, ScriptPimp, etc., are all well-known and are among the more prestigious out there. But they’re only impressive if you are a semi-finalist, finalist or winner. Statewide contests, regional contests, or anything where the prize is a steak dinner at a local restaurant is a waste of time.

Another new popular way to break in is through online query sites. These have replaced the snail mail query, which has really gone the way of the Dodo. Sites like Virtualpitchfest, Inktip, PitchQ, etc., all offer a (slightly more expensive) way to get your query letter or pitch out to professionals, but some guarantee you’ll get a quick response.

Screenwriting contests and query websites have the upside of being completely anonymous. No one knows how old you are or where you’re from. They only know if you can write and tell a good story. If you are a finalist in the Nicholl or win the Writers Store Insider Contest or some other prestigious contest, you’re going to get meetings no matter how old you are. So while it is harder, you can definitely still break in at an older age. You may just need to go about it a different way and pay even more attention to the marketplace and pop culture than your younger competition so no one can say you’re out of touch.

And finally, there are script consultants out there who have Hollywood Outreach programs for scripts that are ready to be seen. My own No BullScript just launched the No Bull Hollywood Connection, where the query letter and logline of those scripts that get a “recommend” will be sent to over 30 companies who have agreed to read them! Though keep in mind, it’s not a script consultant’s job to give you your big break – our job is to make sure you’re ready for it.

So, these are just some of the ways to break in. And as they say, if you can’t get in through the front door…break a window. This is Hollywood – there are no rules on how to break in or else everyone would do it.

Daniel Manus has been a development executive (Clifford Werber Productions, Sandstorm Films) and script consultant in Hollywood for several years and is the founder of No BullScript Consulting. He was ranked in the top 15 “Cream of the Crop” Script Consultants by Creative Screenwriting Magazine, 2010. He teaches seminars across the country and is a weekly columnist for The Business of Show Institute and Script Magazine’s website.

Source with permission: The Writers Store