Marvin V. Acuna

Michael Jackson mania was in full swing when I was in the seventh grade. I even wore the infamous “Beat it” jacket. I was a HUGE fan and did not have any shame in my expression of that fact.

During one of the family visits to the flea market I stumbled upon a promotional button shop. Now it may have been there for years as the flea market was a family tradition. But, on this particular day the buttons on sale seemed invisible and the machine making them seemed to illuminate in the background. It was as if it called my name.

I couldn’t believe my eyes nor the truth I would learn. The promotional button shop could take any image and convert it into a button.

I returned with one of my favorite images of Michael Jackson and made a button. The Cheshire cat had nothing on me. I paraded around the flea market floor space with pride. It was a cool pin.

On Monday I dressed for school. Morning rituals and then as I walked out the door I placed the final touches on the school attire. My button!

It seemed to happen overnight, but doesn’t all success. As I navigated the corridors of the school and the playground of the small campus many students commented on the unique button.

Then it happened. I was offered money for the button. More money than I had paid for it. Can you say profit? Not sure I could, but I knew how to count. I was already taking algebra. Math was my subject. The numbers made sense to me and a business opportunity was born and a natural salesman emerged.

I’d now spend free time cutting images from any periodical I could get my little hands on and make new Michael Jackson buttons. The routine of the flea market was no longer simply a family trip, but a business trip to my wholesaler.

That aforementioned tale was brought to the forefront of my memories last night after viewing the documentary MICHAEL JACKSON’S THIS IS IT.

Witnessing his genius was simply mesmerizing. But, something else captured my imagination… he, his band, dancers, back-up dancers, technicians brought there “A” game to work each and every day. They performed as if the audience was already present.

I’m certain it could have been easy to simply move through the motions, “called it in”. But, he didn’t allow it of his people nor of himself. It’s no wonder he was, and in mind remains, the King of Pop.

While Michael was a not a screenwriter he embodies the necessary qualities of any artist with aspirations to succeed in the competitive filed of entertainment.

Michael delivered whether an audience was present or not. He was a consummate professional.

That’s a nice story Marvin, but how does it help me?

Well, here are simply two thoughts:

v  Expect more of yourself – are you truly mastering your craft or are you simply “calling it in”? I’ve said it before a writer writes. How close are you to 10,000 hours of writing?

v  Behave like a professional screenwriter – There’s truth to the proverbial saying:”If you walk like a duck, talk like a duck… you are likely a duck.” Recently, one of the BOSI members wrote a posting on his blog (The 3 a.m. Screenwriter) that echoed this sentiment. Check it out: http://tinyurl.com/yek9apz

The documentary suggested that Michael ended all his performances with his hit song MAN IN THE MIRROR because he emphatically believed that change must come from within first. I agree.

In his honor, I leave you with this:

http://tinyurl.com/yjuot6t

Part 3 of the screenwriter question series continues.

For obvious reasons I will be unable to address every question still sitting in the queue, but I was compelled to offer my thoughts to the following which were chosen completely at random. Here we go:

What are some key tips for writers who are ‘not good in a room’?
Practice! More importantly as Malcolm Gladwell stated in a recent interview…deliberate practice. Toastmasters is a great organization to consider and affords you that privilege. Mentoring member Justin P Bechtold recently wrote me the coolest note about his first experience attending a Toastmaster meeting and the benefits he derived from the experience. In my Art of Connecting discussion which is part of the Secret Weapon audio series I discuss other strategies on how to be effective and powerful.

Can a first time screenwriter sell his/her epic action/ adventure script for one million dollars?
Is it possible…yes! My hope is that you have been following the terrific market intelligence that our expert contributor Jason Scoggins provides for you via the Scoggins Report (always delivered here first). It’s evident that the business has changed — specifically the spec market — thus, there are many factors to consider. Jason and I spoke extensively about selling specs in the market place during the Secret Weapon Audio series. Download the replay for another listen.

How do I locate a producer or producers who would want to read my synopsis?
There are many strategies to consider. One would simply be to do the homework as to who is best for your work. The internet affords you the opportunity to conduct all the necessary research. In fact, there are several online companies that, for a nominal fee, provide the information. Producer Evan Astrowsky (Eli Roth’s “Cabin Fever,” “Mini’s First Time” starring Alec Baldwin, “Fanboys”) and I discuss other strategies to identifying the right producers for your projects. It’s available in the members area.

I’m still trying to find an agent. How can I get my E-queries past the gatekeepers?
In my humble opinion, aspiring screenwriters assume that an assistant doesn’t have the time, judgment, or influence to help them, and therefore simply see them as a barrier to their objective — connecting with the entertainment professional they desire to have read/buy their screenplay. Huge mistake! After all, they’re controlling your access. Assistants are key and instrumental in any industry; but in Hollywood, a strategic alliance with an assistant has the potential to change your life. Former assistants turned established literary agents Chris Sablan of Original Artists and Sean Barclay of the Gersh Agency offered some terrific insights as to how to navigate the all important “gatekeeper.” Visit the member’s area and review the discussion.

Part 2 of the screenwriter questions series continues.

