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INSTANT LIBRARY: PSYCHO CYBERNETICS, by Dr. Maxwell Maltz

Pen Densham — Tue, 12 Mar 2013 23:20:13 +0000

Book report by: Jimmy Lu

Psycho Cybernetics, written by Dr. Maxwell Maltz, an accomplished plastic surgeon in the early 60’s, is a self help book that influenced much of today’s biggest motivational speakers. It dives deep in helping us understand the mind and how our unconscious processes work to help us to not only succeed but how it could lead us to failure. The book brings to light the idea that our decisions and holding positive thoughts in our conscious mind is a trigger for a happy life. Likewise, negative thoughts create habits of negative lifestyles. The book helps us understand our minds so that we can control aspects of our lives that feel out of control.

The unconscious brain acts as a servo, the conscious brain works as the operator
The unconscious brain cannot tell the difference between a real experience and one that is vividly imagined
Self hypnosis is a reality. Self hypnosis can benefit and also hurt your success.
Say ‘I failed at that particular task’ not ‘I am a failure’
The unconscious brain does not question, it just “does.”
95% of everything we do everyday is through habit. Good habits and bad habits
Inferiority is caused by your view of yourself in relation to others. Overcoming inferiority means to accept yourself as YOU no better or worse than everyone else.
Negativity inhibits performance by” Jamming “the flow of the unconscious in figuring out the problems presented.
See negativity as a challenge rather than a reason to stop. “I can handle it” rather than “I hope nothing happens”
Crisis situations and the emotions that come out of it when channeled correctly can be enormously powerful

HOLLYWOOD FILM & TV TRAINEE PROGRAMS

Pen Densham — Tue, 22 Jan 2013 22:13:53 +0000

We are pleased to let our readers know we have updated this list for Fall 2012:

My good friend, former Trilogy television executive and current Director of Development for Universal Cable Productions, Ellen Rand, was kind enough to share this compiled list of available trainee programs for my USC students. I thought it was such a great list I decided to share that with my web readers:

WRITERS PROGRAMS

ABC Daytime Writer Development Program

Organization: ABC

This program identifies and cultivates writers for daytime television who convey a diverse and unique point of view. Scripts written by these writers should have strong characterization and emotional engagement.

WEBSITE: http://www.abctalentdevelopment.com/programs/programs_writings_daytime.html

Alliance for Inclusion in the Arts

[NOTE: This program has been temporarily suspended and will not be taking applications for 2013.]

Organization: USC

This program assists writers in the completion of a film or television script and seeks to deepen the participants’ appreciation for and comprehension of African-American history and culture.

WEBSITE: http://www.cosbyprogram.com/

CBS Writers Fellowship

Organization: CBS / NAACP / USC

This fellowship is awarded to USC students whose work offers a fresh perspective on the representation of minorities in entertainment. The program seeks to support and educate new voices from various ethnicities, cultures and financial backgrounds and introduce these writers’ ideas and voices to the screen.

WEBSITE: http://diversity.cbscorporation.com/page.php?id=26

CBS Writers Mentoring Program

Organization: CBS

This program provides participants with the opportunity to build relationships with network executives and showrunners. New and emerging writers will be supported in an effort to improve their craft and develop interpersonal skills necessary to break in and succeed.

WEBSITE: http://diversity.cbscorporation.com/page.php?id=23

Disney | ABC Television Writing Program

Organization: Disney / ABC

This program exposes aspiring writers to key executives, producers and agents. Writers will work one-on-one with a current programming or development executive to create a spec script of a current series. The goal of the program is to prepare & nurture the writers’ career.

WEBSITE: http://www.abctalentdevelopment.com/programs/programs_writings_fellowship.html

Diversity Initiative for Writers

Organization: NBC

This program provides writers with the opportunity to be read and evaluated by NBC to fill a diverse Staff Writer position on a scripted NBC Primetime show. Writers are selected by showrunners, network & studio execs from a pool of agency submissions & other fellowship programs.

WEBSITE: http://www.nbcunicareers.com/earlycareerprograms/diversityinitiative.shtml

Film Independent’s Project:Involve

Organization: Film Independent

This program cultivates the careers of under-represented filmmakers to increase diversity in the film industry through one-on-one mentoring with film experts. Participants will be assigned to a team to make a short film incorporating a given theme. They will also attend monthly filmmaking workshops and seminars.

NEW WEBSITE: http://www.filmindependent.org/labs-and-programs/project-involve/

Film Independent Screen Writers Lab

Organization: Film Independent

This lab is designed to help improve a writer’s craft, develop their voices, and take scripts to the next level. Writers will receive feedback from the lab instructor, outside advisors, and other participants.

