Hollywoodscript.com Newsletter
Craig Kellem
which is published by script consultants Craig Kellem, Judy Kellem
(http://www.hollywoodscript.com)
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__________
CONGRATS TO OUR ESTEEMED CLIENT NINO ABATE!!
I.E PRODUCTIONS INC AGREES TO PRODUCE THE GAMBINO SQUAD
Scott Rosenfelt and Billie Greif of i.e. Productions, Inc. have agreed
to produce a feature-length motion picture of the screenplay "The
Gambino Squad" WRITTEN BY NINO ABATE. The Gambino Squad is based on
the best-selling book "Boss of Bosses", the true story of the FBI's
most sweeping and successful prosecution of the Mafia in American law
enforcement history. "The book is a classic and a movie based on the
screenplay will likely become a classic in the crime/gangster genre,"
says Nino Abate of Two Peas Entertainment.
_______
FROM OUR VERY RECENT (monthly) CONTEST WINNER, AUSTRALIA'S OWN CRAIG BOTTRELL
Dear Craig-I just wanted to express my sincerest thanks for your help.
Not only am I totally thrilled about the win, but I've learned more
about writing a script in our few discussions than I could have at an
expensive scriptwriting course. Also, and most importantly, your
commitment to excellence far exceeded my expectations as it is my
experience that excellence is something that seems to have died with
the dinosaurs. Thank you very much for giving me what I needed. :-)
Warm regards,
Craig Bottrell
PS-Just a quick update. As a result of wining your contest I've had
twelve production houses request my script and several of them are
major industry players. Thanks for the help.
_________
NOT ALWAYS ON OUR TIME...
A young writer called me the other day to confer about his script.
Turned out he's a midwesterner trying to make things happen in L.A. It
was going slowly for him. Or let me put it this way, not fast enough
for him. I totally identified and understood. When I asked him how
long he'd been out there he knew TO THE DAY, "1 year, 3 months 3
days." I gave him the notes on his very promising but still somewhat
needy script and gave him my standard but sound advice (in my opinion
anyway) about how to ride what's often the beast of ambition in this
biz, consisiting of so much fear, loathing, wanting, excitement etc
all while on a noble mission.
My advice to him was to get a good day job (which he had), eat well,
find a nice place to live and a solid love interest (if desired etc)
and, out of this BASE OF NORMALCY and with TIME ON HIS SIDE, write
steadily, get involved in the industry in any way possible, take
popular classes in town, hang out at showbiz haunts and grow his
craft, while steadily but not hysterically pushing himself marketing
wise.
I told him that this can really help with the difficulty and pain in
the inevitable triathalon he'd be facing and it also helps a lot in
avoiding living in fear and resentment and becoming another VICTIM in
Hollywood.
Then I happened to sit down and began to read my old buddy ( and
colleague at Fox and Universal) Allen Rucker's fine new book, THE BEST
SEAT IN THE HOUSE, HarperCollinsPublishers. It touches on riding that
same beast, or as he puts it, "THE BITCH GODDESS OF HOLLYWOOD SUCCESS"
and how it was for him when he happened to awaken one day to become
permanently paralyzed from the waist down.
Turns out it's an engrossing, brutally frank and very inspiring read
and, among other things, very plugged into the difficult world of
STRIVING. Below is a small taste of the book. I thank Allen and the
January 2007 issue of Written By magazine (WGA) (where the full piece
has been published) for allowing us to use it.
By the way, despite Allen's implicit modesty, he's managed to pull off
some very tasty big successes including three books on the HBO series
The Sopranos, one which was number 1 on the New York Times Bestseller
list. He's also written the acclaimed History of White People in
America and lots of other books and national TV shows.
___________
Allen Rucker tossed the victim and found--
THE BEST SEAT IN THE HOUSE
I received my WGA card in 1980, a proud day, for sure, and two decades
later, I scratched and clawed my way to the middle of show business. I
had a series of fringe successes, namely The History of White People
in America with the great Martin Mull, and won some ego-inflating
awards, including a Writers Guild Award. But no matter what I tried, I
never had a clear-cut commercial breakthrough. I never saw my name on
the front page of Variety with the headline, "Rucker series renewed
again; new deal pending." As my up-and-down career descended from
upstart to journeyman, I was infuriated with this lack of success. I
thought I was genetically uncommercial.
