Dear Friend,

Your comments on how helpful the Screenwriter's Success Newsletter is - have been gratifying. But you know us. We're always looking for ways to improve and become even more valuable to you.

So let us know, either by replying to this note, or posting to the blog, if you have any suggestions on how to make this newsletter even better. Are there any other industry executives you'd like articles from? Any other topics you'd like to see covered? We're not promising anything, but if it's important to you, we'll certainly try.

Anyhow, here's what we've got for you in this week's newsletter:

Meet Buster (Part 2): is this week's article by yours truly. In this piece I continue the journey of a speculative script becoming a sale. If you don't know what this process looks like, it's critical that you get familiar quickly. Here's Part 2 of this series.

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.

Bus Tokens Are Better Than Your Fifty Million Movie Ideas: 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.

The Period Piece... It's Time to Stop: 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? Writer of 2009's "State of Play" (Russell Crowe, Ben Affleck, Rachel McAdams), 2007's "Breach" (Chris Cooper, Ryan Phillippe), and 2005's "Flightplan" (Jodie Foster) - Billy Ray!

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...

Ahh... Politics: 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 name of her column is "Diary of a Studio Reader".

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 Executive of Production and Development for Sam Raimi's Production Company, Russell Hollander! Let Russell tell you what kind of material they are looking for right now...

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 2)

by Marvin V. Acuna

You know it's hard out here for a pimp (you ain't knowin)
When he tryin to get this money for the rent (you ain't knowin)
For the Cadillacs and gas money spent (you ain't knowin)
Because a whole lot of bitches talkin shit (you ain't knowin)

It's the industry theme song playing in the background as Buster's agent continues the marathon dialing and sales pitch.

The tastemakers on the target list have all been contacted. Buster has officially left the building.

And we're moving.

Buster's fate will now be met and determined by two remarkable forces. Here I'll focus your attention on one.

As we shadow Buster on this guided tour, please watch your step, and as a reminder no photography or recording device of any kind is allowed.

Folks, please keep in mind that YOU are about to enter a world open only to the most elite power players in the industry, a world of mighty creatures.

Sound the Trumpets please: http://tinyurl.com/njxz4h

Ladies and gentlemen, Welcome to the Tracking Board.

A tracking board is a network of semisecret cyber-hallways, sophisticated chat rooms and BBSes.

While there are many homegrown tracking boards and rudimentary message boards with streaming text, the power players in Hollywood use www.filmtracker.com.

Formed back in the late 90’s by a dozen or so studios executives, film tracker is the industry leader. They are the epicenter of privileged information.

While film tracker manages several hundred boards and has an active membership in the several thousands, the high-end boards are by invitation-only and membership is strictly controlled.

I see you nodding your head. Go ahead we have a moment. Please ask your question.

"Why do these folks share information with each other - aren't they in competition?"

Yes, yes they are in competition, but truth is that these folks need to stay in touch and network with each other. Keep in mind that these folks move from one company to the next at an alarming speed and they never know who they might be working alongside. They - like you - need to cultivate close relationships with their peers.

Tracking boards are simply a networking tool in Hollywood and it pays to know how to play the game and what you're up against.

And we're moving.

Buster's first coverage reports will begin to surface on the boards within hours of his appearance in the marketplace.

Opinions and comments begin forming immediately.

On their own, the comments and opinions formed may seem inconsequential. But it's the collective wisdom of the board members that begins to shape Buster's destiny.

Hear me: Anonymous people began tracking Buster the minute his agent informed someone else.

Now if the coverage reports on Buster are negative, then word soon spreads over the tracking boards that this script isn't very good.

But, if the coverage reports on Buster are good, then buzz begins to build and his agent could find himself with multiple offers and dare I say it... even a bidding war. Almost instantly Buster could become the hot property.

WTF?

I know it can be a scary thought to consider that Buster's fate rests with an anonymous group of people exchanging messages over a tracking board. But, oh well... c'est la vie.

And we're moving.

Next up... the other remarkable force.

Allow me to introduce...

To be continued.

The Box Office Report

Lessons Learned: One Writer's Journey

Bus Tokens Are Better Than Your Fifty Million Movie Ideas

by mc foley

Last week, I ran into a friend I hadn't seen in awhile. She was staring down with her brow furrowed, completely oblivious to anything else, it seemed, but the cracks in the sidewalk. I wondered if there'd been a recent breakup, bankruptcy or death.

