tag:blogger.com,1999:blog-258956922024-03-13T06:12:13.815-07:00Bamboo KillersEmily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.comBlogger1538125tag:blogger.com,1999:blog-25895692.post-89250033370936968432014-08-16T13:18:00.000-07:002014-08-17T10:27:31.865-07:00Help us Kickstart Tenspotting<div class="separator" style="clear: both; text-align: center;">
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At 2013 San Diego Comic Con, my friend Michael Patrick Sullivan and I came up with an idea for a short about <i>Doctor Who</i> cosplayers. That night over drinks, we expanded it with a couple of friends, and by the time we got back to our hotel rooms, we already had a plan.<br />
Michael wrote a first draft, then I took over from there. Marisa Stotter, who we met that very night at SDCC, agreed to come on and produce. She is a producer who used Kickstarter to fund her feature documentary <a href="https://www.kickstarter.com/projects/sequart/she-makes-comics" target="_blank">She Makes Comics</a> with <a href="http://respectfilms.com/" target="_blank">Respect Films</a>, who she is also partnering with to put together our little film.<br />
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<a href="https://www.kickstarter.com/projects/emilyblake/tenspotting" target="_blank">This is our Kickstarter page</a>. <br />
<br />
The story is about a woman named Angel, who fell in love with a Tenth Doctor cosplayer at last year's con, only she never got his number or his name, and now all she wants is to find him again. The problem? There are a zillion other Tenth Doctor cosplayers all around her, so she needs a strategy to find the perfect one - that one man who gets her and loves all the same things she does.<br />
<br />
I mean, we've all been there, right? You have a hobby or an obsession. We all do, and we've all dated people who don't get it. I sat in on emocore concerts and Steelers games at Hooters and watched countless games of Halo trying to form a bond with someone. Wouldn't it be easier if the person you love is also obsessed with the stuff you love already? <br />
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But it goes beyond having stuff in common. Many of us come into relationships with a list of criteria we expect our partner to meet. Nobody likes to wast time, right? So how can you be sure you've found somebody worth your time? That's something we all struggle to figure out, no matter what genre TV shows we do or do not watch. <br />
<br />
So Angel wants a <i>Doctor Who</i> fan, and now that she's met the perfect one, nobody else will do. She enlists her friend Tiffany to help her track him down. Can she find the right Doctor among all those men wearing the same costume? Or will she find something else instead?<br />
<br />
That's the story. It's a nerd romcom. I know - Emily wrote a romcom? Crazy, right? I did write a brief fight scene into the script, though. No way am I letting this thing happen without at least somebody slapping somebody else in the face.<br />
<br />
But it's really fun. It's filled with <i>Doctor Who</i> in-jokes, but we made sure it's also approachable for anyone who's not a fan of the show. It's just a fun story about a geek girl looking for a perfect match. <br />
<br />
That's why <a href="http://www.imdb.com/name/nm1640124/" target="_blank">Chloe Dykstra </a>signed on to play Angel. She's one of the stars of <i>Heroes of Cosplay</i> and has hosted a million geek shows. If you know anything about cosplay, you probably know who she is. She's absolutely fantastic and I'm over the moon about working with her. She was our first choice for the role.<br />
<br />
Angel's best friend Tamara will be played by <a href="http://www.imdb.com/name/nm4227751/?ref_=nv_sr_1" target="_blank">Tiffany Smith</a>, who you may recognize from G4's legendary Attack of the Show. She also hosts a zillion shows about geek culture. She's a huge comic book fan and is really excited about getting to play in this sandbox.<br />
<br />
What I love most about having these two amazing women in our cast is that they are geek girls, out and proud. I've been in love with genre TV and film for a very long time, but I kept the level of my devotion largely to myself because geek girls aren't cool, right? If you're a girl and you like sci-fi shows or comic books or gaming or anything generally associated with geek culture, The common theory is that you're probably a fake, just doing it to get attention. Besides, only losers who live in their moms' basements like that stuff, right? That's the stereotype, but I think most of us know now that the stereotype is bullshit, and women like Chloe and Tiffany and Felicia Day are part of the reason why.<br />
<br />
That's why this story is important to me. I love telling a story about a girl whose love of <i>Doctor Who</i> is a perfectly normal thing, just like loving a sports team.<br />
<br />
Anyhow, our male lead, named Ben, is played by <a href="http://www.imdb.com/name/nm2639311/?ref_=nv_sr_1" target="_blank">Kit Williamson</a>, who writes/directs/stars in a series called <i>Eastsiders</i> and has played Ed on <i>Mad Men</i> for the last couple of seasons. He's perfect for this role on account of how he's fucking adorable.<br />
<br />
So as you can see, we have a legit cast, a legit script, a legit crew and a legit producer. We have an interesting, largely unexplored setting (<i>The Guild</i> is the closest example) and a plan for distribution. What we don't have yet is all of our funding.<br />
<br />
We're offering some cool rewards in return. We have some good stuff for filmmakers: a private tutorial on editing from our excellent director, <a href="https://pro-labs.imdb.com/name/nm2732479/?ref_=sch_int" target="_blank">Patrick Meaney</a>; a private tutorial on cinematography from our excellent cinematographer, <a href="https://pro-labs.imdb.com/name/nm2817667/?ref_=sch_int" target="_blank">Jordan Rennert</a>; I'm offering script notes, and we have script copies and a production diary available as well. Plus, you can get a one-of-a-kind drawing of yourself as the Doctor's companion or a cosplay photoshoot.<br />
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The video features my excited mug and charming cosplayer Stephan Reese, who made me laugh so hard we almost had to call the whole thing off. It's less than three minutes long, so take a look. And if you like any part of it, or if at some point in the last few years I have given you any insight into anything, or made you laugh, or motivated you at all - consider contributing to this short. It would mean the world to me.<br />
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Help us bring more great art into the world. Check out <a href="https://www.kickstarter.com/projects/emilyblake/tenspotting" target="_blank">Tenspotting</a> and then give us some money. Please.<br />
<br />
And if that's not persuasive enough, listen to my adorable dog.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com5tag:blogger.com,1999:blog-25895692.post-20428591819319829152014-07-12T14:47:00.000-07:002014-07-21T17:32:53.271-07:00Introducing Chicks Who Script<div class="separator" style="clear: both; text-align: center;">
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This will be my last post for a very long time. Maybe forever. Not because I'm going silent, but because I'm changing with the times and migrating to a new platform.<br />
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I love listening to podcasts. I listen to a lot of them while I walk dogs. My favorites are The Nerdist, How Did This Get Made, and The Broken Projector. I also listen regularly to Scriptnotes, Quick and Dirty Tips: The Dog Trainer, Stuff You Missed in History Class, Talking Comics, and The Business.<br />
<br />
So a few months ago I attended a live recording of Scriptnotes - the one about superheros - and I mentioned on Twitter that I was disheartened by the lack of female participation. One woman was on the panel, although she didn't talk nearly as much as the men, and no women asked questions at the Q&A session.<br />
<br />
But Emily, you may say, why didn't you ask questions? Well, I was trying to think of one, when two women stood up and got in line. But the people in front of them took so long because they began telling their life stories, that both women got tired of waiting and sat down. Then the show ended.<br />
<br />
So as I commented on Twitter about this sad state of affairs, someone asked if there were any screenwriting podcasts run by women. Not exactly. There are some movie business podcasts (The Business being the best of them) and there are a couple of okay podcasts that talk about screenwriting some of the time, but none that can compete with The Broken Projector or Scriptnotes in popularity or production value.<br />
<br />
I have not yet had a chance to listen to The Moment, so forgive me for not including that one.<br />
<br />
Anyway, somehow this conversation led to three of us agreeing to put together a podcast called Chicks Who Script. We'll be posting our first episode next week.<br />
<br />
So from now on, that's where I'll be, along with Lauren Schacher and Maggie Levin. We'll be discussing screenwriting from a female perspective, and we will have a guest each week. It won't always be woman-centric, but it will always include the female voice in the conversation.<br />
<br />
So if this kind of thing interests you, please check it out.<br />
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Website: <a href="http://chickswhoscript.com/">ChicksWhoScript.com</a><br />
Twitter: <a href="https://twitter.com/CWSPodcast" target="_blank">@CWSPodcast</a><br />
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Thanks for reading. Here's a cat picture for the road.<br />
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<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com10tag:blogger.com,1999:blog-25895692.post-83547777527431307712014-04-12T10:01:00.001-07:002014-04-12T10:18:46.993-07:00How Annie Hall helps me cope with rejection<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6O0MbCL0xRE/U0lxD2TBD_I/AAAAAAAAEeo/60aHuKc45d0/s1600/annie+hall+dog.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6O0MbCL0xRE/U0lxD2TBD_I/AAAAAAAAEeo/60aHuKc45d0/s1600/annie+hall+dog.jpg" height="320" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Doggieane Keaton</td></tr>
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<br />
Yesterday I posted about the <a href="http://bambookillers.blogspot.com/2014/04/fear-of-failure.html" target="_blank">fear most of us share that we will never reach our lofty goals</a>. I got a lot of support, and I thank you all for that.<br />
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So as a sort of follow-up, I thought I'd add something that helps me sometimes when I face another round of rejections:<br />
<br />
I hate <i>Annie Hall</i>.<br />
<br />
I'm sure a lot of you are judging me right now. Maybe you're thinking you were too hasty in your support of me yesterday. How can I hate <i>Annie Hall</i>? Everybody loves that movie for a thousand amazing reasons. You're probably questioning my taste level.<br />
<br />
This isn't an opportunity for me to explain why I hate <i>Annie Hall</i>. I have my reasons. It's not an opportunity for you to convince me to like <i>Annie Hall</i> or give it another chance.<br />
<br />
The point is, it's a mantra I repeat whenever rejection gets me down.<br />
<br />
I hate <i>Annie Hall</i>. Everyone else loves it.<br />
<br />
So every time I put a script out into the world and someone doesn't like it, I remember how much I hate <i>Annie Hall</i>. Just because one person doesn't love something I create, that doesn't mean it's not a valid creation. That doesn't mean someone else won't come along and get it right away.<br />
<br />
You have an <i>Annie Hall</i>. There is some movie that everyone raves about and you can't fucking stand. If that script had come across your desk you would have set it on fire, but somebody read it and believed in it and made it and the world loved it. You may not get it, but a lot of people did.<br />
<br />
So if one person doesn't love your work, that's okay. Maybe it's <i>Annie Hall</i>.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com3tag:blogger.com,1999:blog-25895692.post-9553979769612224962014-04-11T08:26:00.000-07:002014-04-20T14:26:07.188-07:00Fear of failure<div class="separator" style="clear: both; text-align: center;">
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<br />
Time for some brutal honesty.<br />
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If you decide to be a teacher or an accountant or a lawyer or a doctor or a construction worker or most jobs in this country, you have a clear order of operations to make that happen. You go to school. You get an entry level job. You work your way up. You have a career.<br />
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It doesn't work that way for screenwriters. There's no prescribed degree that will qualify you for the job. There's no entry level position from which to work your way up. You have to wave your arms to get noticed, and then you have to hope that what you offer is what someone else is looking for. <br />
<br />
I've been writing since I figured out what a pencil was, but here I am, a full-grown adult, and still not a paid writer.<br />
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Sure, I've been validated. I know I don't suck. I've been repped and won a highly rated contest and met with producers who tell me how much they like my writing. But that doesn't make me a professional writer. It makes me a talented hobbyist.<br />
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It's so easy to get demoralized. Half the time, you have no idea why you've been rejected, so you start to second guess everything. Did they think I was a comedy writer? Is it because I'm a woman? Are they looking for something more commercial? Do they not like my snazzy writing style?<br />
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Or the worst one of all, the one we all have to face down at regular intervals: <i>What if I'm not as good as I think I am?</i><br />
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What if you're the kid at the American Idol audition who talks about how amazing he is, then opens his mouth and wails like an angry goat? What if every person who ever told you that you were any good was just trying to make you feel better, or trying to make you shut up, or had no taste themselves, or was making fun of you? What if you are just wasting your time?<br />
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You could throw in the towel and go back to looking for a job where your resume and an interview are all you need to get hired, where you won't be told constantly how amazing you are by people who won't hire you. It would be so easy.<br />
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People do it every day. They leave Los Angeles and go back home, often swearing to return once they've gotten their shit together. But they almost never do. Most people take one shot at this, and when it's over, they fold up their tent and get an office job.<br />
<br />
I think about it sometimes. I was a good teacher. I didn't hate teaching. What if I just went back and made it my career and stopped trying to be something else? That wouldn't be so bad.<br />
<br />
But I'm not there yet. I still think something is around the corner.<br />
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I've wanted to be a writer my entire life, so every time I think about throwing in the towel, I think of Little Me and what she'd say. She'd tell me to shut the fuck up and get back to work on the next script, because Little Me apparently had a foul fucking mouth.<br />
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So for now, as I seek new management, <a href="https://blcklst.com/members/scripts/view/17172" target="_blank">I put my latest script, <i>Nobody Lives Forever</i>, up on the Black List site</a>. I'm very proud of this one. It's an action script with a white male 30-something lead and a strong hook with an emotional core. It's got bromance and fight scenes and a female villain. I believe in it. It's probably the most sellable thing I've ever done. And while I wait for the downloads and the reads and whatever they may bring, I'm going to keep working on the next thing.<br />
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Because I'm not ready to give up, no matter how many times the bastards try to get me down.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com17tag:blogger.com,1999:blog-25895692.post-69922642598060055432014-03-22T09:40:00.001-07:002014-06-19T07:36:55.241-07:00Confessions of a Veronica Mars Kickstarter Backer<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-cGEe_Nz6l-g/Uy24DAWC3LI/AAAAAAAAEdI/eISEj3vVzQQ/s1600/VeronicaMarsgrouparrow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-cGEe_Nz6l-g/Uy24DAWC3LI/AAAAAAAAEdI/eISEj3vVzQQ/s1600/VeronicaMarsgrouparrow.jpg" height="189" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of these beefy gentlemen is my husband.</td></tr>
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<i> </i>I'll explain how this photo happened in a minute. But first-<br />
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<i>Veronica Mars</i> is one of my top five television shows of all time. I never missed an episode when it aired, and in the summer between seasons one and two I kept an unhealthy level of obsession with who was at the goddamn door. I watched the kissing scene on the balcony like a thousand times. I think "A Trip to the Dentist" is still one of the greatest episodes of television ever made. Every time I see a yellow Nissan Xtera, I still say "Hey, it's Logan!" <br />
<br />
MILD SPOILERS FOR THE SERIES:<br />
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When the third season ended, Veronica had just ruined her father's reputation through her own reckless behavior. Her entire college campus had seen her naked in a sex tape filmed and distributed without her consent. Her ex-boyfriend beat the tar out of a mobster who threatened him with certain death, and her current boyfriend still refused to cut his stupid hair. And suddenly, that was it. No more story.<br />
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SPOILERS OVER.<br />
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You may not love <i>Veronica Mars</i>. You may never have understood it or even watched an episode, but at some point you've probably loved a show that was canceled. The vast majority of my readers are screenwriters, and I refuse to believe a screenwriter does not love a single show that's been canceled. If you haven't, you're either extremely lucky or you haven't loved enough. And if someone wanted to continue your favorite story and give it an ending, wouldn't you be excited?<br />
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I'm lucky to have loved shows that had a rebirth - <i>Farscape</i> and <i>Firefly</i> chief among them. I'm still waiting for Samurai Jack to go home or a <i>Pushing Daisies</i>... anything.<br />
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When <i>Firefly</i> was canceled, fans offered to pay for a second season. That would have been unrealistic even if Kickstarter had existed then, but the intent was there. If it's money you want - we have money! We will give it to you if you give us our show!<br />
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And we do pay for content. We pay for Hulu Plus and Netflix and Amazon Prime and cable and satellite and other services that allow us to watch the things we love. And I loved Veronica.<br />
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So when Twitter buzzed with the news that Rob Thomas had launched a <a href="https://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project" target="_blank">Veronica Mars Kickstarter</a>, I did not hesitate to check it out. I watched the video a million times because this is the most Veronica Mars we'd gotten in years. I read the fine print. I studied the rewards list. I made my choice and gave my money.<br />
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And ever since, people have given me shit.<br />
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Not me directly, but VM Kickstarter backers as a group have been sneered at by a lot of folks who think they know better how we should have spent our money.<br />
