Dear Friend,

Your feedback and support is the lifeblood of The Business of Show Institute.

So I've got a quick question for you:

"What do you want?"

* Would you like more access to top-notch Hollywood Executives? If so, in what format?

* Would you like to talk to successful screenwriters to see how they achieved superstardom?

* Would you like more opportunities to submit your loglines and query letters?

Just hit "reply" if you're reading this through email, or email me at This e-mail address is being protected from spambots, you need JavaScript enabled to view it with your feedback.

I look forward to it!

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

How to Become Legendary: is this week's article by yours truly. The article focuses on the all-important mindset of a successful screenwriter. Most screenwriters focus on their own needs and wants, NOT the desires of their market, or the desires of the Hollywood executives they so desperately want to read their material. Here's how to fix that.

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.

Target Fixation: 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".

A Legal Perspective for Screenwriters: is our newest column by entertainment attorney Gordon P. Firemark. To ask your legal questions, email us at This e-mail address is being protected from spambots, you need JavaScript enabled to view it . If your question is chosen, it (and your answer) will appear in an issue of The Screenwriter's Success Newsletter.

From the Other Side of the Table – Your No B.S. Guide to Pitchfests (Part 4): 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? Senior Vice President of Production at Sony Pictures Entertainment – Samuel Dickerman!

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...

Elements You Need to Write Coverage: is this week's article from 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? The Shortcuts to Success – Meeting with the Masters Mentoring Program! Hollywood's only screenwriting mentoring program where Marvin V. Acuna and his network of industry contacts will help you achieve the success you desire and deserve.

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

How to Become Legendary

by Marvin V. Acuna

When John Rade, a legendary fisherman from Montauk, NY, was asked how he managed to successfully and routinely catch more fish then all the other fisherman in Montauk he replied, "I think like a fish, not like a fisherman."

Sounds silly, but it's very profound.

Most aspiring screenwriters approach their careers and this business from the perspective of their own needs and desires. Listen, it's important to be clear on what you want. I'm a huge believer that clarity is power and communicating your intention is a must. But, that's only part of the equation.

John Rade is clear on what he wants... fish, lots of them. But, his unique approach has resulted in legendary status.

Bet you're thinking: Marvin, you want me to think like a fish?

Yes! I want you to begin thinking like a fish. I promise you it will change your screenwriting life.

Here are two principles you can apply to think like a fish:

• Know exactly who your target audience is and look at everything from their point of view. It's easy to assume that what is significant to you is significant to your target audience. This is simply untrue.
  

  In essence, if you are seeking an agent, think like an agent. What does an agent want? What does an agent care about? What does an agent dislike? Only after you find the answers to these questions will you be able to speak to them, have them listen and respond.

• Do not simply rely on your instincts or what you think your target audience might want. Instead, conduct research.
  

  In essence, before you commence your next screenplay get a sense of what’s being sold in the market place, what’s being made, who’s making it, what’s already in development, etc...

My hope is that from today on you will apply Rade's "think like a fish" philosophy to your screenwriting business and become legendary too!

The Box Office Report

Lessons Learned: One Writer's Journey

Target Fixation

by mc foley

"I knew I was going to SLAM into the truck — before it even happened — and I let it happen anyways. I didn't want to... but it just seemed... inevitable."

In my brother's motorcycle class, one of the most critical topics covered was the tendency of a bike to turn in line with the rider's eyes. That is — if you are the rider — the bike turns, bends, skids in the direction upon which you are focused. It follows your line of sight. And often, a rider — ie: an imperfect human — stares at what interests them... what amazes them... what obsesses them... and, in the most unfortunate cases, at what they desperately want to avoid because it fills their hearts with dread.

Target Fixation.

Of course, I learned more about this topic — metaphorically — while pursuing my dreams in LA. But I learned about it literally — while driving my parents' old mini van down a certain road in Virginia.

That afternoon, I was stuck in a horrendous mountain of traffic, cursing the motherf6&*()ng BFE street in the middle of a motherfu%^&*ng BFE town (in my opinion, at least), and cursing myself for having left LA.

Yes — at that point in time, I was a statistic. An entertainment industry dropout. And I wasn't proud of it. I knew I'd followed so many other shame-ridden souls before me — the ones who'd flown to the city of angels on a pocket of money and a prayer, and after the first irresponsibly lush celebrations, the premature infatuations, the pointless odd jobs working event check-in desks and dressing up as a masked butterfly for parties in the Hollywood Hills (okay, so maybe that's just my story)... after all that —

I couldn't hack it.

And I was right back where I'd began.

