Dear Friend,

Benjamin Disraeli once said, "Life is too short to be small."

As a screenwriter you have the opportunity to tell the WORLD your story. Like this week's Best Business Advice contributor, Judd Apatow ("The 40 Year Old Virgin," "Knocked Up," and "Funny People"). Or this week's BOSI Recommends expert, Allan Loeb ("21," "Wall Street 2", "The Baster").

The point is, you have the potential to play big. Very big. And The Business of Show Institute wants to help you get there.

We're also excited to introduce our newest contributor - studio reader, screenwriter, novelist, and producer, Liz Maccie. Liz will be giving you her insights as a studio reader who has read and covered hundreds of scripts, and is a successful, produced writer herself.

And here's what else we've got for you in this week's edition of The Screenwriter's Success Newsletter:

Meet Buster (Part 1): is this week's article by yours truly. In this piece I guide you through the fascinating process of how a speculative script becomes a sale. If you don't know what this process looks like, here's Part 1. If you do know what this process looks like, this is a great refresher, with some key, additional insights from my perspective.

The Box Office Report: gives you the latest feature film releases as well as the opening weekend projections, so you can be on top of this critical information.

Little Known: A Writer's Most Important Purchase: is this week's article by mc foley. mc is an active writer and regular contributor to this newsletter. The title of her column is "Lessons Learned: One Writer's Journey".

The Video Screenwriting Tip of the Week: is replayed here from earlier in the week, just in case you didn't get to see it. The weekly tip offers simple and immediately useable advice on achieving screenwriting success.

Another Victim of Studio Development...Or Was It?: is this week's article from Director of Development for Clifford Werber Productions, Daniel Manus. The title of his column is "No B.S. for Screenwriters - The Executive Perspective."

Best Business Advice for Screenwriters: is dedicated to asking a top executive or successful screenwriter the absolute best advice they could give a screenwriter looking for success. This month's contributor? Director of "The 40 Year Old Virgin," writer/director of "Knocked Up," and writer/director of "Funny People," Judd Apatow!

Digging the Well Before You're Thirsty: is our column dedicated to tracking the promotions and movements of Hollywood's Executives. Use this market intelligence wisely...

The Diary of a Studio Reader: Tid-bits of Value: is this week's article from our newest contributor, studio reader, screenwriter, novelist, and producer, Liz Maccie. Liz will be giving you her insights as a studio reader who has gone through hundreds of scripts, and is a produced writer herself.

The Business of Show Institute Recommends: is the weekly screenwriting product or service that our staff has personally reviewed and feel you would benefit from. This week? An in-depth interview with the hottest screenwriter working in Hollywood today, Allan Loeb!

That's it for this issue, but we are dedicated to making this newsletter THE resource for aspiring screenwriters.

If you enjoyed it, and would like to pass it along to friends, please have them go directly to http://www.TheBusinessOfShowInstitute.com and have them sign up there.

May Your Life Be Extraordinary,

Marvin V. Acuna

Meet Buster (Part 1)

by Marvin V. Acuna

Back when I was a kid I enjoyed watching a public service announcement of an animated Scroll educating me on how a Bill becomes a Law. It was obviously a simplified explanation, but it offered insights into the process.

While not an animated presentation, allow me to guide you as we witness our original speculative ("spec") screenplay Buster (short for blockbuster) navigate the maze of how a spec becomes a sale.

Here we go.

Buster's agent and creator agree that he is officially ready for a formal introduction to the world... Hollywood. Now what?

First, Buster's agent sifts through his market intelligence and historical evidence to determine which producers would be the most appropriate for the material and more importantly, who will have the greatest potential and influence to sell Buster.

The list of producers compiled by Buster's agent will likely include a combination of studio producers and indie producers who have strong relationships with the various buyers in the marketplace.

For clarity sake, the studio producer is traditionally defined as someone who has a deal in place at one of the Major Studios. Note: the business has significantly changed since Buster was born, producers with studio deals should be on the endangered list. Fewer and fewer exist.

Then you have the indie producer. Keep in mind that before Buster was born most people viewed indie producers as the guys who made small films. But, today there are some pretty well known producers without any kind of deal. They are now indie producers too. In essence, anyone without a major studio deal is traditionally framed as an indie.