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According to some, anyone who contributed is a sucker who gave a studio money and only got a T-shirt in return.<br />
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Here's what I say to that:<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-nfoavcrogoI/Uy22vxtF2dI/AAAAAAAAEdA/8fpCd8fH3p8/s1600/jog+on.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-nfoavcrogoI/Uy22vxtF2dI/AAAAAAAAEdA/8fpCd8fH3p8/s1600/jog+on.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jog on.</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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I wanted a <i>Veronica Mars</i> movie. Without the Kickstarter: no movie. With the Kickstarter: movie. It was that simple. Is this setting a bad precedent? Is it going to make studios run to Kickstarter to fund all their movies now? First of all, not really, and second of all, that's not my problem. That's not Rob Thomas' problem. Rob Thomas wanted to get this movie made, as did we all. This was the way.<br />
<br />
A friend of mine used to bring me to these <i>Battlestar Galactica</i> viewing parties with cast and crew members, and at one of them I told a director I was making a short film. He handed me $20 and wished me luck. I never saw him again. And that happens all the time in this town - the support for creative endeavors from other creatives is enormous. We all want to see good stories get told.<br />
<br />
So yes, I gave my money. And when I did the math, I probably paid maybe $20 more for the items I got than I would have had I bought them independently. I'm okay with that.<br />
<br />
Because what I really got was a great movie. The advantage all the naysayers weren't considering was that by circumventing the studio system to a degree (isn't that what we all say we want to do?) Rob Thomas was able to make a movie for the people who funded it - the fans. Instead of getting note after note and making a film that had to appeal to a broad audience at fan expense, he was able to indulge us in everything we loved about the series.<br />
<br />
This film was exactly what I wanted. It's what I paid for. And I proudly wear my shirt and look at my poster, and when the Blu Ray comes I will watch it repeatedly.<br />
<br />
The cast and crew knew how much trust we placed in them, and they didn't take it for granted. At the Paleyfest panel, they showed a documentary about the fans, and in every frame, as well as in the panel discussion that followed, there was a respect and love for the people who helped make this film happen. Yes, extras usually get paid to be in a movie and here were people who themselves paid for the privilege. But you know what? For professional extras, it's work. For these people, it was a chance to be part of something cool that they wouldn't otherwise get, and they don't regret it, so why should you regret it for them?<br />
<br />
The guy in the picture up top in the red pants? That's <a href="http://www.ericthetrainer.com/home" target="_blank">Eric the Trainer</a>, who trains tons of celebrity clients, including one Jason Dohring, AKA Logan Echolls. Through a mutual friend, I was able to go see the movie this week with Jason up there. He was polite and friendly (and I ain't gonna lie, handsome as hell in person), but when I told him I was a backer, he jumped up and hugged me and engaged me in conversation. It made my fucking day. I'm also pleased to announce that I did not embarrass myself, despite my internal squealing.<br />
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The entire time they made this film, the cast and crew knew exactly who they were making it for. You can see it in every frame of film. Is it a perfect movie? Of course not. Is it everything I wanted as a fan? Fuck yes it is.<br />
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Here's one last thing. I never gave to Kickstarter before the <i>Veronica Mars</i> campaign. I have now given to nine funded projects in all, including comic books, short films, documentaries and a project that allows terminally ill children to write their own books. I think that's a pretty good precedent.<br />
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So don't you worry about how I decided to spend my money. You worry about your own spending habits. I chose wisely. Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com13tag:blogger.com,1999:blog-25895692.post-91422822996891136072014-03-14T09:44:00.001-07:002014-03-14T17:10:40.453-07:00Be the Change<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6oNcJhjJA5Y/UyMwWYxx0CI/AAAAAAAAEck/iPQBbTqrYM4/s1600/Cate-Blanchett-Oscar-Speech-620x330.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-6oNcJhjJA5Y/UyMwWYxx0CI/AAAAAAAAEck/iPQBbTqrYM4/s1600/Cate-Blanchett-Oscar-Speech-620x330.jpg" height="170" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"The world is round, people."<br />
(Yes, I know it was a Woody Allen movie.)</td></tr>
</tbody></table>
Sometimes in the morning when neither of us has anywhere specific to be, Beefcake and I lie in bed while I read interesting news articles on my phone. This morning, I read an <a href="http://www.huffingtonpost.com/2014/03/14/iraq-child-marriage-bill_n_4962247.html" target="_blank">article about a bill in Iraq </a>that would make it legal for men to marry 9-year-old girls and illegal for women to refuse sex with their husbands. Then I read an article about the<a href="http://www.huffingtonpost.com/2014/03/14/amina-bibi-pakistan-rape-victim-self-immolation_n_4963044.html" target="_blank"> Pakistani 17-year-old who set herself on fire</a> to protest the release of the leader of the five men who kidnapped and gang raped her. Then I read an article about <a href="http://www.huffingtonpost.com/2014/03/13/michigans-abortion-rider-_n_4958517.html" target="_blank">the new law in Michigan</a> that requires women to purchase special "abortion insurance" if they think they might be raped. Then I read about <a href="http://www.dailymail.co.uk/news/article-2580841/Its-witch-hunt-Controversial-photographer-Terry-Richardson-dismisses-claims-acted-inappropriately-models-scenes.html" target="_blank">Terry Richardson</a>. And we all know about <a href="http://www.bbc.com/news/world-us-canada-26005565" target="_blank">Woody Allen</a> by now. And of course, we can't forget about <a href="http://en.wikipedia.org/wiki/Roman_Polanski_sexual_abuse_case" target="_blank">Roman Polanski</a>.<br />
<br />
This is about culture.<br />
<br />
In each of these cases, someone in power sanctioned this behavior. Celebrities pal around with Terry Richardson all the time. They defend Woody Allen and Roman Polanski. Governments and police forces support laws that keep women suppressed and abused all over the world. And all of that speaks to a culture that subconsciously (or in some cases, consciously) believes that women deserve what they get.<br />
<br />
We as artists have the power to instigate change. Making movies isn't like curing cancer. It's not "important work." Or is it?<br />
<br />
A <a href="http://www.thewrap.com/mtv-teen-mom-16-pregnant-helped-reduce-teen-pregnancy-rate-study" target="_blank">recent study showed</a> that the MTV series<i> Teen Mom</i> helps to reduce rates of teenage pregnancy.<br />
<br />
There are no statistics to back it up, but many believe that the magnificent David Palmer, the black president on the TV series <i>24</i>, helped Americans open up to the idea of a black president. It seems likely that <i>Will and Grace</i> made <a href="http://www.npr.org/2012/05/12/152578740/how-tv-brought-gay-people-into-our-homes" target="_blank">being gay a more acceptable part of our society</a>.<br />
<br />
Art begets change.<i> The Jungle</i> changed the way the government handled meat processing in this country. Look what happened to fast food menus after <i>Super Size Me</i>. <i>Black Fish</i> is already having an effect on our perception of animals in captivity.<br />
<br />
We can make a difference with what we write. We don't have to, but we can, even if we write the silliest B movie to hit VOD.<br />
<br />
When every black person you see on film is a thug, you are more likely to believe that black people are plotting to shoot you. When every gay person you see on film is a sexual predator, of course you believe that the gay community is coming for your children. And when every woman you see in film is a wife/mother/victim, you're far more inclined to believe that we're not capable of anything more.<br />
<br />
This is why I write female protagonists so often. I don't write them just because I'm a woman. I write them because I want to SEE women - women I can relate to, women who aren't just running scared or trying to please the male lead.<br />
<br />
This is why <i>Frozen</i> and <i>Hunger Games</i> were so successful this year. Girls are starved for female characters who carve their own path. And guess what? Boys watch this stuff too. Yes, boys are capable of enjoying films about girls.<br />
<br />
One year when I was a teacher, the <a href="http://neabigread.org/" target="_blank">Big Read</a> chose <i>The Joy Luck Club</i> as that year's novel. I volunteered to lead the related activities at our school. As the English teachers were meeting to discuss our plans, one of our male teachers protested teaching his students this novel. "I don't think the boys will be interested in reading a book about women," he said.<br />
<br />
Before I could even begin my angry response, the teacher beside me handled it much more simply. She said "Why not? Girls have been reading books about boys forever and they don't complain." And in my classroom, I had no such complaints. I taught a room full of first-generation Americans, and even those without immigrant parents could relate to the parent/child relationships raised in the book. There's more to being a woman than having a vagina. We have a lot of the same thoughts and feelings as men do. And sometimes, we have a different take on those thoughts, one worth hearing.<br />
<br />
If you're a boy who can't dare to watch a movie about a female protagonist, you're a fucking idiot.<br />
<br />
You don't even have to write a female protagonist to have interesting women in your film. Most writers default to male. The only characters who get to be women are the characters who MUST be women. But when you change a character's race or gender or sexual orientation to something other than the default, cool things happen in your story. Your characters suddenly become more interesting.<br />
<br />
So do this for me today: find a character you defaulted to male and make that character a woman instead. Most likely, you don't have to change anything else. Don't make her a love interest or somebody's mom or a murder or rape victim. Just make her a person. Give her some good lines to say that have nothing to do with her gender.<br />
<br />
If we all do this in every script, imagine the difference we could make together over time. Imagine the fate of the celebrity rapist. Imagine the rape victim who at least knows that these men are buried so far under the prison that they will never touch another girl again. Imagine the woman who doesn't have to carry her rapist's baby to term because she failed to buy "abortion insurance." Imagine the women who will know it's okay to stand up to their abusers. But most importantly, imagine the courage we give to girls all over the world to become the best version of themselves. <br />
<br />
It kind of starts with us. People all over the world watch movies. It's the easiest, most subtle way to send out messages, to influence culture. We have that power.<br />
<br />
It's not just words, you know. It's a decision that you make every time you write: BE THE GODDAMN CHANGE.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com24tag:blogger.com,1999:blog-25895692.post-30183291874388644452014-03-12T14:05:00.000-07:002014-03-12T14:37:11.595-07:00Rep Relationships: An Insourced Post<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-HTEYodHSMnc/UyDLzZpA-yI/AAAAAAAAEcQ/cA6sTe9tzZM/s1600/hunting+wabbits.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-HTEYodHSMnc/UyDLzZpA-yI/AAAAAAAAEcQ/cA6sTe9tzZM/s1600/hunting+wabbits.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">See, the rabbits are the managers in this scenario.</td></tr>
</tbody></table>
<br />
Let's talk about managers some more. Just managers today, not agents, since for most screenwriters, this is the first stop.<br />
<br />
In the beginning, you're just so excited that someone wants to read your script, you don't care who it is. And if someone wants to rep you - hot damn, now you're off to the races!<br />
<br />
But it doesn't really happen that way. Having a rep can open all kinds of doors, but it is not a guarantee of success. And sometimes the rep you pick ends up not being the right one. That's okay. There are so many in this town that if one doesn't work, you try another. The comparison to a romantic relationship is absolutely apt. You go in hoping to make it work, but sometimes you have to know when to walk away.<br />
<br />
I had a manager who was on her own, between firms. You'd think she had a ton of time to devote to me if she was basically her own boutique with few clients, but that wasn't the case. She was busy trying to find a new place to settle, and I was left wondering what to do.<br />
<br />
I had a manager who was part of one of the biggest firms in town, and he was always attentive. He called me regularly, put me in rooms, returned my phone calls and emails right away. I feel fortunate to have worked with him. So the size of the company doesn't matter. Only the person matters.<br />
<br />
And sometimes, even the best person doesn't work out. It's like a guy you know is really great and nice and wants to marry you, but you're just not feeling it. You have to walk away.<br />
<br />
Many new writers get conflicting information on this, so I'm going to clear it up right now: You must leave your current manager before finding another. Yes, it sucks. Too bad. Agents might be different, but no manager worth her salt will poach another's clientele. And that means you have to be confident that you'll land another before you leave the one you have. That's the part that's scary. <br />
<br />
I'm in that process now - seeking new management. Now that I'm a little more experienced and have more confidence in the scripts I'm carrying around, I've gotten very picky about who I want to work with.<br />
<br />
Managers are as individual as writers, and they all have different styles of operating, so you have to figure out which one works for you. This is what I do:<br />
<br />
I watch <a href="http://www.trackingb.com/" target="_blank">TrackingB</a> and <a href="http://www.tracking-board.com/" target="_blank">The Tracking Board</a>, both Internet script tracking sites. What's the difference between them? TrackingB is less flashy and more devoted to straight reporting of information. You can check out archived posts for free and decide if you like the format, and it boasts a widely respected contest whose goal is to get you repped. Disclaimer - I was a finalist in TrackingB's contest in 2011. Meanwhile, Tracking Board has a lot more going on than just script tracking, with the Hit List and a forum and its own contest. They just put out a comprehensive book looking at the past year's spec market.<br />
<br />
Anyhow, I check the boards and the annual Black List (the list, not the site) and The Hit List, and if I see a great logline, I'll check out the manager associated with the writer of the project. I look for other projects that manager has gone out with. I check his <a href="https://pro-labs.imdb.com/" target="_blank">IMDB Pro</a> page to see who else they represent. I go to <a href="http://messageboard.donedealpro.com/boards/" target="_blank">Done Deal Pro </a>and search his name in the forums to see what others have said about him. I go to <a href="http://www.deadline.com/hollywood/" target="_blank">Deadline</a> and check on what kind of news he's made. If I recognize a client's name, I'll contact the client and ask about what the manager is like to work with.<br />
<br />
I do all this before I even ask them to read a script.<br />
<br />
There are things to be aware of as you search. Tracking Board frequently reports options as sales, so often a manager looks like he's sold a ton of projects, when in fact, he's negotiated options galore and not so many outright purchases. There's nothing particularly wrong with that, but beware that sometimes the managers with the most glamorous looking record are not as amazing as they seem. You also frequently see managers who go out with a lot of specs that never sell. In that case, could be those managers believe in using specs as writing samples and concentrate on getting their clients assignment work rather than a splashy spec sale, or it could be they just throw everything at the wall. Deadline is helpful in figuring out which managers are more interested in looking for material to produce. But these are things you need to be aware of when you decide which kind of manager you want.<br />
<br />
Then there's the level of participation you want from a manager. Some are completely hands on. They want to go over your ideas with you, give you notes, consult with you before all major decisions. With some - you hand them a finished script and they decide what to do with it. There are many in between. You decide what you want your working relationship to look like and then find someone who matches up.<br />
<br />
In the end, it all boils down to trust. You trust this person to handle your career, and in return, she trusts you to write good work. You'll disagree sometimes, but as long as you trust each other, that's okay. If you're honest and open to ideas but not a pushover, you'll be fine. And if there comes a time when you no longer feel you can trust this person, move on. If you feel you are being neglected, move on. A successful screenwriter once told me "A manager who never calls is not your manager." Remember that. Don't cling to hope like a neglected wife; Just pack your bags and go.<br />
<br />
For more on this topic, I recommend you read<a href="http://messageboard.donedealpro.com/boards/showpost.php?p=896147&postcount=12" target="_blank"> Craig Mazin's recent post</a> on the subject over on Done Deal Pro.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com7tag:blogger.com,1999:blog-25895692.post-53226899873093083512014-03-10T09:12:00.000-07:002014-03-10T16:31:38.629-07:00Rep Relationships: Outsourced Post #3<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-kFwxyGc7qTY/Ux3kV8Z3fyI/AAAAAAAAEb8/TO-whgbVxZY/s1600/writing+career+difficult.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-kFwxyGc7qTY/Ux3kV8Z3fyI/AAAAAAAAEb8/TO-whgbVxZY/s1600/writing+career+difficult.jpg" height="240" width="320" /></a></div>
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After receiving this question about rep/writer relationships:<br />
<br />
<i>Is it true that managers and agents will only do something
for you twice---after you give them the first spec they like and if that
doesn't sell then if you are generating income for them----otherwise they won't
do anything for you because they have 35 plus other clients (managers) or
(70-80 for agents)... Would a new writer get lost in the shuffle at a big
management company like Anonymous Content or Benderspink if they aren't hot
right away...or is it better to go with a medium manager who's a hot spec
seller.... How do you figure out which managers will take time to develop
material and build a new client's career from ones that are strictly going for
the one off quick deal?</i><br />
<br />
I asked several of my writer buddies to help out by giving their
perspective, since every relationship is different and I haven't had
that many. You can find Part One <a href="http://bambookillers.blogspot.com/2014/02/rep-relationships-outsourced-post.html" target="_blank">HERE</a> and Part Two <a href="http://bambookillers.blogspot.com/2014/03/rep-relationships-outsourced-post-2.html" target="_blank">HERE</a> </div>
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<br /></div>
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<b>Writer #5 is just getting started, but after a high profile introduction his script got passed all over town: </b></div>
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</div>
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I have both agents and managers. Fortunately, I love 'em.
