How A Few Vulgar Bridesmaids Changed the Role of Women in Comedy

by Daniel Manus

Benzilic Acid Formula 43906

Best Business Advice for Screenwriters

Andrew Stanton – Writer of "Finding Nemo," "WALL-E," "Toy Story," and "Monsters, Inc." - on his best business advice for screenwriters:

"The first draft is nothing more than a starting point, so be wrong as fast as you can."

The Scoggins Report

2011 Spec Market Scorecard as of May 13

Here's the big news since the last scorecard:







We have interesting things to point out about the below genre and agency numbers, too, but we've inserted them below in the interest of keeping this tight.

Overall Spec Numbers¹:

¹ This grid tallies sales of scripts in the month they originally went out. All other grids in this report are straight tallies of each month's sales.

² Does not include the sale of a script that went out prior to 2011.

Spec Sales By Genre (sold/total):

Spec Sales By Buyer - Studios:

Spec Sales By Buyer - Other:

¹Includes a script not counted toward the company's 2011 efficiency rating because it originally went out prior to 2011.

¹Includes a script not counted toward the company's 2011 efficiency rating because it originally went out prior to 2011.


About The Scoggins Report: The Scoggins Report is a terribly unscientific analysis of the feature film development business (spec script and open writing assignment activity in particular) based on information assembled from a variety of public and non-public sources. The numbers in the reports are by no means official statistics and should not be relied upon as such. Past editions of The Scoggins Report can be found in the archives of The Business of Show Institute (http://bit.ly/2HRZ67) as well as on Jason Scoggins' website: http://www.lifeonthebubble.com.

Digging the Well Before You're Thirsty:

Tracking the Movement of Hollywood's Executives

Defining your Character by the Company They Keep

by Sean Hinchey

Take Me? NO, TAKE YOU!

by Manny Fonseca

Last week we were chatting (and by chatting I mean me ranting while you read) about getting a career. I told the story of how I sort of landed a writing gig by taking some initiative.

It had to do with a little more than taking some initiative though. I had to have a "take" on the project.

So what does that mean?

I'm going to assume that there are more than a couple of you out there that have no clue what I'm talking about so I'm going to take a moment and let you in to how shit works around here.

Here's how it goes:

You write a script.

You send script to Executive at company A.

Executive givesscipt to some fucktard intern to read said script.

Intern does coverage on script.

Coverage (which includes a summary) is handed to Executive.

Executive, once done doing Executive type things, reads coverage.

Executive gets the gist.

Executive either A) flips through the script or B) reads the script.

If A) insert 2 weeks until you hear anything.

If B) insert 4 weeks until you hear anything.

Executive passes on your script, but wants to meet with you to "discuss ideas."

You pop wood. (or subsequently get a little damp.)

You meet with Executive, get blown a little bit, then Executive says "We have this idea..." and would like to get "your take" on said idea.

You leave with newly slobbered on nether regions and a pocket full of "things to think about."

Insert a week.

You call Executive.

Insert a minute or two for Executive to remember who the fuck you are.

Executive says, "So whattia got for me?"

You pitch YOUR take on THEIR idea.

One of two things happen: A) "That's great! You're a real winner! I'll get back to you." Or B) "That's great! You're a real winner! When can I see the script?"



If B) happens: Insert 6 months of bullshit writing and getting notes upon notes on a script that isn't even really yours.

For sake of argument, let's follow B's path.

So, insert 6 months.

You turn in first draft.

You get notes.

You get manipulated to do a re-write.

You get notes on the re-write.

You get asked to do another re-write.

You either A) agree and do it begrudgingly or B) Tell them to go get fucked cause you ain't doing shit without money in your hand.

If A) happens: Insert 6 weeks of more writing.



Once again, let's assume you chose A.

6 weeks later: More notes, asked to do another re-write.

You either A) agree and do it begrudgingly or B) Tell them to go get fucked cause you ain't doing shit without money in your hand.

If A) happens: Insert 6 weeks of more writing.



Once again, let's...



So be prepared.

Be ready.



And you will little birdie, you will. And when momma bird chucks up spit and worm guts and shoves it down your throat? Not only will you eat it. But you'll like it.

Fun, huh?

Really makes you want to sit down and get cracking on your next million dollar script, right?

Hey, if anything, this town is uber-motivational.

Okay, so back to the point.

A take meeting.

Yagotta be able to think on your feet. If you want to have a career and not a job, you've got to be able to be creative. Any fucking one can write a script.





And they're angry about not being able to write. ANGRY. So they take it out on YOU.

Hitler: evil dictator or frustrated painter? I don't know, you decide.

THAT is what you will deal with.



Make them happy.

Gets you a writing gig.



Yeah. They'll eat that shit right up.





For info, have a question or just want to tell him you love him, drop an email to weekendread@gmail.com or find him on Facebook at www.facebook.com/manny.fonseca