"Hey you..." I began carefully, fearing the worst, "...something wrong?"

She glanced up, shaken out of some other world.

"Oh – hey! No, no, nothing's wrong, I was just thinking about all the emails I have to send. We're on the fifth webisode and it's crazy."

Ah yes. Now, I remembered. I'd seen her web series, and it was not only a fun idea, it had smart writing, slick editing, and most importantly - it was an idea she came up with - and executed.

I opened my mouth to respond, but stopped when we both noticed a pungent odor wafting our way from the bus stop. We turned and saw a guy with headphones doing a little dance and smoking a blunt just as a short, sweet, schoolteacher-looking lady stopped in front of him. They swiftly exchanged something - she glanced around - and she trotted off on her merry, little way.

"Did she just buy a sack of weed from that guy?!," my friend asked incredulously.

"Yeah," I laughed. "In broad daylight. On one of the busiest streets in the area."

"Hilarious," said my friend. "This whole thing would make a good webisode."

She immediately launched into an idea about two strangers passing each other, with contrasting monologues (voiceovers) overlapping. Moments later, they'd be further overlapped by a monologue (voiceover) from a blunt-smoking, Michael-Jackson-impersonating, weed-slanger.

As she spoke, I happily realized that this life incident inspiring her next webisode wasn't annoying me. Often, when I'm in conversation with people and the inevitable happens - ie: one of us says "hey, that would make a great movie/tvshow/realityshow/webseries/graphicnovel/videogame/infomercial/porno!" and then one of us breaks down the entire story in two minutes, including which directors, actors and companies would make the imaginary project a reality - I have to fight the urge to kick them (or myself) in the shin.

The thing is - that conversation happens so much, it's comical.

And the main problem with that conversation is that this is a town (and a world) full of ideas. Everyone and their mother has a movie/tv/etc idea. And, apparently, everyone's and their mother's idea is the greatest thing since flush toilets. So what?! So, I've got a great idea. So, I think this story would be funny. So, "no one’s ever done a TV show like this before!" So, the concept is profound. So -

—If I feel that great about it, then why don't I shut up - and write it?! And then, even better, take the next step and - shoot it?!

Why don't I utilize the energy I waste by discussing it (and the five million other things I've seen/read/experienced that would make such cool stories) - to focus on a keyboard or a pencil to get the damn thing down? To put it onto the page. To turn it from nothing but a bunch of wasted words - otherwise known as 'an idea' - into a formulated concept. A fleshed out beat sheet. A complete, thought-out - and executed - script. And possibly - an executed film/pilot/webisode/graphic novel.

Whenever I find myself in the midst of one of these "great idea!" conversations, I'm reminded of a particular family member. Every time I saw this woman, her mouth blurted out the same refrain: I'm so fat, I have to lose weight - I've got to lose weight - I need to lose weight - I should really lose weight -

One day, I couldn't take it anymore. She came down the stairs at a family party, saw me, and, as if by instinct, opened her mouth and began to say:

"I know, I'm so fat, I've got to-"

And like a volcanic eruption, my own mouth just let'er rip - I shouted:

"THEN LOSE WEIGHT, GAHDAMMIT!!!! LOSE SOME F%^&*()_+NG WEIGHT!!! AND DON'T YOU EVER TELL ME WHAT YOU "HAVE TO DO" AGAIN UNTIL YOU F%^&*()_NG DO IT!!!!!!!!!!!!!!!!!!!!!!!!!!"

Needless to say, she never mentioned it to me again.

And, in my defense, the next time I saw her, she'd lost weight.

Unfortunately - or fortunately - the success in that situation has dangerously tainted my brain. When caught in yet another "great idea!" conversation, I often feel the same volcanic urge rumbling up my throat. The urge to shout "THEN GO WRITE DOWN YOUR F4%^&*()_+NG GREAT IDEA AND DON'T COME BACK TO ME UNTIL YOU F%^&*()_NG DO IT!!!!!"

Or... to be more civilized... I could just say what a wise old man once said to me:

"A great idea

and a bus token

will get you a ride on the bus."

-mc foley


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 #37: 3 Ways to Contact Talent About Your Project

No B.S. for Screenwriters - The Executive Perspective

The Period Piece...It's Time to Stop

by Daniel Manus

This week, I've decided to put the eternal debate to rest once and for all. Should you write a period piece? Should you pitch it? Will it sell? The quick answer is...NO!