They're exactly the people I thought they were. They work their asses off, and
they fight for me. However, the road to figuring out the question of
representation was full of hiccups. It was very challenging. My situation was
fairly bizarre. </div>
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I was fortunate enough to have a few options, which was
wonderful and surreal and humbling. It's also taxing and stressful and
terrifying. As someone who wasn't based in LA, I wasn't able to meet the
majority of the reps in person. This only complicates matters. It's hard to
really read someone based off a Skype session, a phone conversation, etc. I
encountered a wealth of intelligent, incredibly talented, and admirable people.
This only made things more difficult. A large part of the equation is figuring
out who genuinely believes in you. Will this agent/manager work hard for you,
not just in five minutes, but in five years? Because ideally, that's what these
partnerships will be: long term ones. </div>
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A manager is your creative partner. Let me correct that -
a good manager is your creative partner. As the industry has shifted, some
agents have found footing in the managerial world. These people are plenty
talented, but in some cases, their strong suit is not in the development of
material. For me, that's the purpose of a manager. A manager is the person
you're in the trenches with through every step of the creative process. They
are your sounding board. They are someone with whom you're incredibly
vulnerable, as you share your most embryonic ideas and early drafts.</div>
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<br /></div>
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For those lucky enough to be in a situation in which
you're forced to choose between agencies or managerial firms of various sizes
-- the behemoths and the smaller, boutique shops -- like everything in our
business, there is no concrete rule to guide you here. So much of this comes
down to your gut. You must absolutely be mindful of your agent/manager's client
list, the size of their company, and how you fit into the equation. Do you want
someone who is hungry? Always. Unfortunately, the hungriest are also, most often,
the youngest. However, if you believe that Giant Agent/Manager X from Big
Company Y, with a client list full of established writers, adores your writing
and truly believes in your potential, that person may be the right rep for you.
</div>
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<br /></div>
<div class="MsoNoSpacing">
I'd be lying if I said I haven't heard the horror
stories. A talented young writer signs with a big agent/manager off the
strength of his/her script, and then finds themselves marginalized over the
next year as their "heat" fades. The phone rings less. The inbox
isn't as full. The rep senses that you won't cash a check in the very immediate
future, and backs away. Hell, I once met a rep who said something astounding.
When our conversation shifted to a discussion of a young writer, who had broken
in with a massive spec sale just three months earlier, the reps words were:
"well, what has [the writer] done since?" With the wrong reps,
Hollywood can become a business of "what have you done for me
lately?". If you don't immediately sell the next spec, or land the OWA
you've been chasing, the attention you receive can dwindle. It's important to
note that this can happen anywhere. This type of behavior isn't restricted to
the largest agencies & firms. </div>
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With the right agent/manager, you'll find someone who
isn't utterly inconsolable when your spec doesn't sell, or you lose out on that
big studio gig. You'll find someone who understands that the next opportunity
is right around the corner, because at the end of the day, talent does win out.
(Or...at least that's what I tell myself so I can sleep at night.) You won't
feel like you're in this alone, because you won't be. That person -- the sherpa
that will guide you up this mountain -- may work for a behemoth of an
agency/managerial firm. That person may also just as easily may work for a
smaller boutique. </div>
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<br /></div>
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Make an informed decision. If you're unsure about a rep,
try to find someone who has worked with them. Hollywood is an incredibly small
town. Seek out a fellow writer, or an exec. Ask them about their experiences.
Listen to everything, and dismiss nothing. Don't let one overly enthusiastic or
aggressively negative opinion sway your decision. Another useful little trick:
read their clients work, and see if it speaks to you. There's no one trick to
the trade. Do your research, and then follow your instincts. After all, they've
carried you this far.</div>
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<b> Writer #6 is a TV and film writer who's had a lot of success and steady work over the years:</b></div>
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ME: <!--[if gte mso 9]><xml>
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</div>
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Both.<span style="mso-spacerun: yes;"> </span>These days,
much more common.<span style="mso-spacerun: yes;"> </span>One quick advantage of
having both - when you're trying to get an actor or director on your script, an
agent will be offering their own clients.<span style="mso-spacerun: yes;">
</span>A manager works with all the agencies, so has more flexibility in trying
to attach talent.</div>
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<br /></div>
<div class="MsoNoSpacing">
ME: What is that relationship like?</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
I think the underlying question here is "what should
my relationship with my rep be," and people are trying to judge based on
what pros do.<span style="mso-spacerun: yes;"> </span>The truth is, I've been
through three managers and probably ten different agents (I've been at the same
agency for a long time, but agents move/teams change), and every relationship
is different. <span style="mso-spacerun: yes;"> </span>Some want to get involved
and read drafts and give notes, some want to "sell it, don't smell
it."<span style="mso-spacerun: yes;"> </span>Some are behind you and keep
fighting when they believe in you, even during cold streaks - some are heat
seeking missiles.</div>
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<br /></div>
<div class="MsoNoSpacing">
I feel a rep is better than no rep, by a long shot. If
you're a new writer and you get an offer, unless the person is a fraud, go
ahead and give it a shot.<span style="mso-spacerun: yes;"> </span>You can always
change reps if it's not working out.<span style="mso-spacerun: yes;"> </span>If
you have multiple offers of representation, just listen to their pitch, ask
what you can expect, and choose.<span style="mso-spacerun: yes;"> </span>If
you're wrong, it's not forever.</div>
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<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
And thus ends the outsourced part of my post. Next time, I'll give my own answer, since this question has become increasingly relevant to me of late. Thanks to all the writers who so graciously participated in this posting series. I know your insight has been very helpful to many.</div>
<br />
<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com8tag:blogger.com,1999:blog-25895692.post-84250376589242356432014-03-03T08:14:00.000-08:002014-03-10T10:00:30.325-07:00Rep Relationships: Outsourced Post #2<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-sNcwgJXLmlU/UxSpI_GKBOI/AAAAAAAAEbs/G5H6duXS4pw/s1600/agent+kitty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-sNcwgJXLmlU/UxSpI_GKBOI/AAAAAAAAEbs/G5H6duXS4pw/s1600/agent+kitty.jpg" height="280" width="320" /></a></div>
<br />
After receiving this question about rep/writer relationships:<br />
<br />
<i>Is it true that managers and agents will only do something
for you twice---after you give them the first spec they like and if that
doesn't sell then if you are generating income for them----otherwise they won't
do anything for you because they have 35 plus other clients (managers) or
(70-80 for agents)... Would a new writer get lost in the shuffle at a big
management company like Anonymous Content or Benderspink if they aren't hot
right away...or is it better to go with a medium manager who's a hot spec
seller.... How do you figure out which managers will take time to develop
material and build a new client's career from ones that are strictly going for
the one off quick deal?</i><br />
<br />
I asked several of my writer buddies to help out by giving their perspective, since every relationship is different and I haven't had that many. You can find Part One <a href="http://bambookillers.blogspot.com/2014/02/rep-relationships-outsourced-post.html" target="_blank">HERE</a> and Part Three <a href="http://bambookillers.blogspot.com/2014/03/rep-relationships-outsourced-post-3.html" target="_blank">HERE</a>.<br />
<br />
I was going to keep everyone anonymous, but these guys didn't care.<br />
<br />
<b>Brian Scully:</b><br />
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For me, it breaks down to the reps who care and the reps
who don’t. The reps who want a paycheck and to help a client’s career grow
because they believe in said client… and the reps who just want a paycheck. </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
The relationship is one of mutual belief in each other,
which is what I responded to more than anything else when COUNTERPOINT first
got attention and I started getting emails and calls and responses to queries.
A few reps who had responded favorably were great to hear from, and I was
weighing some choices, but Kathy lost her shit when she got back to me. I
didn’t sign with her because of that necessarily, but because when she talked
to me about it, she just *got* the script, down to its details, and what it was
doing and why it was doing it. I was sold from that moment on. She wanted me
because she believed in me, and I wanted her because I believed in her. It’s
been that way since. A second script she took out to a few select reps was one
she also believes in very strongly, but it’s a very weird script with, like,
six different genres and is not an easy sell by any means. MERCIFUL, again, is
the same story, and it has only reinforced my satisfaction with our
relationship so far. I feel the difference with her — I feel believed in. And I
see and feel her dedication still, and it’s only grown in strength, even
though, if one looks at finances, only 1 deal has been signed thus far, and
from that only an option check distributed while financing is raised. Had I
been with [REDACTED], I would have been thrown away as trash long ago because I
didn’t make this person a quick buck right off the bat. The difference to me is
immediately apparent and reinforces my preference all the more.</div>
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<br /></div>
<div class="MsoNoSpacing">
Of course, I’m assuming you wouldn’t post on the blog a
direct quote from me saying out loud that [REDACTED] is a trashy fuckstick,
because I’m not so retarded as to want to fire cannons directly at someone like
that. Who do you think I am? John Gary? </div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b>John Gary:</b></div>
<br />
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I'm not going to answer the actual question - I'm going
to answer the question behind the question, which is really "Hey who
should I have represent me? Should I sign with a big manager or a small one? A
big agency or a small one?" The answer is "I don't know, do you want
me to pick what you should have for breakfast, too?"</div>
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<br /></div>
<div class="MsoNoSpacing">
These kinds of questions are what I like to call
"role playing game" questions - they're questions that ignore the
realities of the business and what happens when you go looking for a rep and
what it's like to actually have one.</div>
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<br /></div>
<div class="MsoNoSpacing">
The fiction here is the notion that you can choose
between a big manager or a medium one, a big agent or a small one. I've had
this same discussion with different writers for 15 years. It used to be fun to
talk through "Oh well I'd totally choose the small agency over the big
one!" but when push comes to shove, it's about who you sit down with, what
they say, what they offer, and the other connections the reps have.</div>
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<br /></div>
<div class="MsoNoSpacing">
Until you are in that room sitting across from the rep
wanting you to be a client, this is a useless conversation. Send your material
to anyone who will read it. The material will make the decision for you. </div>
<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com0tag:blogger.com,1999:blog-25895692.post-85163930133515247492014-02-21T09:26:00.000-08:002014-03-10T09:59:42.168-07:00Rep Relationships: outsourced post #1<!--[if gte mso 9]><xml>
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A while back, Paul asked a question that I and other repped
writers get a lot. My experience is limited, and the truth is that every writer’s
relationship with his or her rep is a different animal, so I decided that
instead of answering the question myself, I’d farm it out to several writers I
know and ask if they had any advice for Paul. I got some great responses. I
intended to put them together much sooner, but I got a little side tracked on
account of writing a new screenplay.</div>
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<b>
</b><br />
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<b>So here is Paul’s original question:</b></div>
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<i>Is it true that managers and agents will only do something
for you twice---after you give them the first spec they like and if that
doesn't sell then if you are generating income for them----otherwise they won't
do anything for you because they have 35 plus other clients (managers) or
(70-80 for agents)... Would a new writer get lost in the shuffle at a big
management company like Anonymous Content or Benderspink if they aren't hot
right away...or is it better to go with a medium manager who's a hot spec
seller.... How do you figure out which managers will take time to develop
material and build a new client's career from ones that are strictly going for
the one off quick deal?</i></div>
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Writers tend to be verbose (and then apologize for being
verbose) so I’ve got a lot of words. I decided to split the responses into three posts.<br />
Today's responses come from two writers: Writer #1 is a writer who’s been in the game for a long time
and makes a living at this, and the second is a writer who’s just beginning her promising
career.</div>
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<b>Writer #1:</b></div>
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I have a manager and an agent. I’ve had both almost since
the beginning and while the agents have changed many, many times, the manager
has stayed the same since he became my manager.</div>
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The relationship with an agent or manager is going to depend
entirely on the personality of the rep. I’ve had agents who are all business
and distant whom I talked to once every two weeks (they never take your
call—always call you back end of day between 6:00 and 7:00), and agents who
take my call right away and whom I spoke to a couple times a week. But in
either case, no agent is going to spend the time with you that a manager will.