For obvious reasons I will be unable to address every question still sitting in the queue, but I was compelled to offer my thoughts on the following which were chosen completely at random. Here we go:

How can I get my script to the right people if I am a first time writer without an agent?
Entering a notable screenwriting competition is one path to attracting attention from industry professionals. I wrote a piece (http://tinyurl.com/ls9qkl) on how to assess which ones will add value to your screenwriting aspirations. Richard Arlook (former head of the motion picture department at the Gersh Agency) of The Arlook Group, a literary representation company, offered actionable detailed steps during my last discussion with him as part of the Secret Weapon Audio series. Be sure to review it so that you can take the necessary actions.

Is there a specific time of year where one’s chances are more apt to getting a script read/sold than any other? Or is it more catch as, catch can?
Yes, there is a general industry cycle. While there are exceptions to every rule, a screenplay has a much better opportunity for sale, or frankly to be read, during those key months. In fact, literary manager Jonathan Hung of Hung Entertainment, last month’s contributing expert, specifically lays out the times during the year when a screenplay has its best opportunities.

Does a writer have a better chance of production if he/she shares in financial investment?
In my humble opinion, if you are investing your hard-earned dollars into a venture it communicates to others your belief in it and may compel them to take the ride with you. Obviously, other factors need to be considered but first dollars committed is one attractive element. Sundance Grand Jury Prize Winner and Golden Globe Nominee, Nancy Savoca, discussed in our meeting her feelings on the subject. The video of the meeting is archived in the member’s area.

How do you get the attention of an agent just to get some face to face time?
Networking, networking, networking. More importantly, effective networking! Uber-successful screenwriter Jessica Bendinger discussed how to effectively connect with industry professionals in my last conference call with her. I strongly encourage you to pull out the transcript for a review of this particular insight.

Do you need to live in the heart of New York or California to be a successful writer?
It’s valuable to be in Los Angeles. That’s why I chose to make the sacrifice and leave my home, family, friends, etc.. If you are willing to make the move, then go for it! But, is it absolutely necessary in today’s internet-driven world? I don’t believe so. This question was directed to Jon Brown of Ensemble Entertainment, a literary representation company, during the Q&A segment of the Screenwriters’ Success audio series. He discussed his position on this and referenced how his non-LA/NY clients navigated this obstacle. Listen to it.

As I considered what to share with you this week it occurred to me that there were an overwhelming number of questions that remained in the queue from my most recent teleseminar. For obvious reasons I will be unable to address every question still sitting in the queue, but I was compelled to offer my thoughts to the following which were chosen completely at random. Here we go:

What are recommended ways to establish relationships with the players in LA if you don’t live there?
Personally, I’m a huge believer that the internet is an incredible tool to bridge relationships with people from all industries, in particular entertainment. Thomas Friedman wrote a book entitled “The World Is Flat.” I believe the entertainment industry is flat. There are no boundaries. Christopher Brogan offers his insights on building relationships online in his book “Trust Agents.” I also discuss this subject in more depth in the Art of Connecting from the Secret Weapon Audio Series. The file is located in the member’s area; I encourage you to listen again.

Is attending events like The Great American Pitch Fest and Screenwriting Conference in Los Angeles this June a good idea?
Any opportunity to be in close proximity to industry professionals is a great one, but you must prepare. A few years back a 20/20-like news program followed a few filmmakers as they headed to industry events and captured the difference it made for those who arrived prepared versus the ones who just arrived. I discuss specific strategies in a number of the Power Principles on how to maximize the investment you make to attend industry events. Review them before you attend.

Do you think that a staged reading with professional actors (performing an original screenplay) is a good investment of time, energy and resources?
Opportunities that afford you the privilege to see and hear your work come to life is invaluable to your development as a screenwriter and the material. In fact, Christopher Vogler shared a process he does with Will Smith with me during our live interview back in 2009 which I found to be fascinating and immersive. The replay is in the archives if you missed the live event.

I am not the chatty Kathy type. I write. I am comfortable in my own head making things up. I am not comfortable with people. Is it even possible to get someone to represent me?
Charlie Kaufman comes to mind. However, I would highly encourage you to develop that aspect of yourself. Toastmasters International is a great organization that is available as a resource. Jewerl Ross of Silent R Management addressed this head on during our live event. Frankly, he had some very strong feelings on this subject and offered some great advice.

Is there an age limit for writers?
I bet that Doug Taylor and Antoinette Terry Bryant would both say, “Never.” I sat down with them in Sundance as part of the Sundance Experience: A Screenwriters Perspective Program to discuss their picture “Splice,” arguably one of the hottest films at Sundance. I look forward to sharing that video presentation with you — stay tuned. But, for the “must have more insights now” personality… you can always listen to the late Blake Snyder’s thoughts on the matter which he addresses in our last live event together. You can easily find the transcript and the replay.

How can I get an agent if no one knows me?
I wrote a piece entitled, “Write a Movie Script that’s Good… Write a Query Letter that’s Better!” (http://tinyurl.com/yf5w9u6) which I feel offers insight into one method. Additionally, Allan Loeb, arguably the hottest screenwriter in Hollywood today, whose credits include the upcoming “Wall Street 2: Money Never Sleeps” starring Michael Douglas and Shia LeBouf, “The Baster” starring Jennifer Aniston and Jason Bateman, “The Escape from NY” remake, and “Your Cheating Heart” starring Vince Vaughn and Adam Sandler, discusses on the replay how he did it and the “Hail Mary” script that changed his life forever.