Additionally it should be noted that the marketplace is loosely defined as follows: Warner Brothers, Universal, FOX, Paramount, Sony, Disney, and (to some extent) MGM/UA are considered the MAJORS. All the remaining buyers are traditionally categorized as Mini’s (i.e. Lionsgate) or Independents (i.e. Sidney Kimmel Entertainment).

There are many factors that Buster's agent will consider in choosing the right producer for Buster. Here are simply a few:

• Does the producer have a deal? Is it a new deal or is it an old deal that may not be renewed?


• What’s the producer currently developing? What’s on their current production slate?


• Does the producer have strong relationships with studio executives? Which executives? What’s the studio executive’s shelf life look like? Is the executive on the way up or on the way out?


• What have they recently sold? What have they recently made? Was it a hit? Is the buyer happy with the performance?


• Can the producer offer any additional meaningful market intelligence to navigate the buyer's maze that will help make the sale?


• Does the producer have strong relationships with talent, directors, or their respective agents? Could the producer be successful in packaging Buster with strong elements that may elevate the potential for a sale?


• Has the producer ever read Buster's creator’s previous works? In essence, is there a preexisting relationship with the Producer?

The list of factors to consider can go on forever. Let's move on, shall we.

Ok. Now that Buster's agent has carefully identified the key target producers for each buyer(s) he will initially contact, it's time to execute.

It's not a hard rule, but specs like Buster traditionally hit the market on Tuesdays. This year over 300 specs have already been circulated.

And we're moving.

Next, Buster's agent prioritizes his phone sheet, rehearses his passionate sales pitch about Buster, and does a few finger dialing exercises and keyboard strokes as a warm up.

One last glance at the mirror (strategically placed on the desk of course) for final inspection of THE game face and it's on!!

Dial tone, key phone entries, and an inhale, then ring, ring, ring... and finally a voice on the other end:

"Lorenzo di Bonaventura’s office..." (It should be noted that assistants rarely answer the phone with the gratuitous "hello").

To be continued next week...

The Box Office Report

Lessons Learned: One Writer's Journey

Little Known: A Writer’s Most Important Purchase

by mc foley

Socks. And underwear. Especially underwear. Lots of underwear. And not the cheap-elastic, chafing kind. The kind that you can sit in for 16 hours without getting a rash. The kind that lets you focus even when your back hurts and your alcoholic tendencies start flaring up because you realize it’s midnight and you are all-only just beginning—to discuss series themes. Because if the underwear is cheap, at some moment near dusk, a throbbing itch will cackle at you from underneath the wedgie gradually creeping up your back.

Have I experienced this?

No.

But I know people who have. Or rather – I don't know if the 16th hour of bad underwear gave them wedgies, but I do know that their lives consisted of: wake up, shower, dress, stuff breakfast in face on the way to work. Work. Work to save the show from being cancelled. Work from 10am to 2am. Drive home. Look at crotch. Look at phone. Consider texting that guy/girl – and making a pit stop. The guy/girl you haven’t seen for three weeks because your entire life has been "wake-up, work, go home, sleep, wake-up-work..." Look at clock. Put phone away. Look at crotch. Sigh. Weakly. Realize you were too exhausted anyways. Go inside. Pass out. For four hours.

Do it all over again. For 30 days straight—

—which is where the socks and underwear come in. Who’s got time to do laundry when you can’t even sleep?

Am I talking about TV writers? Yes. Am I talking about every TV writer's schedule? No. Am I riffing off anecdotes told to me by friends? Yes.

And truly, as someone struggling up the first, long leg of the mountain, looking for that shiny, writing-career ledge that will not only pay me enough to keep the lights on, but also, enough to live a dignified life with dental cleanings and a laundry machine – it’s the anecdotes that are important.

It's the —
knowing people who can tell me stories like this. People in the business. People who can share information. People who, when the time is right, can open doors.

But also, before the time is right, it's the —
not asking them for anything. Not handing them my "genius" spec script with the concept that no one’s ever thought of before." Not forcing them to listen to my pitch because I cornered them at a conference and they can’t escape from my evil clutches.