The participants will be introduced to film professionals who can advise them on craft and the business through one-on-one meetings.

WEBSITE: http://www.filmindependent.org/content/screenwriters-lab

Fox Writer’s Intensive

Organization: Fox

A highly selective writer’s initiative, held at the Fox Studios in Los Angeles, CA, from February 2013 through May 2013. The Intensive is designed to introduce experienced writers with unique voices, backgrounds, life and professional experiences that reflect the diverse perspectives of the audiences Fox creates for to a wide range of Fox showrunners, writers, directors, screenwriters and creative executives. These collective individuals will work with the selected writers in a series of master classes to build on both their general craft and further their skillsets in the business of writing for television, feature films and digital content.

WEBSITE: http://www.fox.com/audiencestrategy/foxwritersintensive/

NALIP Latino Writers Lab

Organization: NALIP

In this lab, skill development will be encouraged by professional instructors. Works-in-progress will be directly mentored by other writers. Participants will attend workshop lunches on various legal, guild, and industry matters. NOTE: Participants have to be a member of NALIP to apply.

WEBSITE: http://www.nalip.org/LWL.php

National Hispanic Media Coalition Writers Program

Organization: NHMC / ABC / NBC

This program is designed to prepare and place Latinos in writing jobs at major television networks. The participants will be familiarized with the format of specific shows currently on the air. Network executives will mentor the participants with the goal of staffing them on shows.

WEBSITE: http://www.nhmc.org/writersprogram

Nickelodeon Writing Fellowship

Organization: Nickelodeon

This fellowship is designed to develop and staff writers with diverse backgrounds. During this 1-year salaried program, writers gain hands-on experience writing specs and pitching story ideas. They will also have the opportunity to nurture relationships with showrunners, producers, and executives.

WEBSITE: http://www.nickwriting.com/

Outfest Screenwriting Lab

Organization: Outfest

This is an intensive 3-day workshop where participants work closely with mentors who will critique and encourage their work. The lab includes sessions with other industry professionals and career development advice.

WEBSITE: http://www.outfest.org/accessla/swl.html#read

Sundance Institute Feature Film Program

Organization: Sundance

This program is designed to support and encourage a rigorous creative process focusing on original storytelling. There is a year-long continuum of support from development to production to post-production and on through festival strategy, marketing, and distribution.

Participants receive a range of tailor-fit assistance through the entire process.

WEBSITE: http://www.sundance.org/programs/feature-film/

Tribeca All Access

Organization: Tribeca Film Institute

This program provides established & emerging filmmakers with access to industry professionals to help make their films. Filmmakers will receive a $15,000 grant, and participants are eligible for an additional $10,000 Creative Promise Award, plus one-on-one meetings with representatives, career development workshops, and informationals panels with filmmakers.

WEBSITE: http://www.tribecafilminstitute.org/filmmakers/taa/

Warner Bros. Writers’ Workshop

Organization: Warner Bros.

This program is designed to help writers obtain a staff position on a Warner Bros. show. Participants will attend weekly lectures featuring showrunners, directors, actors, and agents.

WEBSITE: http://writersworkshop.warnerbros.com/

Women in Film Mentoring Program

Organization: WIF LA

This mentoring program nurtures emerging talent through one-on-ones with established professionals for a year. It provides women with the opportunity to acquire a deeper understanding of the industry’s deeper workings through hands-on experience. It is only open to WIF members.

WEBSITE: http://www.wif.org/index.php?Itemid=93&id=271&option=com_content&view=article

Writers on the Verge

Organization: NBC

This program is designed to further develop emerging writers on the brink of success. The goal of the program is to staff as many writers as possible on NBC primetime series writing staffs in an effort to encourage diversity.

WEBSITE: http://www.nbcunicareers.com/earlycareerprograms/writersontheverge.shtml

DIRECTORS PROGRAMS

Assistant Directors Training Program (EAST COAST)

Organization: DGA

Trainees participate in on-the-job training to become Second Assistant Directors. They complete 350 or 400 days of paid, hands-on work on actual film and television projects and attend a number of mandatory seminars on various aspects of the industry. Each trainee who satisfactorily completes the program is invited to join the Guild.

WEBSITE: http://www.dgatrainingprogram.org/

Assistant Directors Training Program (WEST COAST)

Organization: DGA

Provides selected candidates with education, training and paid experience in professional settings, facilitating their development into successful Assistant Directors.