Then one day in December 1996, I became suddenly and permanently
paralyzed from transverse myelitis. I kept writing, mostly specials
and documentaries, and writing became perhaps the principal therapy
for coming to terms with this awful fate. Along the way I learned a
couple of things about myself-that's bound to happen when you go from
walking to wheelchair in a span of an hour and a half. And, as the
following passage describes, I arrived at a new take on my
relationship-and probably that of a lot of frustrated writers-to the
Bitch Goddess of Hollywood success.
(AN EXERPT FROM From The Best Seat in the House: How I Woke Up One
Tuesday and Was Paralyzed for Life)
Perhaps the greatest single benefit of going through three years of
turmoil and coming out on the other side was that I stopped feeling
like a victim…
I had never really been a genuine "victim" before all of this, but
that never stopped me from feeling like one. I saw myself from puberty
on as a permanent outsider who felt victimized by every misfortune and
by a world of strangers who misunderstood me. I was, at least in my
own febrile brain, Jett Rink, the James Dean character in Giant, the
put-upon, paranoid cowboy. My only real claim to victimhood was my
father's early death, a sad story that probably kindled the loner
pose. In truth, I was an upright, lily-white, Anglo-Saxon,
college-educated Midwestern male, part of the least marginalized
ethnic group in America. I was the stereotype everyone else accused of
being the victimizer, not the victim. Except for the fact that I was
from Oklahoma and had bow legs, I'd never been discriminated against
in my life.
Still, I saw the world as a victim-I felt the game was rigged. When I
came to Hollywood, I came to do battle with conmen and hucksters, not
make the grade. From the first day I arrived, I felt hoodwinked by the
whole Hollywood culture. I was pretty sure these guys would never let
me in the club; at the exact same time I was trying everything I could
think of to gain entry. I saw show business, the business I
desperately wanted to join, as the enemy. I walked into every network
pitch meeting with a chip on my shoulder. "If you guys aren't smart
enough or gutsy enough to buy this, you are nothing but lowly
schlockmeisters." I dressed to make my point-tight jeans, cowboy
boots, and a derisive sneer. Would you want to go into business with a
guy like that?
My double-mindedness about show business would come out in weird ways.
Once, at a sitcom-pilot meeting at NBC, I expressed my displeasure at
having to take orders from people I had no respect for by planting my
steel-toed boots on the back of a couch and next to the right ear of a
network yes man. I'm sure he was thinking cauliflower ear, if not
brain damage. Needless to say, the pilot was dropped. Like a pouty
teenager, I resented all corporate authority and burnt a lot of
bridges maintaining my false sense of independence. At one point I got
the reputation in some circles as untrustworthy and even unstable, and
this cost me some of the best jobs I was ever up for. I had a bad
attitude. I had a victim's attitude.
As my so-called TV career went from cable maverick to award-show
mercenary, this sense of being treated unfairly grew into a blanket
rationale for every failure. It couldn't possibly be that, more often
than not, I had failed to deliver something that was either uniquely
original or uniquely commercial? No, in my skewed view, it was their
fault. It was the system, man, that was keeping me down.
But now, in this wheelchair, I was suddenly a certified, demonstrable
victim. I didn't have to announce it. It was like a sandwich board
around my neck: VICTIM OF A CRUEL FATE. I no longer had to pretend
that I had been dealt a crappy hand in life because I couldn't quite
get my life in order. I now had been dealt a crappy hand, a really
crappy hand, so don't tell me about your problems, bud, mine are big
and, you know, forever!
Many true victims are eager to tell their story, especially in an age
where there is a whole media industry devoted to confession and
redemption a la Oprah and Dr. Phil. And it's usually a story worth
telling, often cathartic for the teller and helpful to others.
Victimhood is an altered state of being, and talking about it makes it
less fearful and isolated. There was a story on the morning news not
long ago about a guy who became lost and stranded on the top of a
volcano in Hawaii. He immediately started videotaping the experience
and continued to do so through three days of fear and desolation. The
man was thinking ahead. If he died, it was a last message to his kids.
If he lived, it was a testament to his survival. At least he wasn't
going to die out there, alone and forgotten. His struggle, whatever
the outcome, was on tape.
Being a victim is much different than feeling victimized. Only after
reaching victim status did I get this. Being a true victim is
incontrovertible. If a tornado blows down your house, no one is going
to say that you had anything to do with it except for your unfortunate
decision to settle in the middle of Kansas. If you get breast cancer
because your mother got breast cancer, you are a victim. No
right-minded person will think, She was a willful, petty woman and had
that breast cancer coming.