Just knowing them. Talking to them. Drinking vodka with them. Drinking Guinness with them. Drinking any booze they’ll pay for since they earn five times my gimp salary. And all for the mere sake of broadening my understanding of this business I’ve chosen to pursue. Because it’s not a bohemian gathering of peaceful spirits producing tales of spiritual redemption. It’s a business.

And the answer to the title question isn’t "underwear."

It’s — time.

If I can buy myself time - time with a working writer - time with a true industry professional - and most importantly, time to work on my craft - then I’ve made a valuable investment.

Almost as valuable as a 2am pit stop.

-mc foley

(This article is reprinted from a previous issue of The Screenwriter's Success Newsletter. Due to the high volume of new subscribers we felt it would be valuable for aspiring writers to read this particular article. Also, it's mc's birthday so we gave her the week off. So, wish her a happy birthday and she'll be back next week!)


About mc foley:
Melinda Corazon Foley was born in Cebu, Philippines, raised in Virginia and currently resides in West Hollywood, CA. In 2005, MC Foley was named East West Players' James Irvine Foundation Mentee affording her the privilege to craft a new original stage play, the result: "Down and Out." It debuted at the Union Center for the Arts. Foley was then awarded the Asian American Writers Workshop Scholarship, which she utilized to re-imagine the aforementioned play into a web based series incorporating verse, motion graphics and comic book illustrations. Recently Ms. Foley completed work on a debut YA novel, The Ice Hotel. The novel is a fantasy adventure written especially for readers experiencing the profound pain of loss. In the book, a family, reeling from their eldest son's death, escapes to the Ice Hotel, where an age-old, arctic magic connects this world to the next. Back to top^

The Video Screenwriting Tip of the Week

Tip #35: 3 Ways to Qualify a Potential Agent

No B.S. for Screenwriters - The Executive Perspective

Another Victim of Studio Development...Or Was It?

by Daniel Manus

In light of the new Harry Potter movie being released, breaking all kinds of records, and quickly fading, I thought this week I'd tell you all a little story about how a project I worked on years ago, "The Covenant," went from Harry Potter on crack to Shirtless Boys making bubbles.

The company I used to work for was headed by a great writer/director named J.S. Cardone. I wont list his credits - you all know how to use IMDB - but he’s been around a while and has done countless genre movies, many of them for Screen Gems, who came to Joe after the second or third Harry Potter was released (don't remember which) and said (and I'm paraphrasing) - 'We want the dark genre version of Harry Potter. But we want it to be more adult - we want witchcraft and sex and blood and dark! Basically, a male version of "The Craft." Can you write a script like that?' To which J.S. said 'Of course,' and off he went to write.

Joe's first draft of "The Covenant" was an incredibly dark, twisted, sexy R-rated version of Harry Potter about a bunch of rich boys at a prep school in New England who had these warlock type powers handed down through their bloodlines. There was one other bloodline that also had powers, but of course that was the evil bloodline (as they were treated badly way back when), and that kid was the new kid in school, who brought with him power, mystery, devilish good looks....and an agenda to steal the powers of the others and become the most powerful warlock, blah, blah, blah...

It was a dark script. It had spiders and roaches and rape and blood and darkness and murder and sex. It was exactly what Screen Gems had asked for. So, Joe especially loved the phone call he got where the President of Screen Gems said (and again, I'm paraphrasing), "It's great, we love it, but could you do another draft and take out the witchcraft, the sex, the blood and the dark?"

And so, relenting, he did. We re-developed it and Joe re-wrote it as a PG-13 movie. That was step one. We then went through about 14 more drafts with studio notes on everything from the kids' powers to their hair color. Then Renny Harlin was brought on to direct, which was a big get for the studio despite his previous bombs. The budget was modest, and they cast virtually unknowns who were just really, really pretty (and those were just the boys). Of course one of the stars, Chace Crawford, is now a name, but no one knew whom he was then.