WEBSITE: http://www.trainingplan.org/

Disney | ABC DGA Directing Program

Organization: Disney / ABC / DGA

The goal of this program is to find diverse potential directors for ABC series. Participants shadow veteran episodic directors and create relationships with network and studio executives within ABC.

WEBSITE: http://www.abctalentdevelopment.com/programs/programs_directors.html

Film Independent Directors Lab

Organization: Film Independent

This lab teaches participants how to work with actors. The participants will mini-produce and workshop scenes from their features in an eight-week intensive program. They will be given camera and sound packages and have one-on-one consultations with Film Independent’s Filmmaker Advisor.

WEBSITE: http://www.filmindependent.org/content/directors-lab

Sundance Institute Feature Film Program

Organization: Sundance

This program supports and encourages a rigorous creative process focusing on original storytelling. Participants receive a year-long continuum of support from development to production to post-production through festival strategy and marketing/distribution. Participants also receive a range of tailor-fit assistance through the entire process.

WEBSITE: http://www.sundance.org/programs/feature-film/

PRODUCERS PROGRAMS

ABC Studios Production Associates Program

Organization: ABC

Candidates will be exposed to production management, finance, business & legal affairs. This program boasts a 100% job placement success rate.

WEBSITE: http://www.abctalentdevelopment.com/programs/programs_production.html

Film Independent Producers Lab

Organization: Film Independent

This lab is designed to help filmmakers develop skills as creative independent producers during this seven-week intensive program that introduces participants to film professionals and independent producers. During this lab, fellows develop a strategy and action plan for bringing their projects to fruition.

WEBSITE: http://www.filmindependent.org/content/producers-lab

Producers Guild of America Workshop

Organization: PGA

This workshop is designed to foster the development of diverse voices. It focuses on participants’ projects by helping them though seminars and master classes. The program also includes one-on-one mentoring with a member of the Producers Guild.

WEBSITE: http://www.pgadiversity.org/index.php/diversity-workshop

Production Apprentice Program

Organization: NBCU

[Inactive] This program will expose candidates to all departments of physical production, including studio and set. The goal is to foster talent seeking positions in television production.

WEBSITE: http://www.nbcunicareers.com/earlycareerprograms/productionapprentice.shtml

Sundance Institute Cretaive Producing Fellowship & Lab

Organization: Sundance

This lab focuses on indentifying, optinioning, developing, and pitching material, as well as raising financing, hiring crew, navigating sales, distribution, and marketing. Participants’ creative instincts, communication & problem-solving skills will evolve. This year-long fellowship includes attendance to the Sundance Film Festival and mentorship from top industry advisors.

WEBSITE: http://www.sundance.org/programs/creative-producing-fellowship-and-lab/

Academy of Television Arts and Sciences Foundation

Offers internship programs and College Television Awards:

INTERNSHIP LINK: http://www.emmysfoundation.org/internship-programs

COLLEGE TV AWARDS LINK: http://www.emmysfoundation.org/college-television-awards

INSTANT LIBRARY: SELLING 101 by Zig Ziglar

Pen Densham — Wed, 31 Oct 2012 19:38:39 +0000

Selling 101: What Every Successful Sales Professional Needs to Know
Book Review by Brian Nelson

Selling 101: What Every Successful Sales Professional Needs to Know by Zig Ziglar, is a sales person’s guide to persuading potential customers into closing business deals. This book does not explore techniques on how to sell a product, it more so examines ways to interest and influence potential clients into investing in your product. Additionally, this book is designed to encourage integrity in the sales industry. Through integrity and honesty, a salesperson has the freedom to trust in his or her product’s worth, without the bearing the guilt of selling false hopes. Ziglar claims that a long-term career in sales is built off this notion of integrity, which ultimately generates returning customers, and financial stability.

10 Key Points of Selling 101: What Every Successful Sales Professional Needs to Know

1) Honesty and Integrity In Selling:

Honesty and integrity in selling is one of the absolute most important points of this book, because it explores the larger purpose of selling. Ziglar writes of making a difference in the world through, the sales profession, by instilling the foundations of faith, love, friendship, family, listening, learning, dependability, and credibility. All of these elements are the recipe for an ethical sales career that will guarantee return business. Ziglar claims Trust to be a direct reflection on one’s integrity. Because lack of trust is the main reason a potential client will not buy from a seller, the sales person should gain trust by always making an effort to commit to a serious promise about their product to the prospect.

The Four-Step Formula:

Ziglar teaches us that a salesman must be able to persuade a prospect in spite of any product line or situational differences. This is best accomplished through his Four Step Formula.

