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.

“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?

Back when I was a kid I enjoyed watching a public service announcement of an animated Scroll educating me on how a Bill becomes a Law. It was obviously a simplified explanation, but it offered insights into the process.

While not an animated presentation, allow me to guide you as we witness our original speculative (“spec”) screenplay Buster (short for blockbuster) navigate the maze of how a spec becomes a sale.

Here we go.

Buster’s agent and creator agree that he is officially ready for a formal introduction to the world… Hollywood. Now what?

First, Buster’s agent sifts through his market intelligence and historical evidence to determine which producers would be the most appropriate for the material and more importantly, who will have the greatest potential and influence to sell

Buster.

The list of producers compiled by Buster’s agent will likely include a combination of studio producers and indie producers who have strong relationships with the various buyers in the marketplace.

For clarity sake, the studio producer is traditionally defined as someone who has a deal in place at one of the Major Studios. Note: the business has significantly changed since Buster was born, producers with studio deals should be on the endangered list. Fewer and fewer exist.

Then you have the indie producer. Keep in mind that before Buster was born most people viewed indie producers as the guys who made small films. But, today there are some pretty well known producers without any kind of deal. They are now indie producers too. In essence, anyone without a major studio deal is traditionally framed as an indie.

Additionally it should be noted that the marketplace is loosely defined as follows: Warner Brothers, Universal, FOX, Paramount, Sony, Disney, and (to some extent) MGM/UA are considered the MAJORS. All the remaining buyers are traditionally categorized as Mini’s (i.e. Lionsgate) or Independents (i.e. Sidney Kimmel Entertainment).

There are many factors that Buster’s agent will consider in choosing the right producer for Buster. Here are simply a few:

• Does the producer have a deal? Is it a new deal or is it an old deal that may not be renewed?
• What’s the producer currently developing? What’s on their current production slate?
• Does the producer have strong relationships with studio executives? Which executives? What’s the studio executive’s shelf life look like? Is the executive on the way up or on the way out?
• What have they recently sold? What have they recently made? Was it a hit? Is the buyer happy with the performance?
• Can the producer offer any additional meaningful market intelligence to navigate the buyer’s maze that will help make the sale?
• Does the producer have strong relationships with talent, directors, or their respective agents? Could the producer be successful in packaging Buster with strong elements that may elevate the potential for a sale?
• Has the producer ever read Buster’s creator’s previous works? In essence, is there a preexisting relationship with the Producer?

The list of factors to consider can go on forever. Let’s move on, shall we.

Ok. Now that Buster’s agent has carefully identified the key target producers for each buyer(s) he will initially contact, it’s time to execute.

It’s not a hard rule, but specs like Buster traditionally hit the market on Tuesdays. This year over 300 specs have already been circulated.

And we’re moving.

Next, Buster’s agent prioritizes his phone sheet, rehearses his passionate sales pitch about Buster, and does a few finger dialing exercises and keyboard strokes as a warm up.

One last glance at the mirror (strategically placed on the desk of course) for final inspection of THE game face and it’s on!!

Dial tone, key phone entries, and an inhale, then ring, ring, ring… and finally a voice on the other end:

“Lorenzo di Bonaventura’s office…” (It should be noted that assistants rarely answer the phone with the gratuitous “hello”).

To be continued…