Let's fast forward now through production to the premiere. Having worked tirelessly on the script and all its incarnations, as well the graphic novel that tied into it, we were all sitting there, waiting to see how this once R-rated dark, twisted, sexy Harry Potter on crack would turn out. And what we saw was a darkly lit, PG-13 version of witchcraft and sex that wasn't so much "The Craft" as it was "The Craft Corner" with Rachel Ray. It had its good moments, and the story was still solid, but when the big showdown at the end employed the use of magic bubble blasts as these kids' big powers, I knew something had gone wrong. It just wasn't the same movie.

That night, we all got pretty drunk and lamented about what they did, could have done, should have, would have, etc....But 5 days later, after it opened, our spirits were rejuvenated and we were proven wrong because it opened as the number one movie at the box office and more than made its money back. And if it had been made as the R rated version, it probably wouldn't have. And we realized that sure, maybe it wasn't the movie we all originally wanted to make, but it was what it was...and it succeeded. The studio, in all their brilliance, knew what worked for them. They knew what they could sell and when and to whom they could sell it. The original draft Joe had written didn't fit with their notions of what they could make work, as much as they might have loved it.

So, in the end the studio not only got their way, but they were satisfied that their way was correct. So what was the point of this little story? Well, for all you struggling writers out there who are being told to change your vision or rewrite your script and you feel like you know better and you need to stay true to yourself...good luck. At the end of the day, though, sometimes being wrong leads to being right, especially when it comes to getting a number one movie at the box office. They may seem like shitty notes, but studios know how to do one thing pretty well - make money.

As disheartening as it might be, sometimes you need to trust in the system as much as you trust your own instincts. The system has been working a lot longer than you have. And working within the studio system means that sometimes, creativity isn't the first goal. And as a new writer, your first goal should be getting a movie made. And sometimes, that means making bubbles with pretty boys.


About Daniel Manus:
Daniel Manus is the Director of Development for Clifford Werber Productions (Cinderella Story, Sydney White). CWP recently set up a family fantasy/adventure project at United Artists which Daniel is attached to co-produce. He is also attached to produce several projects independently including "Dreams of an Aspiring Romantic," starring Emily Osment and "Strange Fruit," written by J.S. Cardone (Prom Night).

Daniel recently started his own script consulting company - No BullScript Consulting, which can be found at www.nobullscript.net. He has been a freelance script consultant for years, working for companies such as ScriptShark and Script Coach and teaches courses to writers at conferences around the country.

Daniel was previously Director of Development for Sandstorm Films, which had a first look deal at Sony Screen Gems and a development deal with Top Cow Comics. Raised on Long Island, NY, he holds a BS degree in Television with a concentration in Screenwriting from the Ithaca College Park School of Communications.

Best Business Advice for Screenwriters

Judd Apatow, director of "The 40 Year Old Virgin," writer/director of "Knocked Up," and writer/director of "Funny People" on his best business advice for screenwriters:

"I usually tell people the advice that was given to me in the past. So Garry Shandling is the main mentor I've had and he's talked about writing from your core and writing from a very honest, personal place. And when in doubt just go to the truth. And when I watch anything I think 'Are these people really going there? Or are they just dilly-dallying around?' Once in a while you see something and you think, 'That guy or that woman... they're not messing around! They're actually revealing something!' So I've always encouraged them (writers) to do that - even in big comedy that's the reason why things work because the motivation all makes sense and comes from a personal place of the writer."

Digging the Well Before You're Thirsty

Tracking the Movement of Hollywood's Executives

What do you do when a friend gets promoted or moves to a new position? You congratulate them right?

What else might you do? You might send them a card telling them how excited you are for their new position. Later, you might follow up with that person to see how they're settling in. Then, you might send them an interesting article once in a while.

Why would you do this? Because that's how relationships are nurtured and developed. (They're not developed by asking for favors before the relationship has matured)

So we'd like you to help us in congratulating the following executives who have just been promoted or moved positions.

The Business of Show Institute Congratulates the Following Executives in Their New Positions:

David Lonner
Principal, to-be-named management company

Valerie Schaer
Executive Vice President of Creative Development, Harpo Productions

Ben Silverman
Principal, to-be-named production company capitalized by IAC

The Diary of a Studio Reader

Tid-bits of Value

by Liz Maccie

About two and a half years ago, I got the wonderful opportunity to become a "reader" for a studio, think mouse house. I continue to work for them under a freelance status and absolutely love my job.