Feeling victimized, on the other hand, is a slippery slope-a state of
mind that can be easily challenged. "My son failed math because the
teacher doesn't like Asians." "No," the challenge would go, "your son
failed math because he was lazy and then came up with the excuse that
the teacher didn't like Asians." In my own case, the argument would
be, "The network rejected the idea because they didn't want to do
business with an outsider like me." The counterargument: "No, they
didn't like the idea. They'd do business with a monkey if they thought
it would make a hit TV show. You had nothing to do with it."
Published by Harper Collins. Copyright (c) 2007 by Allen Rucker. All
rights reserved.
Excerpt originally appeared in the January 2007 issue of Written By magazine.
IF YOU'RE INTERESTING IN READING THIS FINE BOOK please direct any and
all inquiries either to amazon or www.allenrucker.com
_________
LET'S GET PERSONAL
by Craig Kellem
(further on this theme involving wanting and ambition, here's
something I wrote a while ago about my own experience in this visceral
department)
Most of the articles that Judy and I share with you guys have to do
with the techniques of screenwriting, marketing, and related areas.
We rarely get personal about ourselves. Judy's turn will come down the
line but, in this issue, I wanted to tell you something about my own
creative journey since a creative journey is what most of you are on.
Perhaps we can relate.
At one time I represented talent for a living. I was an agent at what
is now ICM, one of the three biggest agencies in the world. My job
was to get clients of the agency on TV and to "discover" new talent.
The agency represented people like Barbra Streisand, Richard Pryor,
Jodie Foster, Diana Ross, Liza Minnelli--the list goes on and on. I
represented them as well and signed many great talents such as George
Carlin, the rock group Spanky & our Gang, and also production
organizations through which we "packaged" TV shows. I lived for my
clients and derived great pleasure and profit from their successes.
After an exciting and wholesome experience as an agent, I went to work
for Lorne Michaels, whom I met while packaging Lily Tomlin specials
for CBS (for the agency). Although this was not a great time in my
life, (my mid life crisis came early), I still had the rich experience
of being part of the launching of SNL, and also produced other
projects for Lorne like the
infamous movie, The Rutles.
With all of this splendid experience, you'd think that I would have
been satisfied (and I should have been). But I always had a longing
to be "more creative" and felt hungry and wanting when I observed
certain people around me, particularly writers.
With all my experience and savvy, I didn't have a clue what to do
about it. The notion that there were special people out there who had
"talent" and others like me who did not permeated my sagging belief
system.
The heart is a lonely hunter.
So, after leaving New York and coming back to LA, I longed to try
something new. This was to be a very fertile time for me, but I didn't
know it at the time.
I had a friendship with a guy who was skilled at "coaching" people.
After constantly hearing about my unfocused ambitions, he gave me some
serious professional advice. It was to change my life!
His first suggestion was that I simply list my goals.
GOALS?!
What goals? Never stopped to consider them since I was always going
too fast. "Let's skip that," I retorted and "cut to the chase." He
pointed out that "cutting to the chase" had its limitations and sent
me home to work. HIS way.
OK, OK-- I scratched it out. Goals--immediate ones; intermediate ones;
then the long-range, "sky's the limit" batch. Sounds easy, huh?
Well, it is until you actually employ this method and then sit back
and look at what you really want in your life. Here it was, on a big
chart and in my face. It
was there for all the world to see, especially me. What my heart
ached for was finally documented.
And that was just the beginning. Goals don't mean much, he pointed
out, without methods to achieve them. So he had me identify timetables
for achieving them and methods of identifying progress. Hmm..it was
getting serious. I suddenly had lots of things to do. And most of them
scared me silly because facing what you really want creates beaucoup
stress.
I went to work...reluctantly. Since many of my goals reflected the
yearning to develop ideas, I started to list them on index cards etc.
I had only a few at first. More came as I gestated. So I was suddenly
cast into the role of an "idea guy." I had always been one but never
acknowledged it. But it was hard to deny it once I had adopted this
new enterprise. After a couple of weeks I had a few decent notions.
But it was time to do something else --my impatience and resistance
started to seep in. I wanted to cut to the chase again.
No way. I was just beginning. My friend told me that what I needed to
do was to work "thickly." I didn't like the sound of the metaphor. It
sounded like real work.
This guy was much bigger than me so I had no choice but to continue.