No agent is going to take a half hour on the phone to hear your list of ten
things you want to accomplish. Or let you run a dozen ideas by them. They’re
just too busy. So a manager will always have more time for you, and you should
develop much more of a friendship with a manager. Or at least close to one.</div>
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Also, agents must be managed. Not necessarily by your
manager, but by someone. That is, you can’t be negative all the time, complain
about shit, and not deliver new material. At least not if you’re not A-list.
Once you start making serious money, the relationship flips and they start
managing you, but even a mid-six figure writer can be more trouble than they’re
worth, so tread lightly. Thus, a conversation with one’s agent must always be
short, positive, and focused. It’s a highly artificial relationship. You can’t
call them up to talk about your depression. You can’t talk about six different
things. And you can’t talk for forty minutes.</div>
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It’s a continuum, naturally. An agent at WME is going to
tend to be less hands on than one at APA, but that’s not necessarily so. Again,
it depends on the agent’s style. But it’s a mistake to think your agent is your
friend. You’re in a business relationship and they will cut you if you don’t
generate income but do generate headaches.</div>
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And to answer the question posed directly, there are no hard
rules for who might drop you or after how many failures. Some agents may be in
a volume business and cut clients all the time who don’t earn. Others, believe
it or not, actually believe in their clients’ writing and will stay the course
for years without income from you. But only if you’re pleasant, hard working,
and keep delivering quality material. With the way the spec market is these
days, it’s hard to expect a new writer to actually sell anything. But what
about the follow up general meetings? Is he willing to collaborate on new
ideas? Is he good in a room? Is the feedback good? These are reasons to keep a
client who isn’t earning. Conversely, pain in the asses with multiple mental
issues who write one spec a year are going to get cut.</div>
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<b>Writer #2:</b></div>
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The story and idea of reps is a lot more complicated and
harder that it seems sometimes. I know a lot more writers who are unhappy with
their reps than ones who are completely happy. I also know a few that are happy
with their manager but not agent, and vice versa, it happens a lot. Maybe many
writers won't admit to their rep troubles because it's kind of like a marriage.
You are all smiles even when things are rocky, and when things are bad you
aren't running around telling all your friends that it's terrible and sucks --
you just keep smiling sometimes so nobody knows what you're dealing with but
deep down you know it shouldn't be this way, or there is better out there.</div>
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As for me, I firmly believe you HAVE to find someone you
click with and is passionate about you and your work. Here's the thing you
should know when you get signed -- you constantly have to prove yourself -- I
don't think that changes for those even making money. You are only as good as
your material and if you're not producing the goods then you aren't doing your
job as a writer, and reps can't do anything for you. They only make 10-15%
because they should only be doing 10-15% of the workload -- that's where my
first manager came in...</div>
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Let me give you an idea of my specific situation so you can
maybe relate to a portion or maybe all of it. When I signed with my first
manager at a very very reputable management company, I was the ripe old age of
21... Insane, right? I was so green and thought I had it made on those one or
two scripts. But here's the reality of what I did in two years: I didn't write
a lot, the ideas I sent weren't good, I emailed a lot about nothing, and spent
my time dreaming of dollars that would never come... Don't be that person. That
is when you see managers not sending out your stuff, not emailing on your every
whim, or calling you weekly. You have to remember it's their reputation on the
line in a town where opinion is everything. Why would they send out something
subpar? They shouldn't have to. I interned at a production company for a summer
and it opened my eyes to the other side from submissions, phone calls to talk
clients up, coverage, etc. A rep can certainly be "that" guy or girl
who sends over junk all the time. The execs begin to take them less seriously
as opposed to those they know ONLY send amazing samples... Anyways, that's
another lesson, but ultimately it wasn't a fit anyways with that manager, but I
certainly learned what not to do the next time around.</div>
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I firmly believe it's the agent, not the agency -- find
someone who gets you. Sure the big three agencies have a lot of resources, big
teams, big actors, but if you can't get an agent working for you there then
it's just a name to throw around and it's all for nothing.<br />
<br />
Long story short, I
was largely ignored for my two and a half year stint with [my rep]. Sure when I
emailed or called, I'd get responses, but I wanted to know if my stuff was
being sent out, was it read, what did that person think? I will say I got a
fair amount of attention my last few months with him, but I had to be vetted by
other people in the industry or his other big clients before he would put in
some time due to his other 100 clients -- and truth be told, I felt extremely under
serviced. I didn't know at the time if I was being a whiny girl or if it was
justified. I look back now and think it was justified, but I saw so many writer
friends go through the same thing, the same frustrations, the same shit. It was
either their reps don't respond, their reps don't read in a timely manner,
their reps are cold on their material, their reps are giving bad advice, their
reps ignore them, the list goes on -- frankly it sucks ass sometimes.</div>
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So as you can see it's tough to blanket every situation.
I've seen writers screw up a good thing with good reps whether they don't write
anything worth a damn, they don't write at all, they pester their reps, etc.
I've seen great writers with the wrong reps. They could easily be going on tons
of meetings, maybe getting jobs, but their rep is so high profile, has too many
clients, doesn't care, or are too busy servicing their big money makers. Then
I've seen writers go through reps like toilet paper... whose fault it is
doesn't really matter, it's like dating, if it's not meant to be, it's not
meant to be. Staying in it just for the sake of having a rep isn't what someone
should be doing. When I left my manager I had no new material so the next year
I sat down and wrote... and in that year I wrote something that would get me my
next set of managers….</div>
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<span style="mso-spacerun: yes;"> </span>I didn't want to
leave a rep again because it's like breaking up, it's not fun. So I had my
bullshit meter on super sensitive when I went on these meetings. I didn't want
smoke blown up my ass, I didn't want the dog and pony show, I wanted to have
someone I believed could love me as a writer. So when managers started talking
about "this pilot" and how great it was and what they could do, I
started to fade because I am more than this one thing I wrote that you loved, I
have so much more to say about so many things that you don't even know about
yet. But when I met with my current managers (which at the time there were four
of them, that was a big change on its own going from one to four), I
immediately noticed they didn't lead with fireworks. They hardly even talked
about my pilot. Instead we talked about our backgrounds, life, dogs, cars,
everything under the sun -- that told me right there they were interested in me
as a person and as a writer... I was sold. I signed with them March 2012 so
it's still relatively new, but it's been great.<br />
<br />
<br />
<a href="http://bambookillers.blogspot.com/2014/03/rep-relationships-outsourced-post-2.html" target="_blank">PART 2 IS HERE. </a><br />
<a href="http://bambookillers.blogspot.com/2014/03/rep-relationships-outsourced-post-3.html" target="_blank">PART 3 IS HERE. </a></div>
Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com12tag:blogger.com,1999:blog-25895692.post-22512092402002158372014-01-03T14:27:00.002-08:002014-01-03T22:22:17.375-08:00A gentle suggestionWarning: The following rant will contain Peter Capaldi levels of cursing.<br />
<br />
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<a href="http://3.bp.blogspot.com/-4LAX4iwETwI/Usc4emmie8I/AAAAAAAAEYY/eJ0DxoC0Kfk/s1600/alpacapic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-4LAX4iwETwI/Usc4emmie8I/AAAAAAAAEYY/eJ0DxoC0Kfk/s320/alpacapic.jpg" width="256" /></a></div>
<br />
<br />
I'm a moderator over at a beloved screenwriting board. It's a great little community of writers who support each other and ask questions and build relationships and I love it. I've belonged to other writing communities that were not so supportive, one of which was run by a cocksucker of epic proportions. This is not such a place. This board is a great resource for anyone who takes the craft of screenwriting seriously. The moderators and administrators work very hard to make sure it stays that way.<br />
<br />
But every now and then, people argue. Because Internet.<br />
<br />
So sometimes I'll be all whistling a happy tune as I log in and do a cursory check to see if anything's up. Hey, what's everybody talking about today? Oh look, here's a thread about technique. That should be nice and harmless. Let's say some new writer heard he's not supposed to use camera directions. The thread title is something like "Can I use camera directions?"<br />
<br />
So here's me, clicking on the thread, lalala, no big deal, and then<br />
<br />
BAM!<br />
<br />
The inside of the thread looks like it got hit by a fucking ragebomb:*<br />
<br />
<i>NO, YOU COCKSUCKER, you can't use camera directions! What are you some kind of fucking fuckwit? Get the fuck out of here!</i><br />
<br />
Followed by<br />
<br />
<i>Hey, this guy can use camera directions if he wants to. And you know what else, fuck you on general principle.</i><br />
<br />
Followed by<br />
<br />
<i>Fuck me? Fuck you! You suck at life! You're probably fat and old and nobody likes you anyway!</i><br />
<br />
Followed by<br />
<br />
<i>Oh yeah? Well I challenge you to a goddamn writing duel, you little shit.</i><br />
<br />
Meanwhile, the original poster has run away, still completely confused about whether or not he's allowed to use camera directions in his screenplay.<br />
<br />
It's my job, and the job of other moderators, to curb these kinds of things. Every mod has her own style of handling the situation. Mine is to be like<br />
<br />
<i>Hey, what the fuck is wrong with you guys? Knock it off, and such.</i><br />
<br />
And then they're like<br />
<br />
<i>Don't listen to her! Fuck you some more for some reason! What were we arguing about? Let's argue some more!</i><br />
<br />
It keeps going until somebody finally closes the thread, because once the argument starts, it becomes a snake that eats itself. Yet every single time, I still think I can stop the carnage with scolding words.<br />
<br />
I know I can't make the Internet stop being so bitchy to itself, but maybe some of you can do me a solid today. Next time you get in a discussion about screenwriting technique, try not to take it personally.<br />
<br />
Let's say you HATE using camera directions in your specs. Okay, cool. You don't have to. But let's say this other guy does. You can say<br />
<br />
<i>Hey dude, I don't like using them because I'm not the director and I think that's the director's job.</i><br />
<br />
And then the other dude can say<br />
<br />
<i>That's cool. I like using them, though. I think sometimes they allow you more room to give a sense of tone to the story.</i><br />
<br />
Then, you know what? That dude can go off and write with camera directions, and you can still write without them, and it doesn't fucking matter. The fact that he writes with camera directions does not mean you have to. It doesn't mean you're wrong not to. It doesn't mean you're a bad person or a better person or a stupid person or a genius person. It just means you prefer to use a different, completely acceptable method to achieve the same goal.<br />
<br />
You are allowed to disagree with each other without it becoming a goddamn national fucking incident.<br />
<br />
There's only one rule. ONE. Does this method make your script better? Do it. Does it make your script worse? Don't do it. The rest is just bullshit minutiae.<br />
<br />
<br />
<br />
<span style="font-size: xx-small;">*The board censors curse words. This is my retelling and my blog so I'm gonna fucking curse. </span><br />
<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com8tag:blogger.com,1999:blog-25895692.post-55244624907439922572013-12-06T12:23:00.000-08:002013-12-06T15:08:51.567-08:00My DVD Collection<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/--IpAU_2_CfQ/UqIxPrjQ1zI/AAAAAAAAEXc/q6eipYH0zY8/s1600/20131124_081701.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/--IpAU_2_CfQ/UqIxPrjQ1zI/AAAAAAAAEXc/q6eipYH0zY8/s320/20131124_081701.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All you see before you is Lilly's.</td></tr>
</tbody></table>
A few years ago, Beefcake and I went to visit his brother in Montana. Beefcake's brother is married to a collector of many items - Halloween buckets, plastic Christmas trees, Cookie Monster mugs, salt and pepper shakers, etc. Her mother is also a collector of Things. They were both there at the time, and I the only other woman in the house. At one point they were talking about their collections and one of them looked at me and asked "So what do you collect?"<br />
<br />
I sort of shook my head. "Not anything that I can think of."<br />
<br />
You'd think I just sprouted three heads. How could I not collect things? They were polite to me after that, but I could tell they knew they'd never be able to understand me.<br />
<br />
But recently I came to realize that I lied a bit that day. I didn't know it at the time, but I am totally collector. I choose to keep my obsession simple, though. I collect movies.<br />
<br />
Beefcake's favorite movie is <i>Robocop</i>. So one day he loaned <i>Robocop</i> out to someone, and then he no longer had a copy of <i>Robocop</i>. Months went by, and it was clear he would never get it back. So I asked him, "Don't you want another copy?"<br />
<br />
He shrugged. Anytime he wanted to watch it, he could probably find it on TV or the Internet somewhere. Besides, he's seen it a million times.<br />
<br />
This boggled my mind. How can you not want a copy of your favorite movie around all the time? So when I finally gave in and bought a Blu Ray player, <i>Robocop</i> was the first new purchase I made. He was pretty ambivalent about it. I guess that was more for my peace of mind than for his.<br />
<br />
Since I became a professional dog walker, I've visited the living rooms of a lot of movie professionals and seen a lot of DVD collections, and though some of them make mine look puny, I still think I have a pretty strong showing.<br />
<br />
I feel like if I love a movie, I need to possess it. What happens if I want to watch something for reference? What happens if it's 3am and I suddenly wake up with an overwhelming desire to watch an episode of Buffy? I need to have these things available, not in an unreliable streaming form, but in my grubby little hands.<br />
<br />
Sometimes I think "There. That's it. That's the last one. I don't need anymore for a while." Then ten seconds later it's like "OOOOOOH <i>Goonies</i> is five dollars!" And the special features. Do not get me started on the special features. When I get a new disk, I go through everything in order until I have gleaned every second of information out of it. That's probably why I still have almost a dozen new disks I haven't even opened yet. By the time I finish one, especially if it's a TV season, I've already bought three more.<br />
<br />
(While I was typing that last paragraph, I looked up <i>Run Lola Run</i> to see how much it would cost.)<br />
<br />
I recently had to upgrade my storage system. For the longest time I was using an old Wal-Mart purchase I made when I was 19, alongside a more recent Ikea purchase. Like so:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-rnItX55W1iQ/UqIsKYWZ-fI/AAAAAAAAEW8/NmJK7JC143U/s1600/20131121_205718.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-rnItX55W1iQ/UqIsKYWZ-fI/AAAAAAAAEW8/NmJK7JC143U/s320/20131121_205718.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wibbly wobbly pain-in-the-assey.</td></tr>
</tbody></table>
As you can see here and in the picture up top, Lilly the dog has a bit of an empire built up in this location. Every time I wanted to get a DVD below the second shelf, I had to move her bed and the door to her crate in order to get to it. In this version, I also had the movies arranged in a very peculiar order.<br />
<br />
I matched movies up by common features. So if you look closely, you can see that Blu Rays, boxed sets and foreign films are on the Ikea tower. I left that as it is because it was easier. But the rest of the DVDs are arranged like so:<br />
<i><br /></i>
<i>Terminator</i> is next to <i>Commando</i> is next to <i>Total Recall is </i>next to <i>Conan</i> is next to <i>Predator</i>. Obviously, those are all Arnold movies. And who do you think of next when you think of Arnold? Stallone, which is why <i>Rambo</i> is next. Then <i>Rocky</i>. <i>Rocky</i> is a movie about fighting, so <i>Fight Club</i> is next. And so on.<br />
<br />
That shit got hellacomplicated after a while. Where do I put <i>The Muppet Family Christmas</i>? It's the only movie I have with Muppets in it. <i>Farscape</i> has puppets, but that's a TV series and a Blu Ray boxed set, so that will never work. These are the agonizing choices my organizational system forced upon me.<br />
<br />
One thing I always found fascinating about doing it this way is that because it ended up mostly by genre, the action movies at the top are all dark colors. Can you tell where the comedies are?<br />
<br />
Anyway, now it's alphabetical by TV or film.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MO2avdxh6iQ/UqIurWVUIHI/AAAAAAAAEXI/wtN6iCcdX8g/s1600/20131124_090220.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-MO2avdxh6iQ/UqIurWVUIHI/AAAAAAAAEXI/wtN6iCcdX8g/s320/20131124_090220.jpg" width="320" /> </a></td><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Neatly organized into alphabetical piles by this stylish puppy.</td></tr>
</tbody></table>
<br />
But that doesn't solve the problem of display and storage. Our living room is a funny shape with huge windows, so there's not a lot of space for a DVD tower. I either needed something to mount in a limited space on the wall or something that would go under a window. After a long search that brought me nothing I liked, I decided to make shelves.<br />
<br />
I have never done any woodworking before, but to hell with it. I made some measurements and went to Home Depot and bought some boards and then remembered that I drive a Mini. (I call it the Mini Tardis now.) So I took the top town and drove home with boards sticking out of my car.<br />
<br />