2) Need Analysis-Step One- any good sales person should have the ability to discern what a prospect’s need and wants are. Discovering needs and wants are achieved through probing (asking questions), that will result in uncovering information.

3) Need Awareness – Step Two – Need Awareness requires the sales person to inform the prospect of what their need is. Secondly, the sales person clearly articulates the all details of this need. Once again, probing is involved in making the prospect aware of their need. It is through probing, that a sales person makes the need perfectly clear to the prospect. This clarification eliminates the chances of the prospect changing their minds on a purchase.

4) Need Solution -Step Three – Here is when the sales person presents the answer to the prospect’s problem. Ziglar teaches that we (consumers) buy solutions, not actual products. In other words, the sales person presents how the product will specifically enhance your life.

5) Need Satisfaction- Step four – Need Satisfaction is the ability to successfully close a deal by “A.A.F.T.O.: Always Ask For The Order.” This is when the sales person closes the deal by asking the prospect for the sale. This crucial step is often looked over by sales people. Unfortunately it is often the reason most sales are never completed. When dealing with this particular step, the sales person should never ignore the obvious, which is simply, politely asking for the sale.

6) The Sales Professional’s Voice:

Ziglar describer’s the sales professional’s voice as one of the most least developed tools for a salesperson, although it is one of the most important tools. Ziglar encourages the reader to record them self-asking the probing questions. Next the sales person should ask himself or herself, after listening to the tape: “Would I buy from this person?”

7) Moving From “No” to “Know”:

60 percent of sells are closed after a prospect has said no to the offer. This is because a sales person’s job is not complete, once a prospect has decided not to purchase. It is at this point, when the sales person must give the prospect more information about the product, until he or she gets a “yes.” A potential client only says “no” to an offer because they don’t have enough information to make a “yes” decision. Turning a “no” into a “yes is often done by continuing to ask questions, until the objection if fully realized. Once the objection is clear, the sales person then works with the customer to discover solutions for overcoming those objections.

Find A Solution:

When handling a rude or belligerent prospect, the sales person’s reaction should never be equally irate. He or she needs to dissolve the situation by staying calm, and closely listening to the prospect’s problems, without interrupting. Most times a customer’s dissatisfaction is not personal. Once the prospect has calmed down, the sales professional should thank the potential client for sharing their honest feelings. Furthermore, the salesperson should be wiling to work with the customer to find a solution to the problem. This technique salvages the customer relationship, without compromising the salesperson’s integrity.

9) Gaining Control of Your Time and Your Life:

Ziglar encourages the salesperson to work smarter, as opposed to working harder. 80 percent of a sales professionals job includes activities that have nothing to do with direct sales. He suggest delegating this type of work to an assistant, so that the sales person has more time for direct contact with prospects.

10: Finding Someone Willing To Buy (prospecting):

Ziglar describes prospecting as the most important key to sales success. Without prospects, there are no customers to buy from you. A salesperson should always be prospecting in various environments, so that your career does not rely on one circle of people.

INSTANT LIBRARY: THE NOW HABIT by Neil Fiore, Ph.D.

Pen Densham — Fri, 19 Oct 2012 17:10:12 +0000

The Now Habit: A Strategic Program for Overcoming Procrastination and Enjoying Guilt-Free Play

By Neil Fiore, Ph.D. Book report by: Mike Shawver

The Now Habit is an in-depth look into why we procrastinate and realistic, practical steps to allow the reader to accomplish goals more efficiently without the anxiety of deadlines or performance criticisms. According to Fiore, we procrastinate to reward ourselves and to provide ourselves with temporary relief for three main reasons: resisting pressure from authorities indirectly, fear of failure, and fear of success, each of these originating from a low level of self worth. Identifying when and how we procrastinate is the first step to unlearning the bad habits in order to learn more positive and beneficial techniques. Once we identify these things, through the use of a procrastination log, we can begin with the following steps.

-Creating Safety.

-Separate your self worth from the things you do.

-Reprogramming negative attitudes through positive self-talk. -Instead of saying “I have to…” say “I choose to…”

-Using the symptom to trigger the cure.

-Be self aware of how, when, and on what you procrastinate. This will help identify the problem and allow you to overcome it.

-Guilt-free play.

-Recreation is Re-Creation. After, guilt-free leisure time, you will be ready to get back to work.

-Three dimensional thinking and the reverse calendar.

-Don’t think of a project as a beginning and an end, this makes the project look like one big task.

-Set a series of small steps; goals that are easier to start.