My daily diet was pumping out ideas and developing them. Each day I
tended to them and to my surprise --they grew. I was getting hooked.
My friend had other activities in mind for me that would be
instrumental in building momentum. He suggested that I join a little
acting group as an adjunct to the writing process. I later discovered
that acting can be a great complement to writing because it gives you
a very visceral sense of dialogue, etc. Acting!! Hey man I was an
ex-agent. Ain't nothin' more oxymoronic than an agent who gets on
stage.
Talk about busting an image!
The man was relentless. He wanted more.
Next, he suggested that I identify myself as a writer. Forget it! No
way!! This was a felonious notion.
But he persisted, pushing me to embrace the self-declaration of being
a writer and, though I resisted letting the words leave my mouth, each
and every day I continued to ACT like a writer. Forging ahead however
imperfectly.
Well, as John Lennon used to say, "life is what you're doing when
you're making other plans." My plan was to try this, probably fail and
then escape. But what I was actually doing was acquainting myself with
my writer's soul and pumping out the goods. Capably!
Developing ideas is an interesting activity. Two things happen when
you do it on a regular basis. One is that your relationship with your
subconscious and your "creative guide" gets keener and ideas begin to
flow. You begin to "write on the walls." The other is that as you
grow ideas, some take flight as if on their own.
This is powerful stuff.
Without going through every detail of the process, at some magical
moment in this year-long enterprise, I crossed a bridge without
realizing it. My desire to "become creative" had happened. The
criterion for this was not the one I thought it would be --namely
someone else's acknowledgment; the town's acknowledgment; the
Academy's acknowledgment etc. It was simply about what I was actually
doing and how I felt about myself. I HAD BECOME THE THING THAT I
WANTED TO BECOME SIMPLY BECAUSE I WAS DOING IT!
Even when I started submitting stuff and received the inevitable
turndowns, I was too on fire to let it matter very much. There was
always another page to rewrite, or material to Xerox or something to
dream about.
One project in particular seemed to "want to happen." It was a TV
idea about a bunch of "reporters in jeans" who went around the country
in a rock n roll kind of bus, hanging out and reporting on hip,
contemporary and far out stories. This idea consumed me, and I began
the painful process of seriously trying to make it happen. Talk about
the impossible. In actual fact, I was just another unemployed,
ex-somebody, wannabe burning with ambition but out of touch, in a
way, with reality. But I knew one thing about the biz: all successes
are predicated on miracles.
And indeed, it would take a miracle to make something happen with this
project which, by this time, was just about the most important thing
that I could identify in the Universe.
I believe that if you try hard enough and that if the dream is worthy,
and if cosmic powers wants it to be, it will be. I had had experiences
in my life which had already reflected this. And I also knew that it's
hard to beat a guy who's pumping it out every day and trying to do the
next "right thing."
Synchronicity was coming my way. NBC was looking for a reality show
and a producer they contacted had heard about my fully developed
project. (This was due to the dreaded networking imposed on me by my
friend). One thing led to another --we got a shot to pitch it.
We just missed selling this show. By the time we arrived the network
had bought something similar. Oh well.
But the momentum of wild industry and zeal was still resonating and
manifested concretely when my partner happened to tell me about a
development job at Fox. More synchronicity!
In a zillion years I would have never thought of myself in connection
with development because I had never considered myself a creative
person--that was until now.
Hey baby, just give me a paintbrush. Creative! Are you joking?! I'll
show you creative!
When I went for the interview I was bursting with creative energy.
Despite the fact that I was still collecting unemployment, I was full
of myself and could talk turkey with the powers that be. What a change
it was. Guess
what, I got the job.
Once in the new pilot seat and with a lot of help from other creative
people (with whom I had only imagined working during these "grand and
desperate" development days), I got the show (which had so burned in
my heart) on the air. It was a late night pilot that only aired once
but it was received nicely and it launched a new career. (It's a great
story how it all went down, I wish I had the space. Suffice it to say
that it was the thrill of thrills).
The point of it all is this: I had learned how to mount a crusade and
"work a program" fueled by my greatest dreams. This came through
stating goals, taking chances, changing personas, being willing to be
extremely uncomfortable, and working my butt off.
One other mighty thing was also acquired in this process--discipline.