In Virginia. Driving a rickety, green mini-van, with my mother's happy meal boxes strewn below the shotgun seat, old newspapers and dirty mulch spread across the back of the van-slash-gardening supply store, shame boring a hole into my chest.

As I pressed forward along that traffic-stuffed road, sun blazing in my eyes, I was overwhelmed with disappointment. In front of me, a large, white truck kept stopping and starting, jerking with the traffic, its shining silver bumper taunting me, laughing at me, boring the hole in deeper - and I thought to myself "what if I just SLAMMED straight into that truck? That would be awful."

And then I... zoned... out...

BLAM—

You guessed it. That 'anonymous writer' up top, was me. I saw it coming. I didn't want it to happen. But happen it did. And moments later, I was standing in the middle of a never-ending river of cars, staring at a too-tired-to-be-enraged old man as he examined the damage to his truck.

I felt like a zombie. Numb, silent, destructive. And I knew — I'd practically made it happen. I could have prevented the crash, even seconds from impact, but . . . well . . .

If, indeed, human beings are so programmed with the "fight or flight" response, that we focus a large portion of our brains — and our vision — on avoiding danger, then can't we, in effect, go too far — and steer ourselves directly towards it?

Can't we overthink things like — "this isn’t going to sell," "I'll never make it as a writer," "this sounds like crap," "I'm an untalented schmuck" — to the point that we somehow, make those thoughts come true?

Or, on the other hand — as was my case (in LA, not just some BFE road in Virginia) — can’t we focus so much on inevitable doom, that we don't concentrate our efforts where they truly belong: on the keyboard hammering away at scripts; at mixers — building relationships; on trades and websites — educating ourselves on the market; on long-term planning — understanding what a lifetime of dedication this is.

It may sound like nothing new, this concept of focus and keeping your eyes on the prize, but what has often challenged me — is the duration of the challenge. The never-ending, constantly moving TARGET that is — the writer's challenge. The writer's life. The writer's business.

For, in truth, I knew why I was back in Virginia. I'd masked my return with: "helping my brother move back from San Diego." And then, painted my extended stay with: "haven’t seen the family in awhile."

But deep down, I knew... I'd focused too much on the inevitable collision, the awful crash, the 'terrible, no good, very bad' destination I'd been told was awaiting me as a writer — rather than focusing on the work. ALL of the work. And I'd made the awful, the unfortunate, the dreadful possibilities — real.

What I had to make myself do now... was follow the lessons of my brother’s class:

To be a successful driver and, in effect, to ride the wind turn your eyes up, towards the horizon towards the direction of the goal ahead towards the dream, the path, towards where you WANT to go—

and try again.

-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.

A Legal Perspective for Screenwriters

by Gordon P. Firemark

Question:
"I've heard that books are routinely 'cooked' to show no profit after an indie film has been made and distributed. My question is, if you're a producer, writer, etc. on a film, with a percentage on the back end as part of the agreement, how can you be sure to get your true share of the profits from the movie?"

Answer:
Actually, it's not so much that the books are "cooked," as that the accounting practices are either (a) poorly delineated in the contracts or (b) articulated in ways unfavorable to the profit participants.

The best solution to make sure you get your true share of profits is to make sure you have good, clear, well-negotiated terms in your contracts. If you're taking "back-end" compensation, here are several things you can do to protect yourself:

1. Make sure that your participation is carefully defined;
2. Make sure the company is required to send you statements (and payments, if due) at least semi-annually;
3. Make sure that you have the right to audit the books of the production company and/or the distributor to ensure that you're getting your fair share; and,
4. Understand how net profit is calculated

The profit formula is as follows:

(Gross Revenues)- (permitted deductions) = (net profit)

So, successful profit participation depends on your contract carefully identifying those "permitted deductions." Some common pitfalls in the film business include deductions for unreasonable overhead expenses, interest charges, and treatment of up-front payments as 'advances,' rather than as fees.

But, it should be noted that even with a well negotiated net profits definition, projects that generate box-office or video-sales revenues frequently don't get to a net profit position for some time (or ever).

This is an area where the assistance of a knowledgeable and experienced entertainment attorney can make a tremendous difference. Before signing any contract that provides for a back-end compensation component, consult your attorney. Likewise, if you've worked on a project, but feel you're not getting paid what you should, consult your attorney and accountant to review things for you.


Have a legal question? Email them to: This e-mail address is being protected from spambots, you need JavaScript enabled to view it

The foregoing is intended as general information only and does not establish an attorney-client relationship with Mr. Firemark. This information is not a substitute for a private, independent consultation with an attorney selected to advise you after a full investigation of the facts and law relevant to your matter. Neither Mr. Firemark nor The Business of Show Institute will be responsible for readers' detrimental reliance upon the information appearing in this column.