Being a reader means you literally read materials such as scripts, novels, and teleplays. Then you write up "coverage," entailing a synopsis of the plot as well as an analysis of the story elements.

Finally, you either recommend the piece for further consideration or pass on the material. All in all, it is a fantastic fun job that has made me, hands down, a better writer, simply because absorbing stories on a daily basis has helped sharpen my tools for defining story.

After reading literally hundreds of scripts, here are some tid-bits that may be of value to you on your journey to becoming a produced writer.

Tid-bit #1: They can’t do it without you.

Know that studio executives want to find the next great thing. I feel writers often think they are the small man on the totem pole, but just realize now that they can’t do it without you.

Tid-bit #2: Create and maintain genuine friendships.

In general an agent, manager, or producer makes a submission. This is the most common route to a studio. However, I have seen many, many scripts submitted via a personal connection. That old saying, "It's not what you know, but who you know," holds a lot of value. Create and maintain genuine friendships which could foster opportunity. Someone's assistant today could be running a studio tomorrow.

Tid-bit #3: Know your market.

"You only get one chance." This sounds kind of harsh, but is true in most instances. Know who you are submitting to. In other words, make sure your script is appropriate and in line with the buyer's current needs. This might sound obvious to you, but trust me; a lot of writers don’t get it.

To this day, even though it was years ago, I remember reading a script for my studio that was about a rabid animal that brutally killed people! The sad thing was that the script was actually well written, but the submission was so off the mark that it left a bad taste in everyone’s mouth and that writer was never called into a meeting.

Now sometimes, an executive might request a sample which is not meant to fit their current needs, but rather as a writing sample. In this case, just hand over the best piece of material you have which makes you shine.

Also, along these same lines, research what types of films (budget wise) are being produced. For instance, you may have a script which is appropriate in content, but it would require a three hundred and fifty million dollar budget due to special effects.

Budget = Money. A studio's main concern is making money. "Budget" is a significant part of a coverage analysis, so be sure you're not shooting yourself in the foot by handing something in which could never conceivably be made.

Tid-bit #4: Treat your writing with respect.

This is going to sound so ridiculous and frankly, unbelievable, but I have come across it too many times to not mention it. Always check your spelling. You want your script to appear as polished as if it were being purchased for a million dollars. Treat your writing with respect and make sure to clean it up before sending it out.

Happy writing.


About Liz Maccie:
Beyond serving as freelance studio reader, Ms. Maccie’s credit's include the soon to be published debut young adult novel, "Lessons I Never Learned at Meadowbrook Academy." Liz received the prestigious Editor’s Choice Award and has been honored with the endorsement and the book’s foreword by best selling author of "The Perks of Being a Wallflower", Stephen Chbosky.

"Liz Maccie's debut novel is as tough, optimistic, and beautiful as her heroine, Roberta Romano. Roberta's voice is heartfelt and funny. Her story is exceptionally moving and honest. I love this book and the hope it has for young women everywhere." Stephen Chbosky author, "The Perks of Being a Wallflower"

Additionally, she has worked as a professional screenwriter. Her past produced films include, "The Thirst," (2006) starring Jeremy Sisto, Adam Baldwin, and Claire Kramer and "Black and Blue," starring award-winning singer/songwriter, Christine Evans (newscom.com).

Liz also produced the feature documentary, "Leaving Vogue Moran." The documentary is a coming-of-age story about a 43 year old man who transforms from self-loathing to self-love. Other notable credits include, writing for the teen talk show pilot entitled, "Danny Dish," starring American Idol's Danny Noriega.

Passionate about storytelling for young adults, Liz is an active volunteer for The Young Storytellers Foundation. Finally, Liz is currently working on her second YA novel entitled: "Scoops."

The Business of Show Institute Recommends:

Allan Loeb is arguably the hottest screenwriter in Hollywood today. He is the writer of the hit "21", writer/executive producer of A&E's "The Beast", and writer of the highly anticipated "Wall Street 2" - directed by Oliver Stone, starring Michael Douglas and Shia LeBouf. But a few years ago, he was just another aspiring screenwriter. How'd he reach such skyrocketing success? Click HERE to find out...