-Plan backwards starting with the deadline. This will allow you to set the smaller and more realistic goals while giving you a manageable timeframe.

-Making worry work for you.

-Ask yourself a series of questions from “What is the worst thing that could happen?” to “What would I do if that happens?” and so on in order to remind us that we will survive anything bad that will happen.

-The Unschedule

-Schedule meals and leisure time first.

-Do 30 min of uninterrupted work before every scheduled leisure period.

-Leave a full day open each week for recreation.

-Setting realistic goals

-Working in the flow state

-Use mediative breathing exercises for a few minutes before working. Release yourself from everything else.

-Controlled Setbacks.

-Consciously procrastinate to help further identify problems and continue break the habit.

These steps only scratch the surface of the concepts and strategies in this book. Fiore uses the accounts of actual patients who had suffered from procrastination but have since overcome it through these techniques. Overcoming procrastination takes time and effort, but Fiore says that through these steps anyone can unlearn this bad habit and learn how to work efficiently and creatively and thats the more you do these, the more you train your brain to do them naturally, changing your behavior for the better.

INSTANT LIBRARY: LITTLE RED BOOK OF SELLING by Jeffrey Gitomer

Pen Densham — Mon, 24 Sep 2012 21:33:25 +0000

Book review by Tom Steenburg

Jeffrey Gitomer’s Little Red Book of Selling is an excellent treatise on how to be successful in sales. Almost all of the points Gitomer raises in the book transfer over to the world of film and television. However, some of the points are more applicable than others, with certain points only really applying to someone further along in his or her career. Gitomer does an excellent job of presenting an already crystallized text with a plan of action for implementing his suggestions. However, most of his suggestions for action are only relevant for sales. Inviting a group of 50 agents, producers, or studio executives to a seminar about an aspect of film may not be as effective as inviting 50 prospective home buyers to a seminar about the benefits and risks of homeownership and mortgages. This is a book I am glad I did not read before I came to USC or I might have successful enough to remain as a Mortgage Broker.

These are the most cogent points.

1. Be self-motivated and a self-starter. The only person you know can help your career is you. Be proactive in taking action to further your career.

2. Take the time to find out relevant information for the agent, manager, producer, studio, or whomever you are dealing with. Find out their proclivities when buying so you know how to present yourself and your project to them. If a network is only interested in a procedural, don’t pitch them a character piece.

3. Networking is the most important element of sales. People like to buy from people they know, respect, and trust. Get to know the people you want to buy your project. Build yourself as a brand.

4. Get in front of the decision maker. If you aren’t trying to get the decision maker to buy, you are risking your sale every step between the person you met with to the decision maker. This applies more to later stage career when you can go after executives, but it also applies to early stage career. Get as high a level a contact as you can.

5. Get the other person to buy. Don’t sell. Give the other person a reason to buy. If you engage someone, you can get them to convince themselves.

6. Always use humor. If you make them laugh, they’ll like you and be more likely to buy. Humor can build relationships and trust. Use small risks but don’t go overboard.

7. Be creative to differentiate yourself. Use innovative approaches to reach out to potential buyers.

8. Reduce the buyer’s risk. This is harder in film than sales, but not impossible. Package a project to minimize the risk to a studio. Write the absolute best script you can so that they have confidence in your abilities.

9. Recommendations or testimonials are key. Not completely applicable, but essential for dealing with going from one below the line job to another or branching out early from one buyer to another, e.g. cable television.

10. Always be on the lookout for opportunity and seize it when it comes. If you pass an opportunity by, you miss a chance to succeed.

INSTANT LIBRARY: THE HOLLYWOOD RULES by Anonymous

Pen Densham — Mon, 10 Sep 2012 22:12:55 +0000

Book review By Rebecca Chan

Book features:
1. Street smart written in a book.
2. Fast /easy read.
3. Specific, very specific.
4. Since it’s presented in points, you can use it as a dictionary.
5. This book is called the Hollywood rules not the Toronto film festival rules or the Sundance rules. So it talks very little about independent filmmaking.

Warning:
This book was published in 1998!! That’s almost 15 years ago!! A lot of the principles mentioned in the book obviously still apply, but just keep that in mind when reading.

Overview:
This book takes you by the hand and gives you the tips and strategies on how to handle your project and yourself in Hollywood (mostly when dealing with big studios). From perfecting your own craft, where/ how to get an agent, the ways to talk to people, your dress attire all the way to what to ask for once you’re up for making a deal. It’s kind of like the movie Hitch only not on getting a girl but getting a deal in Hollywood.

