Marvin V. Acuna

If only I had an agent, If only I had a manager; If only I had a relative in the business; If only I were younger; If only I lived in LA; If only I had the money to invest in my professional pursuits; If only I were luckier; If only I had more time; If only I didn’t work a full time job;

If only (FILL IN THE BLANK.)

While all the aforementioned statements undoubtedly feel very true for the screenwriter uttering them at the time, it’s a trap. A mental trap!

It’s the mental state of an aspiring screenwriter infected with “If Only” disease. I assure you that it’s common in every industry, but rampant in the business of show. Typically the screenwriter is not even aware that their mind is invested in this vicious belief system. But, once the screenwriter of this disease has selected a “rock solid” excuse, they live with it. Then they rely on it to explain away to themselves and to others why they are not moving forward or are any closer to realizing their dream. It serves to insulate the screenwriter from really addressing the real problems. So anytime they can’t figure out a solution to the challenge they encounter they just pull out old reliable… If only!

The reason I listed “If only I had an agent” first is because it is the most insidious, the most difficult to get across to thick-headed aspiring screenwriters, and the most difficult to conquer. No matter how many times you read this, no matter how often you hear stories about successful screenwriters (Variety’s screenwriters to watch, Michael Martin, “Brooklyn’s Finest”) tell you how they made it without an agent, you’ll have trouble believing what I have to say here:

AN AGENT IS NOT THE ANSWER TO YOUR SCREENWRITING PROFESSION BARRIERS.

How do I get an agent? Is arguably the number one question that I often hear at seminars, events, conferences, etc.

I can honestly say that I have sat on panels labeled, Filmmaking 4.0 or Diversity in Entertainment or “Fill in the blank” and without failure someone will raise their hand insistently only to ask…How do I get an agent?

In many ways it’s probably why I’m so motivated to educate and prepare the aspiring screenwriters with a practical foundation of entertainment business acumen. There are so many incredible stories from so many wonderful and successful screenwriters in the business because they chose not to self-sabotage their dreams.

Agents are wonderful elements to have as part of your team, but they should not define your opportunities nor dictate your success. I strongly encourage you to revisit the discussions I had with many of the screenwriters (Allan Loeb, Jessica Bendinger, Vlas and Charlie Parlapanides, and many others) over the past year and become inspired. Additionally, you can listen to the invaluable lessons one can glean from the unsung, underutilized hero’s of this business. All of them are available in the member’s area.

Alternatively, you can continue to mentally masturbate about what you don’t have and find yourself in the not to distant future sitting on a stoop at the ripe old age of ninety telling your grandkids about what could have been “if only…”

“According to most studies, people’s number one fear is public speaking. Number two is death. Death is number two. Does that sound right? This means to the average person, if you go to a funeral, you’re better off in the casket than doing the eulogy.” –Jerry Seinfeld

In my experience the most successful screenwriters are also the most effective communicators. They have the uncanny ability to connect with people and powerfully present their ideas. They are eloquent and masterful at diluting a two hour screenplay into a compelling short pitch. They command the attention of a room full of executives and producers with ease and, more importantly, evoke confidence.

LISTEN: Some screenwriters are born with the “gift of gab.” They are natural storytellers, but the truth is… most are simply not. Believe me, I’ve attended enough screenwriter seminars, pitch fests, and conferences to make that claim with utter certainty. Most aspiring screenwriters are nervous, ineffective communicators who often get lost in their own story as they present it.

Fortunately for YOU, public speaking is a learnable skill.

There are numerous programs, classes, and organizations that afford you the privilege to hone this necessary skill. I will focus your attention to a specific organization here.

FULL DISCLOSURE: I am a distinguished member of the organization that is referenced below. Therefore, I STRONGLY encourage you to examine, explore, and investigate all opportunities available for yourself.

From a humble beginning in 1924 at the YMCA in Santa Ana, California, Toastmasters International (www.toastmasters.org) has grown to become a world leader in helping people become more competent and comfortable in front of an audience. The nonprofit organization now has nearly 250,000 members in more than 12,500 clubs in 106 countries, offering a proven — and enjoyable — way to practice and hone communication and leadership skills.

Most Toastmasters meetings are comprised of approximately 20 people who meet weekly for an hour or two. Participants practice and learn skills by filling a meeting role, ranging from giving a prepared speech or an impromptu one to serving as timer, evaluator or grammarian.

There is no instructor; instead, each speech and meeting is critiqued by a member in a positive manner, focusing on what was done right and what could be improved.

Here’s the site once more: (www.toastmasters.org)

As further evidence that this is an invaluable skill to nurture and a powerful organization to consider, the WGA and SAG offices in Los Angeles have their own chapters.

Regardless of whether you choose to become a Toastmaster or not, identify an entity that will shape this potent skill. It’s an aspect of your screenwriting business that you simply cannot disregard.