Of course the long answer is a bit more involved. Basically, it depends what you are writing it for. If you are a first time (or unsold) writer and you are going to pitchfests and conferences trying to get your script read, then do yourself a favor...stop writing period pieces and stop pitching them. It's one of what I call the 'dreaded pitches' and they're not what companies are going to these events to find. If a studio or company is going to develop a big, expensive period piece, it's going to be with a writer with a proven track record and great representation who can take that script and package the hell out of it with big stars. This is the only way period pieces happen.

However, if you are trying to get noticed by writing a script that can do well in a screenwriting contest like Nicholls, then by all means...period away. Screenwriting contests love stuff like this because their focus isn't finding a script that can sell, only one that's well written. If you can write a good period piece that feels authentic, it's impressive and usually advances in contests. But again, this doesn't mean it can sell.

This past weekend I was in Portland for the Willamette Writers Conference, which I have been attending for the last few years. I teach classes and I take pitches, and of course I was also promoting my script consulting company. At every event, the organizers ask executives what we are looking for and what we're not looking for. Looking through the booklet of companies, one thing was stated over and over again in the "not" column - period pieces. Almost every single company said "no period pieces." And my company was no different. So imagine my surprise when a solid 30% of the pitches I received were for period pieces. And every single writer said the same thing: "I know everyone says not to write a period piece and that I can't sell it, but I think mine is different." They're wrong. It was almost frustrating because right there in black and white, I had said "No period pieces!" but it didn't matter. Writers always ask why they aren't getting read and can't find representation. Part of it is because you're writing the wrong kind of material. You're not listening to what the executives are so plainly telling you they don't want.

I listened to one lovely woman's story which was set in the year 1345 about this mystical woman who did all these things and rose to power, etc. She spoke eloquently about this story for about 7 minutes. But honestly, she lost me 10 seconds in, as soon as she said 1345. I told her it sounded like a pretty cool book, but not a movie. When I told her we just couldn't do period pieces because audiences don't go to see them - especially not young audiences looking for fun on a Friday night - she countered by asking me, 'Didn’t people go to see "The Duchess," "Pride and Prejudice," "The Other Boleyn Girl," "The Girl with One Pearl Earring",' etc., to which I replied...NO! No, they didn't. None of those movies made any money in America, and the money they did make certainly wasn't from the wallets of 14-24 year olds. She had no idea that they weren't successful because she loved them. Did I mention she was over 60 years old?

For the purpose of this article, a period piece is anything that isn't contemporary. But there is a big difference between a movie set in the 80s and a movie set in the 1880s. At least the parents of kids today were alive in the 80s. There is some connection to that time period. At no time, have the 1880s been in vogue. Period pieces are more expensive, they are a bigger gamble, and they don't attract the desired demographic. They usually only bring in an older crowd, even when the main character is young (see: Kiera Knightley in everything she does).

Here are the true reasons why studios don't make movies for the older crowd:

1. They don't come to the movies very often. They are picky and while they will come out to the movies ("Julie and Julia" proved that), they don't do it very often, and studios have to play the odds. Kids go to the movies every weekend. If it rains, even more kids come out to movies, but everyone over 55 stays home.


2. Their tickets are less expensive. Hello, Senior Discounts! Thank you AARP.


3. Even if they will go see a movie in the theater, they won't go buy the DVD afterwards, they won't buy the soundtrack or iTunes merchandise, they won't get the Happy Meal with a shiny old person toy inside and they won't buy the T-shirt, poster or any other ancillary crap that kids most certainly will.


4. Older crowds only respond to older actors that they can connect with (Meryl Streep, Helen Mirren, Judi Dench, etc). Unfortunately, there are only a handful of these women that can aid in opening a movie. The men are slightly different, as no one thinks of Harrison Ford as being 67 years old even though he is. But the type of movies he does doesn't bring his AARP co-patriots to the theater.

There are exceptions to the period piece rule, however. If you can write a period piece that no one will think of as a period piece, you got a shot. For example, movies like "Interview with a Vampire," "300" and "Pirates of the Caribbean" are period pieces, but they certainly weren't sold on that fact. If you've got pirates, vampires, and screaming warriors (all packaged with huge stars, by the way), then perhaps your period piece has a chance because the time period isn't the star of the movie.