In a nutshell, this book tells you everything you can do outside of the creative process to push yourself closer to becoming successful in Hollywood. So this book can be helpful if you have a great project and you have no idea what to do with it.

The Rules:
(The following are the “RULES” the book mentions, the explanation or elaboration followed by the rules are the things I find helpful mentioned in that section)

Rules # 1~20
Pre-sale (addresses tips on how to sell your ideas, get an agent etc.)

1. Get local: move to LA and have a mailing address that’s not ghetto, rent a PO box if you have to.

2. Give them what they want: what do studios want? A story that’s contemporary; budget friendly if it’s your first film; not set in physically hostile locations; original but not too original.

3. Never second-guess the market: in Hollywood, new usually means putting a unique twist on an old story. Don’t second guess your gut instinct and end up doing what everybody else is already doing or fall into the trend. You can stay ahead of the curve by concentrating on themes and topics that are timeless, universal nature.

4. Remember, everything old is new again: Use “the Meet” ideas. Combine two old themes.

5. Be Detail-oriented: everyone can come up with an “idea,” but only filmmakers can tell a story. When you pitch an idea, make sure you have the structure, character, theme and story credibility.

6. Read everything: Learn about everything.

7. Be a professional or at least look like one:

a. Don’t write in public.
b. Don’t read Variety or The Hollywood Reporter in public. Read them, but not in public.
c. As a creative filmmaker, wear one and always only one expensive piece.

8. Don’t go it alone: Get an agent, manager, entertainment lawyer. If you’re a writer: Get The Annual Agency Guild and mail a query letter to see if they’re truly
interested in your premise. Do not bather about how much your friends like your script.

If you’re a director obtain a list of director agents from the DGA and send a reel and a query letter. Best time to call an agent is Monday-Friday 4:00~7:00pm, Tuesdays~Fridays. Be nice to their assistants.

Names and address of all producers can be found in Hollywood creative Directory.

9. Make the right friends.

10. Keep in touch.

11. Don’t be a pest.

12. Always end the conversation first: so you leave them wanting more and it suggests that you’re a busy man.

13. Don’t date anyone in the Industry unless: you’re jobs are significantly dissimilar (ex. producer and editor)

14. Make the most of Hollywood parties: Be about an hour late to informal parties and don’t be the last one to leave. Don’t’ mill about at a party, find a spot and stand still next to someone and make people come to you.

15. Know how to work a restaurant: rules when “Doing Lunch.” Choose a place where movie people hang out, if you see someone you know at another table, wave or say a quick hi, don’t sit down and chat. (There’s even a list of restaurants where most movie people hang out in the book)

16. Always take the meeting.

17. Take the beverage: by taking a beverage at a studio meeting when they offer, you’re putting them in the position of serving you.

18. Know when to show up and when to shut up. Show up on time at a studio meeting, not early. If they make you wait outside and you wait for over 35 minutes, politely tell the receptionist you have another appointment and you need to reschedule this appointment. Give it an extra 10 minutes if it’s a really hot deal or the person already asked for your patience. By doing this, you’re telling the studio that your patient but your time is not to be wasted.

19. Always have a project at hand: And another one that’s also in development.

20. Rejection, learn to love it: it’s part of the process, look for patterns in the rejections you receive and find
your problem. (Once you’ve sold a project, what to expect and negotiate for your own good)

21. Ask for everything: when signing your contract for the first time after you finally find a buyer or a studio to produce you film whether you’re a producer, or director, ask for:

Rules # 21~30 post sale
(Once you’ve sold a project, what to expect and negotiate for your own good)

21. Ask for everything: when signing your contract for the first time after you finally find a buyer or a studio to produce you film whether you’re a producer, or director, ask for:

a. final cut and the right of final cut
b. approval on all major technical personnel,
c. minimum of 20% of your fee up front
d. your own trailer
e. a percentage of any merchandising based on the movie,
f. a clause that obligates the studio to pay you more money plus interest if they’re late with any of their schedule payments
g. a clause that requires you to approve all poster signs, tv ads, trailers, and other marketing materials,
h. the first right to negotiate for the sequel
i. a percentage of the gross, a possessory credit
j. you name be announced verbally in all trailers, radio and tv ad

If you’re a writer: ask for
a. a clause that says you can’t be rewritten
b. a clause that states should you be fire you will be paid a huge bonus
c. director approval
d. the right to produce at least one additional rewrite once the director is brought on board
e. all rights to your screenplay revert back to you if the movie is not produced in a specific period of time.
f. there be no “possessory credit” attached to your movie.
g. be guaranteed permission to spend as much time on the set as you would like.
h. a clause that guarantees that you will be included in all press materials and that you would be allow to participate in all press junkets and other publicity activities related to your film.
i. retain your separation rights.
j. a percentage of all merchandising income. k. gross points in the film video sales.