Beefcake and Friendly Neighbor sawed the wood according to my marks. I drilled screws into it. After repeated assurances that I would not break the drill bit if I put all my weight on it, I broke the drill bit. I googled how to remove a broken drill bit. I removed the broken drill bit. I continued drilling. I made four acceptable shelves - three big ones and one small one.<br />
<br />
I spray painted.<br />
<br />
Then on Thanksgiving Day, while Mother-In-Law and I wrangled the kitchen, the Beefcake and his dad put my shelves on the wall. There was much cursing and throwing things.<br />
<br />
Anyway, I'm pretty goddamn proud of myself. Once they were up, there was much high fiving. This is the end result:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-VzqhVuMi-bI/UqIwlYHzviI/AAAAAAAAEXU/lPoUfOVmxfI/s1600/20131128_122901.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-VzqhVuMi-bI/UqIwlYHzviI/AAAAAAAAEXU/lPoUfOVmxfI/s320/20131128_122901.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Look upon us and be impressed!</td></tr>
</tbody></table>
The Beefcake was like "Now you have to stop buying DVDs because there's no more room." But I counted. There's room for at least six more.<br />
<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com2tag:blogger.com,1999:blog-25895692.post-13984127003632043182013-10-21T09:31:00.001-07:002013-10-23T16:35:43.931-07:00MythbustersIn today's Screenwriter Carnival, I'm challenging my cohorts to think of one screenwriting myth they would love to correct.<br />
<br />
My pick: <b>Flashbacks</b>.<br />
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<a href="http://2.bp.blogspot.com/-hF1IOut3wJ8/UmVWwQ8XuFI/AAAAAAAAEVo/yDp9VEhNDoU/s1600/flashbacks+nam+cat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-hF1IOut3wJ8/UmVWwQ8XuFI/AAAAAAAAEVo/yDp9VEhNDoU/s320/flashbacks+nam+cat.jpg" width="320" /></a></div>
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New writers hear it all the time: Don't use flashbacks.in your screenplay. It's the death knell. NEVER EVER DO IT OR YOU WILL BE DESTROYED.<br />
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Balderdash, I say.<br />
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As an action writer, I love to start things <i>in medias res</i>, which is a literary term for starting right in the middle of the action. I don't usually do that "Three weeks earlier" thing made popular by Alias, but I do like to skip the boring shit and start with guns ablazin. The downside of that is that at some point I'm going to have to fill in the story I skipped over in order to start here. Flashbacks are excellent in that capacity.<br />
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I didn't set out to use flashback in every screenplay, but it has happened. My last three specs have all used them because I had to.<br />
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And there's the trick, really. Use them if you have to. Use them if they give us something we can't get from the linear storyline. It takes skill and practice to use them right, and that's why new writers are told not to use them. If you don't know what you're doing, just don't do it.<br />
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So how do you use flashbacks correctly? Let's go to my favorite example,<i> In Bruges</i>.<br />
<br />
<b>MAJOR SPOILERS FOR IN BRUGES</b><br />
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<br />
The film starts off as a comedy. We don't know why Ray is in Bruges, but we know he did something stupid and now he's hiding out until the shit blows over. Ray is hilarious because he's an asshole, an asshole we can kind of relate to, but an asshole nonetheless.<br />
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Then, halfway through the film, we flash back to what Ray did. We learn that in the middle of completing a job he was paid to do, he also killed a little boy. And when we come out of that flashback, we're in a different film. Suddenly we realize that all this time, what we thought was funny asshole behavior was really Ray coping with what he did. And from this point on, the story is much more serious. We take his suicidal behavior not as a joke, but as a real possibility. We feel sad for him now, where before we felt humor.<br />
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That one flashback added information to our story. It told us something that completely changed our view of this world and our character. It changed the tone and the meaning of everything that had come before. Without that flashback, we'd be missing information.<br />
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So if you want to use flashbacks in your story, make them mean something. Make them more than just a cute little expositiony scene with information we could have gotten some other way. Make your flashback count for something. Make it necessary.<br />
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But don't go around your elbow to get to your thumb just because some guru somewhere said not to use flashbacks. Flashbacks can be awesome if you use them with care.<br />
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Participating blogs:<br />
<a href="http://www.redrighthand.net/2013/10/mythbusting.html" target="_blank">Red Right Hand </a>Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com4tag:blogger.com,1999:blog-25895692.post-32306741112524872842013-10-12T15:13:00.004-07:002013-10-12T15:27:21.513-07:00Where can I send my screenplay? Part three: The Revenge <div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-0XG1WhGgSB4/UlnH26Z8S6I/AAAAAAAAEUw/kUCkx2s2S2Q/s1600/hard+lesson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-0XG1WhGgSB4/UlnH26Z8S6I/AAAAAAAAEUw/kUCkx2s2S2Q/s320/hard+lesson.jpg" width="240" /></a></div>
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I wrote<a href="http://bambookillers.blogspot.com/2009/05/where-can-i-send-my-screenplay.html" target="_blank"> this post</a> in 2009 as a response to the many people who kept finding me through this search topic: "Where can I send my screenplay?"<br />
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A bit full of myself, yes, but also not wrong. And every so often someone still finds that post and makes a new comment about how I'm an asshole just trying to stop my competition from putting out their brilliant first screenplays.<br />
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In 2010, because of all the people who reacted angrily to my advice, I posted a follow-up <a href="http://bambookillers.blogspot.com/2010/03/where-can-i-send-my-screenplay-part-2.html" target="_blank">here</a>. Very few people seem to have read it. I'm now posting my follow-up to the follow-up, and if things go according to pattern, I will be the only person who ever reads this, and for years to come people will still be finding my old post and telling me what an idiot I am.<br />
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Here's the thing. If you just wrote your very first screenplay, do whatever the fuck you want. Want to query every agent in town? Knock yourself out. Want to take out an ad in Daily Variety or post your shit on Ebay for a minimum bid of a million dollars? Rock on, man. You do you.<br />
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That's my new, updated advice. Do whatever the hell you want. Results may vary and be incredibly demoralizing.<br />
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It's quite possible that your very first script you ever wrote is every bit as good as the scripts of people who have been studying the craft for years. Maybe you're a genius. Maybe your idea is something nobody on Earth has ever thought of, and as soon as agents read your script they will drop everything and call you up and fly you out to Hollywood and hold parties in your honor. Could happen.<br />
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It probably won't, but it could.<br />
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So here's what you waste when you query everyone about your brand new script: Time, mostly yours. In my original post I lamented the fact that I wasted a perfectly good read from an interested agent by sending her a script that wasn't ready, but in hindsight, it didn't really matter that much. When I had a script that WAS ready, there were agents who would read it. I don't even remember that original agent's name, and I very much doubt she remembers mine. So despite my frustration then, in the long term, the only thing sending out my first screenplay cost me was time.<br />
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It is an awesome feeling to finish your first screenplay. It's a big decision to go through with one, and a great achievement to have completed it, but no matter how hard you worked, odds are that it is not ready. Odds are that it will never be ready. It's not impossible, but if you want to become a great writer sooner rather than later, one of the skills you need to develop is the ability to assess your own talent level. That only comes with time and exposure to lots and lots of screenplays, plus a certain level of maturity.<br />
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I think back on all the time I spent querying my screenplay and googling how to send it out and looking up email addresses of agents and agonizing over why I didn't hear anything back - and I'm annoyed that I didn't spend that time working on my next script. Think how much faster I could have learned to write a great script if I'd spent more time practicing and less time auditioning before I was ready.<br />
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Things are already different from the way they were when I wrote my first screenplay. If I were a new writer today, I'd put my script up on the Black List site and use it to gauge where I am as a writer. If the script truly is an outlier, the Black List will tell you.<br />
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But I wouldn't query my first script. I probably wouldn't query my second script.<br />
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Speaking of my second script, I blew a chance with that one, too. I met an assistant at a successful management boutique, and he asked me to send him my script. This was a terrible script. I still cringe when I think of some of the mistakes I made. The first mistake was in shoving action sequences into the story where I thought I should have an action sequence instead of letting the story dictate the action. But anyway, I sent my script to this guy thinking it was really great, because in the beginning it's tough to gauge your abilities, and of course it got me nowhere. The guy was nice enough to send it to three different readers and forward me the feedback, which was unbelievably helpful, since back then it was very difficult to find anyone to give you genuinely useful feedback.<br />
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So that experience wasn't a total waste for me; it taught me a lot about what I was doing wrong. Still, if I had waited and sent that assistant a truly great script...<br />
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But in the end, my opportunity came.<br />
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Before you send your first screenplay out into the world, sit down and seriously analyze where you are as a writer.Think about your favorite screenplay. (If you have not read any screenplays, I can pretty much guarantee that your script sucks.) But think about that one great script. Try to imagine you are a film executive who doesn't know this new writer and has to judge him or her only by what is on the page. Is your script as good as that one?<br />
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When I saw the film <i>In Bruges</i>, I nearly cried from rage. That movie was so goddamn good that what had seemed like a good screenplay about zombies mere hours before I saw<i> In Bruges</i> now seemed like a stack of crap. I knew I was not as good as Martin McDonagh. I went home and sat down and refused to get off the computer until I was.<br />
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I've been sitting here quite a long time now. I may have become one with the chair.<br />
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Anyway, I guess my advice for new writers is to really think before sending their work into the world. Are you okay with wasting a little time? If someone does request your screenplay, do you feel like you're really ready to become a professional screenwriter? Do you think you're as good as your hero?<br />
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Actually that's a stupid fucking question. You're never going to think you're as good as your hero even if you are.<br />
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If you want to send your screenplay out, be prepared for disappointment. Know that the odds of success are extremely low. They're low anyway for any script. They're even lower for a first-timer. They're so low they're like the size of amoebas on fleas on rats.* So if you can accept those odds and want to send your script out anyway...<br />
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Post it to <a href="http://blcklst.com/" target="_blank">the Black List website</a>.<br />
Join <a href="http://pro.imdb.com/" target="_blank">IMDB Pro</a> to find emails of agents and producers.<br />
Join an online community like <a href="http://messageboard.donedealpro.com/boards/" target="_blank">Done Deal Pro</a> and make friends with people who can give you information about agents and managers.<br />
Enter your script in the top tier contests like <a href="http://www.oscars.org/awards/nicholl/index.html" target="_blank">The Nicholl</a>, <a href="http://www.trackingb.com/" target="_blank">TrackingB</a>, or <a href="http://www.austinfilmfestival.com/" target="_blank">Austin</a>.<br />
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And as always, NEVER EVER EVER pay anyone to represent you. Any manager or agent who charges you a fee or a deposit or any kind of up front cost is scamming you.<br />
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No matter what you choose to do with your first script, once you've made that decision, go get to work on your second. Then your third. Then keep going until one day, one of them is good enough to get to the right person at the right time.<br />
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Good luck. Please don't yell at me.<br />
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<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">*I stole this line from the classic film <i>Grease</i>.</span>Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com8tag:blogger.com,1999:blog-25895692.post-2922758124755081432013-10-08T15:49:00.001-07:002013-10-08T17:03:27.527-07:00Criticism<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-19PIbyfVOUM/UlSL2bq0E2I/AAAAAAAAEUg/3i4aDyvRPQ0/s1600/constructive+feedback.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-19PIbyfVOUM/UlSL2bq0E2I/AAAAAAAAEUg/3i4aDyvRPQ0/s320/constructive+feedback.jpg" width="320" /></a></div>
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This week's Scribosphere Carnival post topic, brought to us by <a href="http://www.redrighthand.net/2013/10/criticism.html" target="_blank">Red Right Hand</a>:<br />
<span style="color: #741b47;"><br /></span>
<span style="color: #741b47;"><span style="font-size: x-small;">How we each take criticism, or how we don't, who do we
seek out to provide it, and what do we do with it once we have it, how
we give it, or, you know...whatever.</span></span><br />
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<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">When I get notes I have two possible responses. </span></span></span><br />
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<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">Response number 1: If there's a lot of notes and a whole lot of structural stuff to do, I'm like NOOOOOOOOOOOOOOOOOOO FUCK YOUUUUUUUUUUUUUUUU! This is impossible! I quit! I can't do this anymore! I'm never gonna be a writer ever! The world is ending! I want to just lie in bed all day and watch Doctor Who and eat cookies! There is no meaning to anything anymooooooooooooooooooooooooooooooooooooooore!</span></span></span><br />
<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;"><br /></span></span></span>
<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">Pitching this fit is all part of my process. Beefcake is really good at quietly listening to me bitch and moan about the ridiculousness of life, the universe and everything, then go just as quietly back to his video game when I stop mid-sentence and run out of the room because I've figured out how to fix the problem I was bemoaning.</span></span></span><br />
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<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">About three hours later you'll find me manic at my computer going "OH MY GOD THIS IS AMAZING!"</span></span></span><br />
<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;"><br /></span></span></span>
<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">I'll probably have a draft two days later. Sometimes I hold onto it for a few days so everybody thinks I took longer. For some reason, when you work quickly, people don't think you've taken your work seriously. But I digress.</span></span></span><br />
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<span style="color: #741b47;"><span style="color: black;"><span style="font-size: small;">Response number 2: I only get a handful of notes with no major structural changes and only a few little adjustments to make. In that case I go right to my computer as soon as I can, put on my rewrite music and go to town.</span></span></span><br />
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<span style="font-size: small;">Most of these notes come from my rep, who is amazing with notes. I often also send a draft to one person I trust, one of a few other screenwriters who are about at the same place in their careers as I am. I don't like multiple reads because of the way I like to leap into action immediately. But I don't use very many readers, and I never give it to someone I don't know. I get asked a lot, and a lot of times really well meaning people will offer to give me a read, but I just keep it to my tight circle because there's really no reason to step outside of it. I work in a very specific way: I get the notes, I make the changes.</span><br />
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<span style="font-size: small;">After I've screamed and thrown things.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Other Participating blogs:</span><br />
<a href="http://shoutingintothewind.com/2013/10/scribosphere-carnival-3-criticism/" target="_blank"><span style="font-size: small;">Shouting into the Wind</span></a><br />
<span style="font-size: small;"><a href="http://jonathan-hardesty.com/2013/10/scribosphere-carnival-3-criticism/" target="_blank">Jonathan Hardesty</a></span>Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com1tag:blogger.com,1999:blog-25895692.post-58231427397338701972013-09-30T11:48:00.001-07:002013-10-02T09:54:04.743-07:00WorkflowTime for Scribosphere Carnival #2. A bunch of us have decided to post once a week on the same topic. This week's topic is brought to us by Jon, and <a href="http://jonathan-hardesty.com/2013/09/scribosphere-carnival-2-workflow/" target="_blank">it is about workflow</a>. Jon gives us the following prompt:<br />
<span style="color: #a64d79;"><span style="font-size: x-small;"><br /></span></span>
<span style="color: #741b47;"><span style="font-size: x-small;">WORKFLOW – Everybody has one, and none are the same. Inspired by <a href="http://johnaugust.com/2011/my-daily-writing-routine" target="_blank">a post from John August</a>,
you should explain where and when you write, what hardware you use,
what software you use, and what you would change about how you write.