At the time the D word was not quite in my vocabulary. I had always
struggled with my share of procrastination. In Scott Peck's classic
book "The Road Less Traveled," he points out that some problems are
solved by some discipline, and all problems are solved by total
discipline. He's right. Through this STRUCTURE that had been so
generously created for me, I began to dismount the resistances that
had haunted me my whole life. What a change. And I now found myself in
the company of people I had long admired who never seemed to fight
themselves in the pursuit of doing what they needed to do to succeed.
Holy s----, I was like them!
Instinctively I realized that this was a source of power that was
limitless. I have used this model for many years now. And it has paid
off in spades.
I wanted to share this with you, to bear in mind, as you realize your
own creative pursuits. For me, this magical and cathartic time
changed my life forever. Out of it grew subsequent development jobs
at Universal, writing and producing credits, and a deep sense of
completeness and satisfaction. It also steered me into a kind of
life's work capper--working with other writers and helping them
realize their dreams.
_______________
HOLLYWOOD'S CIRCLE OF LIFE
Mark Miller
(this lovely article by our good friend and Hollywood writer Mark
Miller is a good capper to the world we've been talking about in this
issue)
If the traditional first rung on the Making It In Show Business Ladder
is the talented young aspirant stepping off the bus at the Hollywood
Greyhound Station, bright-eyed and filled with hope and wonder - its
flipside, the final rung on the Not Making It In Show Business Ladder,
can be found throughout my beloved Fairfax District neighborhood. Home
to a multitude of show business hangouts -- Farmers Market, The Grove,
Canter's Deli, the Melrose Avenue scene, and CBS -- "the Fairfax," as
we residents refer to it, is also, clearly, Yard Sale Central. The
area, abundant with dogs, single people, Orthodox Jews, and Pan
Pacific Park, features yard sales every weekend, offering the remnants
of countless unrealized show business dreams.
These yard sales provide a great opportunity to meet your neighbors,
find bargains, and basically get an entire picture of someone's life,
lifestyle, resume, psychoses, taste, and online dating profile - all
laid out before you on the lawn, driveway, or front stoop, in the form
of prior possessions. While most of the buyers, and the sellers for
that matter, would no doubt classify it all under the heading of Stuff
I Don't Want Anymore. Or, Stuff My Girlfriend's Making Me Get Rid Of.
Or, at times, Stuff That Even Goodwill Didn't Want - an urban
archaeologist or a conceptual artist might view it as living art, A
Life On A Lawn.
What fascinates me is the telling nature of the stuff. Amateur
detectives or anyone interested in his fellow man, can have a field
day. In what other casual human encounter can you within five minutes
and without ever having met or spoken to the person involved,
determine that he or she has: tried eight different diet and exercise
plans, a fixation on Dustin Hoffman movies, really strange/bad taste
in art, been through Freudian psychotherapy, had a baby, read every
self-help book available, no longer needs legal pads, and has for some
reason kept an entire wardrobe of clothing from the early 1970s until
now? But there it all is, in plain and unashamed view.
The show business households are fairly easy to spot. There are video
and DVD "For Your Consideration" screeners and scripts sent by
networks and studios, jackets and t-shirts bearing TV show and movie
logos, framed movie posters, and countless books on writing,
directing, producing, and acting. The resulting conversation is
generally the same:
BUYER: So, who's the actor?
SELLER: I am - or was.
BUYER: Would I have seen you in something?
SELLER: I had a small part in "Revenge of the Nerds," did a few Taco
Bell commercials and some plays.
BUYER: And now?
SELLER: Oh, uh, the work was just really unsteady, so we're moving to
Minnesota. We have family. I'm gonna work at my father's hardware
store and Donna's going to have our baby.
BUYER: Good luck. How much for the "As Good As It Gets" video?
SELLER: I don't know - (SHOUTING UPSTAIRS) Donna, how much for the videos?
So there it is. The material ghosts of years of show business dreams,
lessons, hard work, classes, auditions, occasional successes and
frequent failures, all for sale and awaiting new homes. Their owners,
having abandoned The Dream or, more likely, been abandoned by it, have
no more need for those things being around as reminders of failures,
efforts wasted, accomplishments that might have been. So the items
sit, displayed on the lawn, like puppies at the pound, given up by the
previous owner, waiting to be adopted by the next. There they wait,
alongside unwanted gifts, possessions once popular and treasured, baby
books and furniture, and, as required by Yard Sale Law -- a wooden
salad bowl set, a Trivial Pursuit game, and a George Foreman Grill.
Hey, even the Heavyweight Champion of the World is selling kitchenware
now. Maybe working in the Minnesota hardware store won't be so bad. At
least the air will be better.
