Marvin V. Acuna

Part 4 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 to the following which were chosen completely at random. Here we go:

Do you feel that winning a reputable contest gives a writer an edge towards getting a good agent or production?
Michael Martin, named as Variety’s Screenwriter to Watch in 2008, was living in Brooklyn, New York working as a flagger for the MTA. He placed second in a screenwriting competition. His submission, Brooklyn’s Finest made its way into the hands of producers who packaged the film with Richard Gere and Ethan Hawke. Directed by Antoine Fuqua it was released theatrically March of 2010. Jessica Bendinger, a BOSI expert contributor, is hosting an incredible opportunity for screenwriters at http://tinyurl.com/y8r7eyz. I strongly encourage you to participate.

My writing partner and I are just finishing our latest. And we have an assortment of folks we can take it to. Some are extremely well-placed, others not so much. What is proper etiquette and sound strategy? Do we give the most influential folks “exclusivity” for some period to see if there’s interest before moving down the list? Or do we “go wide” with everyone to improve our odds? I’m sure you appreciate the issues…even better than I do.
The spec market is so complex and ever changing. Timing, box-office results, elements, and studio mandates all play factors in how one chooses to introduce material to the market. I will say that affording anyone “exclusivity” can be effective if executed correctly. Paul Tamasy and Eric Johnson, the writers and producers of “The Fighter” starring Christian Bale, Mark Wahlberg, and Amy Adams — due in theatres this year — as well as “Job” starring Will Smith, and I will be discussing the nature of this beast. Members be sure to tune in as part of the Shortcuts to Success: Meeting with the Masters Series on Friday, March 26, 2010 at 10am PST.

Isn’t it better to be true to your own voice and write what you know in a genre you feel passionate about, than to concoct a story in a genre you dislike just to be considered saleable in today’s industry?
I wrote a piece that I feel sums up my feelings on this question (http://tinyurl.com/yzkobyd). Sony’s Senior EVP Sam Dickerman expressed his views on this subject as well. The video is archived in the member’s area.

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.