Have at it!</span></span><br />
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I write at my desk, facing the wall. If I faced the window I'd spend hours just staring out at the bougainvillea. As it is, I already have difficulty not staring at the Gollum figurine on my book shelf. Here's a picture. I've added a couple of things since I took it, but not too much has changed:<br />
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<a href="http://1.bp.blogspot.com/-SrEWHbqVT0g/UknCyFBHJkI/AAAAAAAAETw/p9U20RnSs3Y/s1600/Emily+Blake++desk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-SrEWHbqVT0g/UknCyFBHJkI/AAAAAAAAETw/p9U20RnSs3Y/s320/Emily+Blake++desk.jpg" width="320" /></a></div>
The very first thing I did when we moved into the house was paint the walls in this room that awesome color. I wanted something soothing and pleasant while I wrote. Just be glad I didn't turn the camera around and show you Beefcake's side of the room. His desk looks like a hoarder's storage unit. <br />
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When I write, I put a Do Not Disturb tag on the door. It features Bon Jovi, mostly naked. The dogs do not respect this sign.<br />
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I prefer to write first thing in the morning. Most of my jobs take place in the afternoon, so when I'm writing I like to get up and eat breakfast while watching the news. Then I water the yard. Then I sit in front of the computer and get to work. I'm pretty regimented that way. I write until lunch, then I go walk some dogs.<br />
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That's my old computer in the picture. I had it for a very very long time, and eventually keys stopped working and I ran out of memory and I decided a new computer was in order, so now I have an HP laptop that works great and has a huge memory for all the crap I throw on it. I am swimming in software. For screenwriting, I use Movie Magic. Back when I was a school teacher, they offered a good education discount. They also have free tech support, unlike some other programs. There are a few things it doesn't do as well - side-by-side dialogue, for one - but overall, it's a solid program and I've always been happy with it.<br />
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For me, it's more important to have an inspirational writing space than anything. There's not much wall space in here, so I don't have room for all the posters I'd love to put up, but I do tape up quotes I like and reminders of good writing technique. When I'm working on a new script, I tape the character bios to the shelf in front of me so that I always remember what everyone wants in every scene. That's probably the most useful technique I've discovered in the last year or so.<br />
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So what would I change? Whatever I need to in order to write a better script. It's tough to say until I discover it. I'd love my own space on a shed on our property where I could go and feel like I have a real office to myself, but that's not feasible at the moment. In the meantime I just have to hide in here and throw Bon Jovi on the door handle and get to work after breakfast - and try not to spend too much time staring at Gollum.<br />
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Other participating blogs:<br />
<a href="http://www.redrighthand.net/2013/09/workflow.html" target="_blank">Red Right Hand </a><br />
<br />Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com3tag:blogger.com,1999:blog-25895692.post-85651801092427583882013-09-25T09:33:00.002-07:002013-09-25T09:44:33.350-07:00Time Capsule<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-jPItoNk3PbI/UkMQtbCPXdI/AAAAAAAAETY/utyDlfhlHYk/s1600/dreams+has+flavor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-jPItoNk3PbI/UkMQtbCPXdI/AAAAAAAAETY/utyDlfhlHYk/s320/dreams+has+flavor.jpg" width="320" /></a></div>
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Shawna Benson of <a href="http://geekeratimedia.com/" target="_blank">Geekerati</a> and <a href="http://shoutingintothewind.com/" target="_blank">Shouting into the Wind</a> fame has started a thing. Ye olde scribosphere is going to participate in a weekly "carnival" of writing, starting this week. Somebody picks a topic and we all write our responses. I love nothing more than a group project, so of course I'm in. She may or may not have also bribed us with cookies.<br />
<br />
So here's this week's <a href="http://shoutingintothewind.com/2013/09/scribosphere-carnival-1-time-capsule/" target="_blank">topic</a>:<br />
<span style="color: purple;"><br /></span>
<span style="color: purple;"><span style="font-size: x-small;">TIME CAPSULE — This topic is actually a 3-parter. First, recount your
journey in screenwriting up to this point in time. Second, tell us
where you are on your journey now. Finally, for the really fun,
creative part — blog as if it is one year from today. What has the past
year of your journey been like? What has changed? Be as realistic or
not as you like — it’s your time capsule! One year from now, we will
revisit our time capsules to see how we did with our predictions… Your
post can be as long or as short as you like — the most important thing
is to have fun with it!</span></span><br />
<br />
I started writing stories in the womb to keep myself busy while I waited for Mom to shoot me out of her vagina. I was going to be a reporter who wrote novels on the side, but despite lots of school geared toward that purpose, I never did finish a novel, and I hated being a reporter. So I became a teacher. Then one day I read Bruce Campbell's <i>If Chins Could Kill: Confessions of a B Movie Actor</i> and I was like "Whoa. You mean people can just WRITE MOVIES? I'm fucking in."<br />
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Everybody said I had to move to Hollywood, so I moved to Hollywood and cranked out terrible scripts. I taught in a high school in South Central by day and wrote on the weekend. Then one day I wrote a script that was not terrible and I became a finalist in <a href="http://www.trackingb.com/?page_id=861" target="_blank">TrackingB</a>. I got a manager at Circle of Confusion. I got agents at APA. I went wide. I wrote some more. I drank many bottles of meeting water.<br />
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I quit teaching, not because I had reps because that would be stupid, but because... well, I wrote about this already in <a href="http://bambookillers.blogspot.com/2012/09/why-i-left-classroom-part-one.html" target="_blank">part one</a> and <a href="http://bambookillers.blogspot.com/2012/09/why-i-left-classroom-part-2.html" target="_blank">part two</a> if you must know. I now walk dogs. Less money, but way less stress, and more time to write and hobnob with fancy Hollywood producers (call my agents!).<br />
<br />
I've got more material about to go out soon and I am super excited because I love writing and meeting people and talking about movies. And I really want a house with a pool.<br />
<br />
As for where I will be a year from now? Roll it:<br />
<br />
Sept. 25, 2014<br />
<br />
Dear Diary,<br />
<br />
My huge studio assignment has just started production! I'm so excited. Today is the first day of shooting, and so far it looks like everything will be fantastic. It's amazing how great this experience has been and that everyone has listened to me and agreed with all my decisions. I am on set and ready for when they need new pages on the fly. Between this and the million dollar sale of my spec, the last year has been very good to me. After production wraps for the day, I'm heading up to Ben Affleck and Jennifer Garner's house for a huge fancy party. I hope I still have time to go for a swim in my pool before I change into my BCBG dress. Also the web series I worked on is hugely successful. Also Emma Stone is my best friend. Also, cookies.<br />
<br />
Gotta go! They need me on set! Thanks, Diary!<br />
<br />
Love Always,<br />
<br />
Emily Blake<br />
<br />
<br />
<br />
Other Participating Blogs:<br />
<a href="http://www.tv-calling.com/scribosphere-carnival-1-time-capsule/" target="_blank">TV Calling</a><br />
<a href="http://www.redrighthand.net/2013/09/time-capsule_24.html" target="_blank">Red Right Hand</a><br />
<a href="http://jonathan-hardesty.com/2013/09/scribosphere-carnival-1-time-capsule/" target="_blank">Jonathan Hardesty</a>Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com2tag:blogger.com,1999:blog-25895692.post-34181270190686922072013-09-20T15:18:00.000-07:002013-09-20T15:24:50.883-07:00Female characters are not just pieces of sushi<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-SsDJlfkDbc8/UjzJSo2zk2I/AAAAAAAAES0/fj0lSKxvbs8/s1600/beautiful.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="http://1.bp.blogspot.com/-SsDJlfkDbc8/UjzJSo2zk2I/AAAAAAAAES0/fj0lSKxvbs8/s320/beautiful.jpg" width="320" /></a></div>
My<a href="http://bambookillers.blogspot.com/2013/07/stop-trying-to-be-so-fancy.html" target="_blank"> fundraising drive is over</a>, and although I still have a few scripts in my queue, I'm almost done giving notes for charity. Thanks to the contributions from so many writers, I was able to raise $2,570 for Angel City Pit Bulls, for which I am extremely grateful. I will do this again next year for sure.<br />
<br />
I have given notes on a total of 31 scripts so far for 29 writers, and I think I have five left. If you are one of those five, fear not. I'm behind, but I should finish up next week.<br />
<br />
Of those 29 writers, 26 of them were great about receiving their notes, which were from 4-6 pages in paragraph form and a bit blunt. I let everybody know I was going to be harsh because I am NOT a professional script reader and this is for charity, not my livelihood.<br />
<br />
Writing really nice, polite notes takes time. It's much easier to just write down all the issues that jump out as I see them, and occasionally comment if something is really working and I want to see more of it. I always found something good to comment on, but I tended to get a little impatient and sarcastic whenever I saw the same problem crop up over and over. I thought people were gonna be all mad about that.<br />
<br />
Instead, most writers laughed at my pointing out their consistent issues. Many of them said thank you and that I gave them lots to think about. Some followed up with questions, which I answered as best I could. Two writers enjoyed my notes so much they came back for more, which pleased me greatly.<br />
<br />
One felt disappointed. I don't think I gave her exactly what she was looking for, which I regret, but what can you do? Two did not take kindly to my tone and argued the notes almost line by line. <br />
<br />
So it was an interesting experience, and I learned a few things. Some of these scripts were quite good. One was so well written that I resorted to pointing out typos just so the writer would get something out of me. Some were terrible. Like, really really terrible. But not a single one was without promise.<br />
<br />
There was one thing I noticed over and over that started as a mild annoyance, but was so common that I now consider it a full blown pet peeve:<br />
<br />
<b>EMPTY FEMALE CHARACTER INTRODUCTIONS.</b><br />
<br />
What does that mean, you may ask? Well, I am here to help, so I will demonstrate.<br />
<br />
[scrippet]BOB ANDREWS, 42, is an old soul. His facial hair is peppered with white, and he stopped grooming it long ago. His cowboy boots never come off in public, and he only pulls a cigarette out of his mouth when he needs to make a point. Right now, he's making a good one.[/scrippet]<br />
<br />
So the above is an example of the kind of description I commonly see for male characters. Vivid, detailed - maybe a bit TOO detailed - but interesting and filled with character.<br />
<br />
In the same script, this is the kind of description I would frequently see for the female lead:<br />
<br />
[scrippet]VIVIAN JAMES, 22, is stunningly beautiful.[/scrippet]<br />
<br />
In other words, the male character gets all kinds of nifty details. The female character gets some version of good looking. Sometimes writers will say "gorgeous" or "pretty" and sometimes they'll even mention her hair color. They very rarely mention anything else about her.<br />
<br />
This didn't happen one or two or three times. If I had to guess, out of 31 scripts I think I saw this happen about 20 times. And it wasn't just restricted to male writers; female writers did it too.<br />
<br />
I'm not saying you can't describe your female lead as attractive. But look at the description of Bob Andrews again. You're picturing Josh Brolin, aren't you? Now look at Vivian's description. Who do you picture? Victoria's Secret model? Megan Fox? Mila Kunis? Zoe Saldana? A fairy princess? Your little sister?<br />
<br />
She's empty. With Bob up there - I never even mentioned how good he looks. If he's the lead and he fits the description, the casting agent will find you a good looking dude. And Vivian - if she's the female lead, the casting director will find you a good looking woman. So what else do we need to know? Is she all business? Is she a fashion plate? Is she wide-eyed and innocent? Does she have bad posture? Scary muscles? Is she lactating? Wobbling on her high heels? There are so many more interesting things you can do to give us a picture of this girl other than to tell us she looks good.<br />
<br />
I know most of these writers did not do this on purpose, but it drives me batty nonetheless.<br />
<br />
So I want everyone to go to your current script and check. How often do your female characters get introduced by nothing more than their looks? Remove the words "gorgeous" "pretty" "beautiful" and "stunning" from your intros unless her looks are actually plot relevant. Like, if your lead is a super model or a sex robot, or if she uses her looks to get what she wants, then it's okay. But if not, try to yank out that word. Instead, think of what else you can say about her. How can we picture her in our minds as more than just a pretty face?<br />
<br />
Do it, or I will come after you with my angry sarcasm.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com5tag:blogger.com,1999:blog-25895692.post-125803876949068072013-08-24T12:03:00.000-07:002013-08-24T13:06:29.021-07:00What is so interesting about Wonder Woman?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-GrugbNfW3uk/UhkDRO9QbKI/AAAAAAAAERc/oUNHuMZ01kA/s1600/wonder+woman.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-GrugbNfW3uk/UhkDRO9QbKI/AAAAAAAAERc/oUNHuMZ01kA/s320/wonder+woman.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This image currently graces the wall of my home gym.</td></tr>
</tbody></table>
<br />
In case you missed it, this morning there was a pretty epic Twitter discussion about the validity of a <i>Wonder Woman</i> film. I would link to it, but there's not really anything to link to. I wish we had developed a hash tag. You should see my mentions feed, though. It's bananas. Shit got twittercrazy.<br />
<br />
It began with a question that has been asked before in various ways by various people:<br />
<br />
<b>What is so interesting about Wonder Woman? Why does anyone want a Wonder Woman movie? Is it just because she's a woman?</b><br />
<br />
So I'm going to give you my answer. I can't speak for everyone else who loves Wonder Woman; I can only speak for myself. Anyone with an opinion is welcome to chime in with a comment as long as you're not a dick about it.<br />
<br />
Anyone who knows me knows how much I want the <i>Wonder Woman</i> job. I'm sure I'm not alone; I know of at least one other wonderful bitter writer who would probably shoot me and step over my corpse for the opportunity. I like to imagine that one day we will be meeting back to back with DC to give our pitches, and by the time the producer comes to collect us, he will open the door to find us beaten and bloody and exhausted on the floor, seconds from death, like in the <i>War of the Roses</i>. Winner take <i>Wonder Woman</i>.<br />
<br />
But back to the question, which is "Why does anyone care about Wonder Woman?"<br />
<br />
Well the obvious answer is: Why does anyone care about Batman or Superman or Iron Man or Green Lantern or Thor or Captain America or The Punisher or Jason Bourne or James Bond or Marty McFly or Sarah Connor or any character ever?<br />
<br />
But I get the point. The point is, why her, specifically? Why do some people seem to need her so desperately in film form? Is it just because she's a woman?<br />
<br />
Well, yes and no.<br />
<br />