Ironically, because of their bargain prices, these show biz cast-off
items are frequently purchased by those same just-off-the-bus hopefuls
just beginning their own show business careers. So they pick up "The
Working Actor's Guide to Los Angeles," "The Secrets to Auditioning For
Commercials," and "Making a Good Script Great," all for five bucks.
Score! And so the money changes hands, from the young aspirant who's
all about possibility and potential, to the grizzled veteran of the
show business wars who clearly and no doubt sadly sees his younger
self in the purchaser's eyes. The end of one dream and the beginning
of another. It's Hollywood's Circle of Life, moving us all through
despair and hope, played out on countless weekends in countless yards
in the Fairfax District of Los Angeles.
COPYRIGHT MARK MILLER 2006 ALL RIGHTS RESERVED
______________
RECOGNITION COUNTS IN THE LONG RUN
Hi Craig-
You reviewed a script of mine YEARS ago called Fashionably Dead. I was
just on the cusp of figuring out screenwriting and this was an early
draft that was a complete disaster, but was starting to become my
voice/vibe. You were the first one to see talent in the mess and tell
me I was a screenwriter. That meant so much to me at that time because
I was so frustrated at the crap on the page that was not an accurate
reflection of the visions in my head.
I rewrote that while also writing two others. Within several months,
the rewrite of Fashionably Dead and another script I wrote got me an
agent and manager and then just a few months after that, the third
script won the Nicholl Fellowship.
Thank you for encouraging a struggling writer. (and could you burn
that old draft of Fashionably Dead-- it was hideous :)
Best regards,
Pamela Kay
(Response from Craig-it's gratifying to be able to see and appreciate
the gold and encourage deserving writers when so much of the biz can
be so unfairly all or nothing)
_______
BIG STUFF FROM PRESTIGIOUS NICHOLL-
I wanted to say thanks for the help and valuable input you gave my
script, "The Forgiving of Emma Rose". You critiqued the script twice.
Emma Rose has advanced to the Semifinal round of Nicholl Fellowships
competition. A large reason for this is because of the important
feedback you gave me which took the script to the next level.
Now I'm not honing my pencil yet to write my Oscar speech (I would
prefer a fat check actually). But I just wanted to say thanks. If it
advances further, I'll let you know.
Best,
Corey New
__________
ZOETROPE AWARDS
BIG CONGRATS TO A FINE WRITER FROM THE NETHERLANDS MICHIEL NIJK for
his impressive showing as a semi Finalist in the 4th Annual Zoetrope
Screenwriting Contest.
http://www.zoetrope.com/contests/2006finalists.htm#SEMI
"The fruits of our work--Again many many thanx for you input, quidance
and support!" Michiel
______
A FLATTERING MONTH!
Craig
Stephanie O'Leary here. Before too much more time slips away, I
wanted to thank you for the kind and encouraging note that
accompanied the return of my hard copy script BULLSEYE ON BROADWAY,
as well as the copious amount of time you spent with me on the phone
analyzing each page. I never expected to receive that kind of
personal attention for
my consult dollar - talk about "bang for your buck!" :
I've been looking at BOB through new eyes since we spoke, and feel
more empowered in tackling the rewrite with your Outlining and
Character Arc tools. Indeed, I've discovered that Cajun is too
passive and my "Hero's Journey" is often overshadowed by Bull's -- an
imbalance that could
render my Protagonists evolution inconsequential. Hence, I'm working
on making Cajun more pro-active and clarifying dialogue with more
Stage Direction (among other things ...)
But I wanted to tell you that one of the most eye-opening things I
learned from you is that submitting your script for a consult (or a
Script Notes meeting) is like Defending Your Thesis. If you don't
have a consistent Through Line, and if you don't have a system of
Checks and Balances with Set Ups and Pay Offs that you can readily
reference, your aren't ready to Pitch and your script Needs Work. A
sobering realization, but necessary, and I deeply appreciate gaining
this insight.
My Stained Glass guy in England is waiting for a call, so I've got to
run. Keep Cool!!!!!
Best
Stephanie O
THANX MUCHO STEPHANIE
___________
SCRIPTBLASTER has an incredibly vast data base of producers, agents,
managers and the like. They can zap your coverage or query directly
into the hands of many viable Hollywood producers, agents, managers
etc. A unique feature is that the emails will be generated from your
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you. (http://www.scriptblaster.com)
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