About Gordon P. Firemark:
Gordon Firemark is an attorney whose practice is devoted to the representation of artists, writers, producers and directors in the fields of theater, film, television,and music. He is also the publisher of Entertainment Law Update, a newsletter for artists and professionals in the entertainment industries. His practice also covers intellectual property, cyberspace, new media and business/corporate matters for clients in the entertainment industry.

Mr. Firemark serves on the Boards of Governors of The Los Angeles Stage Alliance (the organization responsible for the annual Ovation Awards for excellence in Theater), and The Academy for New Musical Theatre. In the past he has served on the Board of Governors of the Beverly Hills Bar Association, where he served as liason to the Association’s Entertainment Law Section (of which he is a former chairman).

Mr. Firemark holds a B.A. in Radio, Television and Film from the University of Oregon, and earned his law degree at Southwestern University School of Law. Before opening The Law Offices of Gordon P. Firemark, Mr. Firemark was a partner with the Business Affairs Group, a boutique entertainment law firm in Los Angeles. He has also worked in the legal and business affairs departments at Hanna Barbera Productions and the MGM/UA Worldwide Television Group, and started his legal career as an associate at Neville L. Johnson & Associates, a West L.A. firm specializing in entertainment litigation.

For more about Mr. Firemark, visit http://firemark.com/.

No B.S. for Screenwriters - The Executive Perspective

From the Other Side of the Table – Your No B.S. Guide to Pitchfests (Part 4)

by Daniel Manus

This is the final part of our pitchfest series and I wanted to make sure you TV writers out there weren't left in the cold. Pitching for TV is much the same as pitching for features. You will structure your pitch pretty much the same and you still have to seem normal. The one big difference is that with television, you not only have to convince the exec that you have a commercial and sellable idea, but that you have an idea that will bring people to their TV sets week after week for 4 seasons and that your idea is big enough to last 100 episodes without getting too stale, too implausible, or too repetitive. You have to prove to the executive that the show has legs!

You will be asked how many episodes you have written, and if you say you only have the pilot, that is probably not enough. At the very least, you should probably have a list of future episode ideas/outlines. In a TV series pitch, you really have to sell your characters in a TV series pitch even more so than in a feature.

You also have to know your audience and what networks are looking for. You wouldn't send a rom-com to Spike, or a horror to WETV. You should know what your target networks are (if you're pitching to a TV production company), or you should be able to tell an exec at a network why your project fits in perfectly with their brand. It's much easier to see what networks are producing than what film studios are developing — all you have to do is click on the box sitting in your living room.

There are usually a number of agencies and management companies at the Expo. Pitching to an agent or manager is even MORE about selling yourself than your projects. These are the people that are going to work with you day in and day out, selling you and your personality. They are going to be the ones setting up the meetings with studio execs, so if you annoy them, it’s over.

With an agent or manager, you should pitch you. Where you come from, why you want to do this, what range of projects you have, what type of projects you want to write, what types of writers you think your style is like, what your favorite types of movies are, etc. Try to connect on a personal level. Make them want to grab a beer with you. Meeting with representation is not just about having a good idea — it's about having a long term vision. They will probably ask you what genre you feel is your strongest — don't tell them "all of them." Agents and managers can't sell a writer that wants to do EVERYTHING. They need to know where you fit, so if you have written 4 horrors and 1 romantic musical — you're a horror writer! You have to find your niche first — then you can fight your way out of it. Ha!

At events like the Expo, a second assistant from CAA comes and they are bombarded all day with writers while the manager who owns his own boutique company sits at his table all alone. This is why writers need to do their research and have realistic expectations. You SHOULD be pitching to the small firm, not the huge agency who will never call you back. As I said, the big agencies don't need or want you — but the smaller agencies and management companies are always looking for undiscovered talent.

Executives love to tell pitchfest horror stories — but we also love to tell the success stories. I hope all of you become one of the latter. But keep this in mind before you buy your golden tickets: pitchfests are not for first time writers who have just completed their scripts two days prior. Pitchfests are for writers who have written, edited, polished, re-read, and pitched their project to anyone who will listen and just haven't gotten their big break yet. The pitchfest should not be the first time you talk to about your project. Know your story, do your research, be calm, cool and collected, and have fun! Otherwise, you will just be wasting your time and the executives'. And that's against the rules.

Also, this is your last week to makes sure your script and your pitch is ready for the room! If interested in a script or pitch consultation, please contact me at This e-mail address is being protected from spambots, you need JavaScript enabled to view it .


