Marvin V. Acuna

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.