ASK not demand, none of them wouldn’t hurt to ask but none of them should be deal breaker.

22. Get it in Writing
23. Create a paper trail: a record of the time and date of your creation to protect your project.
24. Be easy to work with
25. How to deal with getting screwed: many ways you can get screwed and the only way to deal with it is to take it with a smile and move on.
26. Share the credit.
27. Take the money and run: once your script is sold, it’s sold and others OWN it. Don’t whine about how it got made, take the money and move on.
28. Pace yourself: be disciplined with your work and your life. Never spend what you don’t have yet. Don’t
spend the money you made from your first success until you have you’re second. Be picky, but don’t just sit and wait, studio executives can only see things in motion. Look beyond the moment or the project at hand and consider your career in the long run.
29. Keep the Karma Gods Happy-Or else: (this is seriously written in the book) basically in Hollywood, a lot has to do with luck.
30. Don’t share the rules.

INSTANT LIBRARY: THE MAGIC OF THINKING BIG

Pen Densham — Mon, 20 Aug 2012 17:35:51 +0000

The Magic of Thinking Big

By David J. Schwartz, Ph.D. Publisher: Fireside (Edition 2007) Review by Chiyume Sugawara

Do you want to start doing what you really want to do, RIGHT NOW? Do you want good results, not reasons? If so, this is a perfect book for you. Although the technology and science have made our modern life quite convenient, relationships with yourself and others remain a critical key to success. This book will show you how to develop and nurture strong, trusting relationships with yourself and others around you.

There are lots of books written on how to achieve personal goals and on positive thinking. But what makes this book special is many personal (and often amusing) stories Dr. Schwartz shares with the reader to support his points. This book is practical even if it’s been half a century since it was written. After he explains each method, Schwartz suggests how exactly we apply it to our everyday lives. And they are easy, constructive, baby steps that will lead to bigger results! Even though he covers many of the things that other authors do, Schwartz makes it so much easier for the reader to use the magic of positive thinking…RIGHT NOW.

Here are the 10 most striking points to me. You will find your own, too, but this will give you a good idea:

Understand Others – there are people who are the adult bullies. When they try to pick on you, know that they may be unhappy with something in their lives, let them get it out from their system, and just forget it. It isn’t worth your energy getting angry at them.

Choose Big Thinking Over Petty Thinking – think in the long run, focus on the big picture, and do not worry about small things, do not waste your time thinking and talking about it. Think about how you can improve a situation and put ALL of your energy into it.

Think Like an Important Person – always ask yourself a question, “would an important person do this or say this?” about everything from your ideas to conversations, and act accordingly. It will help you focus on becoming who you want to become.

Be a Good Listener and Observer – if you observe, the average person prefers taking about himself other than anything else. If you let him talk, he will like you for it. Plus, listening and observing will let you learn about the other person and how to deal with him.

Finding the Good Side to Every Situation – don’t be discouraged when things don’t go in the direction you want them to. For example, losing your current job can be the best thing that has ever happened to you – now you have the opportunity to find what you really want to do. You can get wherever you want to go as long as you have a clear vision.

Make a 10 Years’ Planning Guide – Schwartz emphasizes that no man succeeds without a goal and that success in your work reflects in success in your home and social life. He suggests you think thoroughly on what you want your work, home and social life to be in 10 years and write them down. The more specific, the better.

Make a Thirty-day Improvement Guide – after above, think about what kinds of things you can do starting today in order to make you more effective and get you closer to where you want to be in 10 years. After 30 days, check your progress and make a new thirty-day goal. Taking these baby steps will prepare you for the big goals.

Put Yourself in the Shoes of the People You Want to Influence – a successful leader considers the other person’s interest, background, intelligence and income and act accordingly. This method will work for everything from business to home. For instance, doing tons of research on what your targeted audience would like to watch through their eyes will give you profit as a filmmaker.

Use the Human Way to Deal With People – show interest in others and treat them with respect and compassion. Do something extra to help the other person get what he wants. No one likes cold-hearted, indifferent, or rude leaders. For example, plan birthday parties for your employees and praise on their outside-the-office accomplishments. This is the best way to build relationships, win the other person’s trust, service and productivity.

Check If You Are a Progressive Thinker – always ask yourself if you’re constantly doing things that will improve the quality of yourself and all the aspects of your life!