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

Samuel Dickerman, Senior Vice President of Production at Sony Pictures Entertainment - on his best business advice for screenwriters:

"Number one, passion for movies. If you don't have that you shouldn't be doing it. It's not a lottery ticket thing. It feels really sexy and cool but it's a business and you need to have that thing: 'I need my eternal optimism that the next script I write is going to be the best script ever' – you need that passion for movies.

"I think it's also – second – is perseverance. I don't think it's always the first screenplay. You gotta be 6, 7 in before you're judging, have you learned what you're doing.

"And I'm going to add one for starting writers. You've got to have the ability to take criticism. Because there's something that happens in the creative process – which is – you get inside of what you're doing and you lose your objectivity to it... but the ability to listen, and hear what people are saying... and process that, I think, is essential."

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:

Rachel Eggebeen
Development Executive, Shondaland

Laverne McKinnon
Head of Development, Epix

Jen Chambers
Vice President of Creative Affairs, E1 Entertainment

The Diary of a Studio Reader

Elements You Need to Write Coverage

by Liz Maccie

As I mentioned in my last article, being a "reader" has immensely impacted my personal writing in a very positive way. If ever given the opportunity to write coverage for money I say, "Grab it!"

Keep in mind that you can be a "reader" on your own time. For instance, start reading one script a week and write coverage for that script. Take scripts from movies that you absolutely adore and break them down. As you read those great scripts, you'll start to notice patterns which eventually will bleed into your own writing. Also, read some terrible scripts (obviously this could be a bit subjective) and do the same thing. Often or not, we learn more from being exposed to what not to do. Start to decode for yourself the elements which make a script compelling and impossible to put down. And equally, identify the qualities which drag a story down or make it one dimensional. Try this with all different types of genres. Trust me; you might discover you have a penchant for horror when all along you thought you were a romantic comedy writer. Expose yourself to as much as you can. Over time, subconsciously your mind starts to absorb information which will most certainly reflect in your own writing.

Now, I challenge you with this: write coverage of your own script! Yes, it sounds crazy, but it will amaze you how all the problem areas become very apparent. Put a microscope on your work. Write coverage of your own material as if you were a stranger and had no idea who wrote it. I know this can be difficult, but if you start to look at your work with less personal attachment you will be able to make decisions which help advance your storytelling. Be ruthless! Just go for it. Call out the weak areas as if they were your worst enemy. But be sure to also praise the parts which shine. As writers, we tend to be terribly hard on ourselves when this ultimately doesn't benefit the greater good. You are an artist. Your work is alive and deserves to be treated with respect. Always. No exceptions. Treat your writing as if it were your child. If all you ever did was praise your child than your child would be off balance. So, be kind, but also be honest. Hiding behind a smoke screen doesn't advance your work. Genuine honesty does.

Elements you Need to Write a Coverage:

1. Use this chart to make an overall analysis of the work.
   

   CHECK ONE: Idea Story Line Characterization Dialogue Setting/Production Values

   EXCELLENT GOOD FAIR POOR



2. Log line. One sentence which gives the plot of the script.


3. Grade the work. Would you give the script a Strong Consider, Consider, Weak Consider, or a Pass?


4. Generally speaking what type of budget would this film have? High, Medium, or Low.


5. Write a two page synopsis of the story. This is just like a good old fashion book report we use to write in grade school. You want to see if a "summary" of the story is compelling. If you find that it is too hard to write a summary then this often means the script is not clear. A good script, even a script with many twists and turns, should be relatively easy to summarize.


6. Now, write a detailed analysis (usually one page) of the elements you evaluated in the chart. If the idea is great but the characterization is weak, give some remedies as to how one might elevate the weaker component.

Ideally, you want to have "excellent" marked off in every box. But again, be honest with yourself about what doesn't quite work, so that you can improve upon it.

Believe it or not, this process is actually quite fun. If you live in Los Angeles or New York City you can go to the WGA (you do not need to be a member) to their library and read almost any script you can think of, for both TV and film, free of charge. If you don't live in or close to one of these areas, just use the internet to download scripts for free. www.imsdb.com is a wonderful site where you can read scripts for no charge. I just read "The Departed" on this site the other day! PS- A script I deeply recommend you reading.

There is a science to writing. Read some of the greats and you'll start to recognize what makes something unforgettable.


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:

After mentoring dozens and dozens of successful screenwriters over the past 15 years, I can honestly say that you're probably just 1 good contact away from achieving the screenwriting success you desire.

Just one good contact who can introduce you to the right network of people, and finally help you penetrate the infamous Hollywood "Insider's Club"... even if you don't live in Los Angeles!

And if you let me, I'd like to be that contact for you.

HERE'S what this is all about...