First of all, I'm going to talk about her as a character in general, not in any specific version. There have been too many reboots, too many different takes on her character to pick one on which to hang her entire story. I think a large part of that is because as the nature of feminism has changed, she has changed with it. Things that seemed really ahead of their time when she debuted seem completely outdated now. But there are aspects of her that have always been pretty consistent, and that's what I want to embrace.<br />
<br />
First of all, the fact that she is a woman is absolutely relevant.<br />
<br />
You remember the <i>Power Puff Girls</i>? I loved The Power Puff Girls. Bubbles was my favorite. My favorite episode was<a href="http://wonder-woman.wikia.com/wiki/Wonder_Woman#Powers_and_Abilities" target="_blank"> Equal Fights </a>, about a female bank robber named Femme Fatale who only stole Susan B. Anthony dollars.<a href="http://www.youtube.com/watch?v=BS0lvG4gZ9U" target="_blank"> The episode</a> poked a little fun at feminism while at the same time embracing it. In one scene, as the girls are chasing Femme Fatale across the sky, she tries to convince them that girls should stick together. As proof that men have run the world for too long, she asks the girls to name a major female comic book superhero who is not just a male superhero's opposite or sidekick. They immediately name Wonder Woman. Then she asks them to name someone else. They hem and haw and in the end, they got nothin.<br />
<br />
There is nobody else, not like her.<br />
<br />
She brings something to the comic book table that none of the other big stars have - she is a woman. But she hasn't been taught that she's a woman; she's been taught that she's a person. She didn't grow up being told she was nothing but a sex object, or that her mission was to get married and make babies, or that she had to pretend to be stupid so boys would like her, or that there were jobs she'd never be able to do. For that alone, she's kind of a hero to the rest of us who did grow up with those ideas being thrown at us day after day. It is so awesome to see a strong woman who treats herself as a person just like a man would. She's a role model, because every woman should be so confident. When you've been beaten down and your confidence completely eroded by some sexist prick you were forced to deal with on the Metro or at work or at home or at the store or just about anywhere - you can look at a photo of Wonder Woman being a compete badass and pretend for just a second that you are her.<br />
<br />
Isn't that what super heroes are about? Wish fulfillment?<br />
<br />
But is the fact that Wonder Woman is a woman all that makes her interesting? Absolutely not.<br />
<br />
Unlike Superman, Diana was an adult when she crossed the threshold into the unknown. She already knew who she was and what she believed in, so she had to adapt to a world completely unknown to her. I can't think of many other heroes who had that experience. Most of them were born here and turned into superheroes, and as I mentioned, Clark Kent came here as a child, so he was raised in the American way. But Diana has always been a little foreign to our culture.<br />
<br />
She became an ambassador for her island so that she could use diplomacy to solve problems because the Amazons believe first and foremost in peace. Sure, they can kick your ass if they need to, but they'd really prefer it if you'd just be cool. They live on an island away from men so they don't have to deal with the bullshit the violent world offers.<br />
<br />
But Diana rejects the isolation that island provides, instead choosing to help the violent world get its shit together. This isn't her world. She has no obligation to save it. She CHOOSES to stay because she wants to help bring peace to the world.<br />
<br />
And she brings peace by beating the shit out of people who cause trouble. She is righteous, but that doesn't mean she can't be wrong. Because how hypocritical is that? She fights to maintain peace? That's a problem in her very mission, and one she must come to terms with if she wants to make the most out of her gifts.<br />
<br />
I don't care about the lasso of truth or the invisible ship or the bustier (although seriously something has got to be done about that bathing suit. I don't care if you are an immortal goddess, you can't expect to fight anybody successfully in that thing.) or the tiara. She's got a great body. Of course she has a great body. She's genetically perfect. Plus she works out a lot.<br />
<br />
But the body, the outfit, the props - those are just trappings. Wonder Woman is much more than that. And she means so much to so many women. I LOVED the Linda Carter show as a girl. She was cool, and she didn't take no crap from nobody. I needed that. We all needed that.<br />
<br />
And we need <i>Wonder Woman</i>. It's okay if you're not interested in her story. I don't expect everyone to love Diana the way I do. I don't love (<u>insert thing you love here</u>) as much as you do, and that's okay too. But that doesn't mean it shouldn't exist.<br />
<br />
I'm actually glad the studio hasn't thrown together some piece of crap Wonder Woman movie just to get it out of the way. I'd much rather they take their time, find the right writer (Me) and create the best possible story for her. But we do need that story. There is a great one in all that convoluted history. Even if I'm not the one to tell it, I hope someone great gets the chance to. Because I want to see her on that screen, just as important and ass kicking as all those boys.<br />
<br />
It would be the ultimate chick flick.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com14tag:blogger.com,1999:blog-25895692.post-11482539826649511452013-08-12T09:47:00.000-07:002013-08-12T09:47:07.208-07:00Busy<div class="separator" style="clear: both; text-align: center;">
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<br />
A couple of years ago, I was in a fantastic writers group for a little while. It was 4-5 people at each meeting, and I learned more from that group than I can accurately express. We were all on the cusp of something, and luckily for me I was the least experienced member, which meant I got the most benefit. It was may favorite thing about Sundays.<br />
<br />
But then one member of our group got a big break, and suddenly he was off meeting and working so much that he had no more time for the group. Then another member started preproduction on a film he was directing. Then we just sort of... stopped. We always meant to start up again, but half our group got incredibly busy.<br />
<br />
Because that's what happens when you start to do well. You get busy.<br />
<br />
That's what's happened to this blog. Over the last month I had a novel to read and develop a pitch for, three rewrites to complete, notes to do for people who donated to my fundraiser, A web series to develop with friends, Comic Con to attend, dog walking jobs to do, and a social life to maintain. I only had two meetings, but I still ended up with no extra time in my day. Naturally, the blog comes in last place on my list of priorities.<br />
<br />
That's a good thing. Not only does being busy mean your career is headed in the right direction, but it also makes me happy on a personal level. I love being busy. Last Christmas I wrote an adaptation for a novel I do not own the rights to because I had nothing to work on and I got bored. Yes, I wrote an entire screenplay out of boredom. It was my love project, and I'm super proud of it, but it's also an example of how much I hate not having something to work on.<br />
<br />
I didn't really get it back when I was in that writers group. When one member suddenly took off and started seeing success, I couldn't figure out why he didn't still have an hour on Sundays to work with us. The truth is, every minute becomes necessary. These past few weeks, I had to schedule my days around writing time. I planned out exactly which days I'd be working on which rewrite.<br />
<br />
I'm lucky in that time management is a skill I've learned from my time as a yearbook adviser, where I had to pay extra money from our account if we went past our due date. Now, if I say something will take me three days, it will probably take me two and a half. I leave that extra half there in case an emergency crops up. Then again, I was born the day I was due, so it's possible that I am genetically predisposed to being on time.<br />
<br />
Juggling multiple projects and managing your time wisely is something you will have to learn to do as a screenwriter. Stuff falls through all the time, and even projects that succeed take forever to get where they're going, so you should always be working on the next thing. I think that may be one reason I like keeping busy so much: as long as I'm working on the next thing, I don't have time to be impatient about the last thing.<br />
<br />
The short of it is, I don't know what will happen with this blog. I will keep it, and I will contribute to it on occasion. But I fervently hope that in the days to come, I'm too busy to post to it. Maybe when I finally get something greenlit I will be able to share some of the process with you. We'll have to see. In the meantime, I'll keep writing. You keep writing. Let's all stay busy.<br />
Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com2tag:blogger.com,1999:blog-25895692.post-24359527777157176212013-07-12T08:57:00.001-07:002013-07-12T09:03:05.285-07:00Stop trying to be so fancy<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-rSDXot6dyo0/UeAjBg8ha4I/AAAAAAAAEQI/65jwvT8XXvQ/s1600/IMG_6949.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-rSDXot6dyo0/UeAjBg8ha4I/AAAAAAAAEQI/65jwvT8XXvQ/s320/IMG_6949.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lilly consults on all my notes.</td></tr>
</tbody></table>
In order to encourage donations to my <a href="http://www.strutyourmutt.org/index.cfm?fuseaction=donordrive.participant&participantID=14323" target="_blank">Strut Your Mutt campaign</a>, I have offered to do screenplay notes. I don't do notes very often but I get asked a lot, so I figured that was worth something. I was blown away by the response. Originally I was just hoping to raise $300, but when I got a few donations I thought I'd be really ambitious and raise my goal to $800. As of this posting I have raised $1,420 for Angel City Pit Bulls. This will help save homeless dogs in Los Angeles and prevent more pitties from being euthanized in local shelters, something that is very near to my heart.<br />
<br />
The <a href="http://messageboard.donedealpro.com/boards/showpost.php?p=868099&postcount=1" target="_blank">offer is posted on Done Deal Pro</a>, but the basics are, if you donate $25 I will read your first 10 pages and give you notes. If you donate $50 I will do the entire script. I will not sugar coat the notes - just read honestly and tell you what I think. I always provide suggestions for ways to approach the problem. So far people tell me the notes have been helpful, which pleases me.<br />
<br />
Anyway, on days I haven't been immersed in a rewrite, I've started my morning by opening one of these donation scripts and going to town. There are a few things I've found myself writing over and over that I don't always see listed as common problems with newer writers, so I thought it might be helpful to post a few of them here.<br />
<br />
I'll start with one common issue I've been seeing - too much love of words.<br />
<br />
I have a saying: "Clarity Over Cleverness" or COC, if you will.<br />
<br />
We all love words. As writers, it's sort of our job to be in love with our own voices, and we thrill when we put clever lines together. We're constantly told that we need to have a clear voice and style and a way to stand out in the reader's mind.<br />
<br />
And some people take that a little too far.<br />
<br />
Look, I'm the last person to tell you not to embrace your own voice. I can't shut mine the fuck up. But you have to remember that your personal style - all that poetic shit you love so much rolling around in your brain - is not as important as being understood.<br />
<br />
Here's an example I made up as sort of a combination of the stuff I've been seeing:<br />
<br />
<b>Rebecca runs for the door, hoping to escape unscathed. Bullets fly like darts, searching for Rebecca as she steps into the sun. She catches the light against her hands - covered in red, flowing rivulets down her arm.</b><br />
<br />
So, she was shot, right? Was she shot? She was shot, and then she touched the bullet wound, and now she's got blood on her hands? Or was she shot in the hand? Or did she touch someone else and now she has their blood on her hands? Or did she stumble on a pile of melting red crayons? Is she just standing next to a stained glass window? WHAT THE FUCK HAPPENED TO REBECCA?<br />
<br />
It's nice that you want to be poetic, but we ain't got that kind of time. This is not a novel, where you can weave beautiful words in and out at your leisure, and it's not a poem, where the words are the point. It's a screenplay, and a screenplay's FIRST job is to tell a story in a way that everyone who reads it understands what they're seeing. Because everyone who reads it is going to then have to go off and do their job to make it happen. If they don't understand what they're reading, they're not going to appreciate your beautiful words.<br />
<br />
Tell the story in a way that makes sense. Be poetic if there's room. Use clever words if they come naturally into play. Talk about Rebecca's flowing blood rivulets after you've explained that she was shot. You can do that poetically too, if you want:<br />
<br />
<b>A bullet SLAMS into Rebecca's chest. She grabs the wound with her hands - looks at them. Blood, flowing rivulets down her arms.</b><br />
<br />
Let people be impressed with your story first, words second. Clarity Over Cleverness.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com3tag:blogger.com,1999:blog-25895692.post-76256796735750455302013-06-22T10:56:00.000-07:002013-06-22T12:06:06.991-07:00Four ways to be a polite screenwriter<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-c1MkS8wQKno/UcXlEI5uW6I/AAAAAAAAEPY/F1A6okr0_2M/s1600/hard+lesson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-c1MkS8wQKno/UcXlEI5uW6I/AAAAAAAAEPY/F1A6okr0_2M/s320/hard+lesson.jpg" width="240" /></a></div>
<br />
It occurred to me recently that a lot of new writers don't know yet all the faux-pas they're liable to commit in this technological age, so I figured I ought to post some. I asked for tips on Twitter and got quite a few from the screenwriting community. So if you're new to screenwriting and you're about to take your script out for a test drive, here's a few things you should NOT do. These behaviors are considered rude.<br />
<br />
1) <b>Do not send a read request with your screenplay attached to someone you don't know.</b> ANYONE you don't know. If you want someone in the industry - a writer, a reader, a producer, an agent, whatever - ask first. Ask politely. I'm not talking about queries specifically, but favors too. On a regular basis I get emails asking me if I have time to read someone's script and give notes. Sometimes the request will say things like "Hey I love your blog! I wrote this screenplay about suicidal monkeys and I think you'll love it! I'd love to hear what you think!" And the screenplay is attached. The person is polite enough. I almost never get a truly rude request of this nature. But it's still rude.<br />
<br />
<b>Why is it rude?</b> Because you're asking me to take a large chunk of my time to do you a favor. Would you call up a lawyer you've never met and ask her to look over your contract for free? Would you call up a contractor you've never met and ask him to come to your house and fix your plumbing for free? Would you email a graphic designer you don't know and give them the link to your website so they can make it better for free? No, you would not, not if you have any social skills at all. You understand that this person's skill and time are valuable, and that if you want them, you have to pay for them. Unless you know the person. Do I know you? No? Then no, I'm not going to read your screenplay, especially not if you attach it. There's just something so presumptuous about that. Plus, it might be a virus since as I mentioned, I don't know you. If I do know you, I'll read and give notes and maybe even pass it on to someone. But I do that for friends or even talented acquaintances, not complete strangers.<br />
<br />