You need every advantage in the extremely competitive business of screenwriting.

I leave you to consider the following:

Warren Buffet, ranked by Forbes as the second richest man in the United States in 2009, addressing Columbia MBA students said the following on the subject of public speaking, “If you can communicate well, you have an enormous advantage. Force yourself into situations where you have to develop those abilities.”

From left to right:

James D. Lee (Co-founder of BOSI), Daniel Manus, mc foley, Jason Scoggins, Moi, and Liz Maccie

Without these talented folks, the BOSI would not exist nor could it afford the BOSI community of screenwriters the insights, access, and expertise that they have ammassed in the entertainment industry.

All of them passionately give of themselves to serve as inspiration to aspiring screenwriters and are all committed to the BOSI mission of transitioning aspiring screenwriters into successful professionals.

They all mean the world to me and I feel privelegd to have them in my life and as invaluable contributors to the BOSI.

Note: Our CTO ,who is AWESOME, resides in NYC and our CPO, who is SPEC-TAC-U-LAR, was also not present. I will post a picture from the next event, promise. They rock the BOSI universe!!!

Gerard J. Arpey, president and CEO of American Airlines said the best business advice he ever got was, “Borrow money when you can, not when you need to.” This is sound advice that can be translated and applied to…

Pillar #3: Networking

I find most aspiring screenwriters believe that there is only one specific time and place for networking and it’s called “An easel sitting at the entrance of some ballroom with a sign that says so.”

Best selling author and syndicated columnist Harvey Mackay said, “If I had to name the single characteristic shared by all the truly successful people I’ve ever met over a lifetime, I’d say it is the ability to create and nurture a network of contacts.”

Personal networking is instrumental to your career. It’s an invaluable tool to identifying rare opportunities suited to you, as well as to maximize the value of your current relationships.

But networking ONLY when you need to is foolish and sets the wrong tone. Relationships take time, building rapport requires patience, and entertainment professionals are naturally cautious –if not fearful– of those that are simply taking, rather than giving.

It’s pretty easy to spot those that are just networking purely to take… not to give. Therefore, begin networking before you need anything from anyone.

To start with, you must understand all your strengths and weaknesses. Then, seek opportunities where your abilities contribute value to others.

Others will want to be a part of your network if they know that you will add value. And more importantly, your existing relationships will be strengthened if you can consistently add value to those in your network.

Your mission: be the first person everyone remembers and suggests when others ask, “Do you know anyone who….”

Start now, and become a trusted node and connector, not a fragmented meteor that is visible as it enters the atmosphere.

Consider this: Networking is ALL about mutual benefit…

So why not GIVE first?

In summary, I feel it’s important for you to know… talent is only one part of the equation. If you are a hobbyist then this may not ring true to you. That’s ok. You aren’t looking to make a living off your hobby. I get it!

But, if you are reading this and are committed to working as an entertainment professional then I leave you with this…

“Business art is the step that comes after art. I started as a commercial artist, and I want to finish as a business artist. After I did the thing called “art” or whatever it’s called, I went into business art. I want to be an art business man or business artist.”
– Andy Warhol

“There is nothing makes a man suspect much, more than to know little; and, therefore, men should remedy suspicion by procuring to know more, and not keep their suspicions in smother.”
- Francis Bacon

With that said, allow me to focus your attention on the second pillar of a successful screenwriting business…

Pillar #2: Market Intelligence

Market Intelligence is the information relevant to a company’s market which is gathered and analyzed specifically for the purpose of accurate and confident decision-making in determining market opportunity, market penetration strategy, and market development metrics. (From Wikipedia, the free encyclopedia)

LISTEN TO ME: You are your own Company. You are! When you begin to generate that huge revenue you aspire to attain, the first thing your reps will suggest is that you legitimatize your company and form a corporation.

The very same entertainment professionals that you are seeking to attract into and partner in your business are successful BECAUSE they gather market intelligence.

In fact, an agent’s primary responsibility at an agency is to “cover” their assigned studio. In essence, they must report back to their superiors every bit of information they can mine from the studio executives and the entertainment community so that it can be distributed to the entire company. The more effective they are at gathering market intelligence the more valuable of an agent they become to the agency and to the agencies clients.

Consider this: Industry market intelligence is so valuable to executives, producers, and representatives that in the late 1990’s a dozen or so very entrepreneurial studios executives formed the company Filmtracker.com, the epicenter of privileged information.
Immersing yourself in the business will afford you a competitive advantage over other aspiring screenwriters. And believe me in a business as competitive as screenwriting… You want every advantage.

Entertainment professionals fully embrace Sir Francis Bacon’s other eloquent quote, “… Knowledge itself is Power.” They recognize the value of understanding the market needs, demands, and opportunities.

Do you?