The other exception to the rule is the future. Technically, the future is a time period. And Sci-fi is hot right now, but before all you Trekkers get too excited, know that the big budget Sci-fi epics are also hard sells for first time writers, especially at pitchfests.

My advice for first time writers is simple - write what is in you to write. Write what you feel passionate about. That story that burns inside you. And when you finish your period drama or $150M Sci-fi fantasy epic or your mother's autobiography, smile to yourself for a job well done...then put it in a drawer and write something you can sell! A horror, a thriller, a comedy, an action, etc. Then, once you've sold that and gotten representation and everyone in town wants to know what else you have written, that is when you say... 'Well actually, I wrote this wonderful period piece...'


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

Billy Ray, writer of 2009's "State of Play" (Russell Crowe, Ben Affleck, Rachel McAdams), 2007's "Breach" (Chris Cooper, Ryan Phillippe), and 2005's "Flightplan" (Jodie Foster) on his best business advice for screenwriters:

"We're all really lucky if we can make a living in this business. And we're all overpaid. And it's really great to get paid as a screenwriter and to do well. But I've never once sat down at the computer because I was being paid. Never. It's just not enough reason to write. Writing's just too hard. You've got to have something that inspires you more than the money. Something has to speak to your spirit.

"And one of the things - this is another one of those things that I'd like to pass along to any aspiring writers out there - a very simple litmus test about what you should be writing and what you shouldn't be writing. Never, ever write a movie that you yourself would not pay to see.

"The times that I have wandered from that, I have gotten burned so badly. I've done it twice. In both cases it was because there was a producer who really meant something and I wanted to maintain a relationship with that producer. And they were stories I knew I could make better. But they were not my best writing, they didn't turn out to be great movies, and I have to bear a large part of the responsibility for that. Because somewhere out there was a writer who would have totally been inspired to write that movie because they love that genre. And that's who should have taken the payday there."

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:

Braden Aftergood
Director of Development, Film 44

Matt DeRoss
Vice President of Features, Anonymous Content

Rob Kim
Producing Partner, Bernero Productions

Helen Estabrook
Director of Development at Jason Reitman’s Hard C.

The Diary of a Studio Reader

Ahhh... Politics

by Liz Maccie

A reality of this business, but unfortunately a true one is... politics.

I once covered a script which was literally unreadable. The writer kept changing the names of the main characters, there were bizarre plot twists that made absolutely no sense, themes displayed were immoral with absolutely no value, and the entire presentation of the script was against industry standard (it was written in Word, not a script writing program like Final Draft). It was atrocious. So, I actually didn't feel too bad writing "pass" on that one because it just seemed like a blatant insult to anybody who could even read. I'll admit, I was in a rare mood that day and my analysis was scathing. I said everything I could, short of calling this writer an incompetent moron. And then, I got it... a phone call from my boss.

As it turned out, this script was written by one of the top executive's relatives and my boss needed me to re-do the coverage in a manner that wasn't so blatantly against the writing. I couldn't believe it! I was shocked and embarrassed, to say the least. So, I rewrote it. But it was still "too cruel" in my boss' opinion. I rewrote it, not once but two more times, until finally she felt like it was politically correct enough to pass on to her superiors.

So what does this all mean? Well, it means that Hollywood is a bizarre and sometimes backwards place, but we already knew that. Of course there are politics which exist in this business as they would exist in any other. Haven't you ever worked a job where the person who gets the promotion or the raise is the cousin to the person giving the promotion or the raise? Well, I have. And it wasn't fun. And it felt terrible and wrong. But, you must remember, everything is a balance. I look out for my friends and I'll admit that if I know the writer and believe in the writer, I will make sure my comments are glowing beyond belief. That's personal politics. We all do it. As we should.

But there is good news. Regardless of anything, the one thing that always - and let me emphasize that again - always prevails is talent. Sure, maybe Bob Smith's brother may get an opportunity before you do, but if your writing is original, it will always rise to the top. Great stories are hard to find. That's why there are so many remakes.

So, don't fret if your brother-in-law isn't the head of some major studio. Great writing is priceless. And truly, I know great writing from the first few sentences on a page. It pops, it provokes, and it engages. With that in mind, keep writing, and keep prevailing. In the end, talent and perseverance will outshine all other things.


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:

Let Russell Hollander (Executive of Production and Development for powerhouse director Sam Raimi's production company) tell you exactly what type of material that one of the most commercially successful directors in Hollywood is looking for! Click HERE for more details...