2) <b>Do not ask a writer to send your script to his or her agent. </b>It can be frustrating to toil away for a long time and get nowhere. Then you make friends with someone who's well repped and think - here's my chance! And you hand your script over and ask if he'll pass it along to his super star agent.<br />
<br />
<b>Why is it rude?</b> If I want to read your script, I'll ask. Fee free to drop hints. If you and I are hanging out and you mention this great script you're excited about that you just can't seem to get into the right hands, I hear you. I'm not a dummy. If I don't ask to read your script, then I either don't think it's an interesting concept, or I don't think I'm at a place where I can recommend things to my reps, or any number of other reasons. But if you ask, you'll put me in a position where I have to tell you no. Or, if I'm really polite and begrudgingly agree, you've now made me dread reading your script. I will always read it before I decide whether or not to pass it on, and if I don't like it, I'm not going to give it to anyone. But I have asked for scripts in the past, and if I read one that blows me away, you bet your ass I'll pass it onto one or more of a few reps I know. I will make that decision on my own. Don't try to force me into it.<br />
<br />
3) <b>Don't query on the weekend.</b> You're really excited because you just finished your polish and you are ready to send your script out. You want to get it into as many hands as possible as quickly as time will allow. But it's Sunday. What the hell, people can choose to open emails any time they like, right? Wrong.<br />
<b><br /></b>
<b>Why is it rude?</b> We have smart phones now. Back in the day, you had to actively choose to sit at your computer to check email, so you were at work when you did it. But now we take our email with us everywhere we go. That means when you email Agent Phil on a Sunday morning at 6am, he gets a notification right away. It puts him in a bad mood. He's trying to change his baby's poopey diaper - he doesn't have time for your query. Not only does he delete it, but now he kind of hates you. Is it fair? Probably not. He can choose to ignore his emails. But too bad - that's life. Reps hate getting queries on the weekend. It doesn't hurt you to just wait an extra day or two. If it's the difference between getting your query read and getting it deleted, just put your outrage aside and wait until Monday.<br />
<br />
4) <b>Don't argue with the notes.</b> You poured your heart into this script. It's amazing and high concept and perfect and everyone's going to love it. You send it away for a read, and when the notes come back, they bash the hell out of your carefully crafted work of genius. Your instinct is to shout back, to argue, to let this person know how wrong they are and explain that they just don't understand your brilliant vision. Don't do it. Say thank you, ask clarifying questions if you need to, but don't argue.<br />
<br />
<b>Why is it rude?</b> Notes take a lot of time - I usually take about two hours to do one set of notes on a full-length script. Nobody goes into doing notes - especially for free - unless they are genuinely hoping to find a great script, or to help this script become better. Nobody takes the time to read your script just to tell you how much you suck. If someone reads your script and gives you notes, he is doing you a favor. What did your mom teach you to do when someone does you a favor? That's right. She taught you to say thank you. She's a smart lady. So say thank you. If you don't like the notes, that's okay, but say thank you anyway and ignore the stuff you don't like. Ask questions about the stuff you don't understand. Keep the stuff that works. Sometimes notes can be a bit harsh, so if that happens, just look at the true intention behind the note. You're still a good person. The screenplay does not define you. It does not mean you're less of a man or some kind of pushover if you don't protest the stuff you don't like. And if you say thank you and look objectively at your notes, the person who did them for you is more likely to do them again. I cannot tell you how many pages of posters on Done Deal Pro I now completely ignore because of the way they've handled criticism in the past. Sometimes I'll think of a note I believe would be really useful, then I'll stop halfway through typing when I realize it's not worth the abuse that will probably be heaped on me for daring to say this person's pages were anything other than perfect. Nobody wants to volunteer to read your script if you're a dick.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com12tag:blogger.com,1999:blog-25895692.post-88919208401748713892013-06-05T10:12:00.000-07:002013-06-05T10:43:44.450-07:00Screw the odds<div class="separator" style="clear: both; text-align: center;">
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When I first started sending pages around, people told me over and over that nobody would make an action movie with a female lead. It was pointless, they said. Write about men. Forget women.<br />
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But I've never been one to listen to odds of failure. I'm pretty convinced that I can do any goddamn thing I want to. Except calculus. Because fuck limits and shit.<br />
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Anyway, I wrote action scripts with female leads. And after<i> Salt </i>came out, a lot of people started talking about how they were going to try an action movie with a female lead. I bet some of those same people who told me not to bother were now trying it out.<br />
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<i>Salt</i> didn't exactly blast the market open, though. Other attempts barely made back their money. So the lesson became, only write a female-lead action movie if it stars Angelina.<br />
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Piffle, I say.<br />
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The day will come. So I keep writing. I get meetings. Eventually I'll get a deal. A movie will be made. It will fail or succeed or break even. I will keep writing. A movie will get made.<br />
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And one day, either from my work or that of someone else, a film will break through that will silence every asshole who ever said women couldn't be action stars. I'm looking at you, Chloe Moretz. Oh yes, I've got plans for you.<br />
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There will always be a thousand reasons you could fail, and there will always be plenty of people ready to tell you how. They'll shout it at you from the rooftops. They'll whisper doubt in your ear in quiet corners. They'll gleefully plant the evidence in front of you, happy to "just be realistic" in your face.<br />
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You can listen to them and doubt everything. You can quit, or you can change your ways, or you can analyze your odds or you can figure out how to game the system.<br />
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Or you can nod and smile and get back to work. Write your best screenplay. Be the one who proves everybody wrong.<br />
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Don't get me wrong, I write scripts with male leads too. The majority of action scripts are written with men in the lead; I'd be doing myself a disservice to stick to one gender, and I am certainly capable of writing great parts for men. But I still write the movie I want to see - the type of film that will take advantage of the Gina Caranos of the world.<br />
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Breaking into the movie industry is tough. People come out here every year armed with a script or two, convinced that all they need is a year to become Diablo Cody, and that's just not how it works. Most likely, it will take a lot of work and a lot of time.<br />
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So accept that. It will be tough. It will take years. It will take several scripts. You will have a few false starts. Once you just accept that as part of the cost, it's not that big a deal. If you expect it to be immediate, you're going to spend a lot of time languishing in disappointment.<br />
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So once you know what you're in for, push that aside and write. Just fucking write. Write what you want to see, write the best material you possibly can.<br />
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I never listen to the odds. I tune them out, put on my writing playlist and get back to work imagining how Emma Stone is going to kick ass in my next script.<br />
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Because there is only one thing stronger than the odds - hard fucking work.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com20tag:blogger.com,1999:blog-25895692.post-75315588052760434422013-05-24T08:52:00.000-07:002013-05-24T09:19:32.657-07:00Thoughts on the film: Now You See Me<br />
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Last night I attended a screening with a live Q&A of Now You See Me. I was jazzed about this, because who is not excited about the concept? Come on. The first time I heard about this movie I was all DAMMIT! because why didn't I think of that? Magicians pulling a heist? Dude.<br />
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The panel consisted of the composer (Brian Tyler), The director (Louis LeTerrier), producers Alex Kurtzman and Bobby Cohen, and Jesse Eisenberg and Isla Fisher. They raved about how great the script was - made several mentions to its brilliance, even told us that it barely changed from the day LeTerrier first read it to the day it was locked - and yet not once in the entire panel did anyone mention the names of the writers: Boaz Yakin and Edward Ricourt.<br />
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At the very least, Kurtzman should have known better.<br />
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But on to the film. This will be spoiler free, so soldier on with no fear.<br />
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The movie is about magic, so it opens with a magic trick on the audience. Jesse Eisenberg's character, Michael Atlas, asks a girl to pick a card. As he does, he aims the deck at the camera, and we as audience members instinctively also pick a card. Despite being shown the whole deck, most of the audience picks the same card the girl does, although most of us don't know why. So when he reveals it, we're in on the trick. Right from the jump, we're part of the game.<br />
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The four magicians are brought together to form their own show as a group - The Four Horsemen, and during these shows they steal money using magic. But the movie is less about them than it is Mark Ruffalo's Dylan Rhodes, an FBI agent who is determined to bring these guys down after Atlas makes him feel like an idiot. Throughout the entire film, Rhodes is always one step behind, so he turns to professional magic debunker Thaddeus Bradley, played by Morgan Freeman, to help him predict the gang's next move.<br />
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This brings me to something that was so fascinating about this film - the structure. The story is Rhodes. He's the protagonist, and for all intents and purposes, The Four Horsemen are the antagonists. But we like them and we want to see them succeed. The whole way through the film, though you really like Rhodes, you kind of hope he doesn't catch these guys. And it works. I found myself rooting for both sides at the same time.<br />
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When's the last time you saw that happen?<br />
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But the most masterful thing about this film was the way it roped you into the game. Like <i>The Prestige</i>, there is a mystery in front of us. We know that somebody is not who they claim to be, but we don't know who. We spend the whole movie guessing.<br />
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I figured it out about halfway through the film, but I was never 100% sure. I constantly decided I was wrong, then right again, then completely wrong again, then probably right... Then I tried to give up guessing, but I just couldn't stop. I had to figure it out.<br />
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And the fight scene - oh, the glorious fight scene. Remember when I posted an essay on <a href="http://bambookillers.blogspot.com/2013/04/how-to-write-fight-scene.html" target="_blank">how to write a fight scene</a>? I mentioned that each fight scene has to have its own identity. Well here, they do something absolutely brilliant to make that happen. The magician in question fights using magic tricks. I've never seen that before in my life, and it is very, very cool. It's a combination of brains and quickness and physical skill all on display, and I was all giggly over it.<br />
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This film worked for me on all levels. My only complaint is Morgan Freeman. He's great, as he always is, but the problem is that we've seen him be the kind old man too many times. He's a bit of an asshole in this movie, but it's tough to feel anything but warm affection for him. I had a hard time not trusting him the way I was supposed to.<br />
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Overall, this was really fun. I found myself smiling throughout the movie, despite the annoying bitch next to me who showed up half an hour late, sat on my foot, texted, talked, took like five thousand pictures of Jesse Eisenberg as he told funny jokes to his entourage in the wings before the interview, and said things like "This is better than the Chelsea Handler Show" and "Hey they must have straightened Jesse Eisenberg's hair for the movie" during the Q&A.<br />
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I would gladly go see this again, knowing what I know now, just so I can look for clues. But it's well worth seeing at least once. I'm kind of glad I didn't come up with this idea now, because I don't think I would have done such a great job with it. The film truly lives up to its concept.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com3tag:blogger.com,1999:blog-25895692.post-78253522416140511272013-05-14T11:38:00.002-07:002013-05-14T12:05:52.591-07:00Help me strut my mutt<div class="separator" style="clear: both; text-align: center;">
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I haven't posted in a couple of weeks because I haven't really known what to post about. I've been staying busy, working on a few projects at once, hoping something lands. As soon as it does, I'll have a little bit to say about it.<br />
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In the meantime, I was hoping some of you could help me out. This year <a href="http://www.strutyourmutt.org/index.cfm?fuseaction=donordrive.participant&participantID=14323" target="_blank">I'm participating in Strut Your Mutt</a>, a fundraiser for homeless pets. I'm supporting <a href="http://www.angelcitypits.org/" target="_blank">Angel City Pit Bulls</a> because my own beautiful pit, Lilly, was a shelter dog. The day we brought her home we looked at four other pit bulls who we had to leave behind, quite possibly to be euthanized. If we hadn't decided to go to the shelter that day, our own wonderful dog might no longer be alive.<br />
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So if you love dogs even a little bit as much as I love dogs, consider helping us out. Pit bull breeds are the most common dogs in most shelters, largely because of backyard breeders and an unjustified reputation. If you ever met any pit bulls, you would know that the vast majority of them are very friendly dogs. They love to lick your face.<br />
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If you have any questions about pit bulls feel free to ask me, because it is a favorite topic of mine. Much of what you hear is wrong, and I love correcting misinformation. <a href="http://www.1800petmeds.com/education/pit-bull-facts-and-myths.htm" target="_blank">This chart </a>is an excellent source of factual information if you'd like to know the basics.<br />
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If you'd like to give a dollar or two to help save homeless pets, you can visit <a href="http://www.strutyourmutt.org/index.cfm?fuseaction=donordrive.participant&participantID=14323" target="_blank">my fundraising page</a>. And feel free to come out to Woodley Park on September 15 for a parade of happy dogs.Emily Blakehttp://www.blogger.com/profile/02163221455899041141noreply@blogger.com4