INSTANT LIBRARY: HOW TO WRITE A MOVIE IN 21 DAYS

Pen Densham — Fri, 17 Aug 2012 17:56:01 +0000

BOOK REVIEW by Camila Tanabe: HOW TO WRITE A MOVIE IN 21 DAYS by Viki King. Publisher: Harper Paperbacks (September 1993).

I had seen “How to Write a Movie in 21 Days” on bookstores before. Barnes & Nobles, maybe Borders. Every time I saw it, I’d tell myself “this is impossible, this book should be called ‘How to Write a Crappy Movie in 21 Days.’” ‘Even a crappy script takes longer to write than 21 days. In the book, the writer Viki King even suggests you write no more than 3 hours a day. So, in choosing to read this book, I purely wanted to satisfy my (and I suppose everyone’s) curiosity, what is the trick? The basic idea turns out to be quite clever, the kind of basic common sense we wouldn’t believe in until someone who has a published book told us. She calls it “The Inner Movie Method,” in which you “write from your heart; rewrite from our head.” The concept is to stop juggling with the right and left brains and shut down the conscious, analytical, logical and critical side of us and use, let’s call it ‘instincts,’ to write. The book doesn’t have a great formula to help the reader do it, but to sit down and write. It gives us hints, however. The most interesting one is admitting that every time we write, we’re writing about ourselves. King describes common issues, classified by age and gender, we all tend to write about, issues we all happen to have. Once you admit you have issues and it’s ok to write about them, letting go of the consciousness becomes easier and writing can flow without thought. Once that’s clarified, the reader starts the actual process of writing a screenplay in, technically, 21 days. It all starts with structure, when we write what King calls the 9-minute movie, or the story points that develop the plot (plot points, inciting incident, etc., terms that King, however, chooses not to use here). They happen on pages 1,3, 10,30,45,60,75,90 and 120. Then, we go into actual writing in blocks of 10 to 30 pages at a time. No thinking, just writing. Then, we rewrite also in blocks of around 15 pages at a time. And finally you tweak, act by act. The book closes with a 50-page pep talk, of how “yes, you can do it” with tips on being a writer and owning our “writerhood:” how to deal with time management, getting bills paid, having self-confidence, killing procrastination, understanding psychological hypochondria to avoid writing, sticking to your dreams. It finally ends giving us a quick idea of how to get screenplays sold / produced / read. Overall, even though effective in theory, the book seems to be directed to first time writers. I truly believe good scripts can be born with King’s method, but I still fail to believe there is such a thing as “the method” in writing. “How to Write a Movie in 21 Days” has tips, some funny jokes, some not so funny jokes, some great ideas, powerful insights on self-discovery and generic pep talks, but no solution or magical formulas.

10 Key (or Interesting) Points:

1) “Ideas are the only thing inflation hasn’t hit. They’re still a dime a dozen. It’s what you do with your ideas that gives them value.”

2) The Inner Movie Method: “Write from your heart; rewrite from your head.”

3) Movies themes often fall into “Writes of Passage,” “The story you write will be a metaphor for you life. It means that the life issue that most concerns you now “will be explored in your writing (…) If you’re only working something out for a fictional character who doesn’t exist in some part of you, then isn’t worth it.”

4) Who you are, personality, age, issues and scars, gender, everything dictates what issues you’ll write about.

5) The 9-Minute Movie: creating structure by writing first the 9 pages that represent the keys points of the plot: Page I: Mood, tone and place are given, Page 3: The Central question of the movie is presented, Page 10: The story is presented, Page 30: Event that will move the protagonist into new territory, Page 45: We see initial growth in the character, Page 60: The protagonist makes a commitment to what he/she wants, Page 75: The protagonist reaches bottom, all seems lost, but something changes him/her, Page 90: Beginning of the resolution, Page 120: The audience is satisfied with the resolution given to story promised on page 10.

6) “Don’t think too much about your movie: The longer you take; the longer you’ll take”

7) The schedule to write a movie in 21 days: Day I: Write 10 Pages Day 8: Rest Day 15: Rewrite pages 75-90 Day 2: Write pages 10-30 Day 9: Read the first draft. Day 16: Rewrite pages 90-100 Day 3: Write pages 30-45 Day 10 Rewrite pages 1-10 Day 17: Rewrite pages 100-120 Day 4: Write pages 45-60 Day 11: Rewrite pages 10-30 Day 18: Tweak Act 1 Day 5: Write pages 60-75 Day 12: Rewrite pages 30-45 Day 19: Tweak Act 2 Day 6: Write pages 75-90 Day 13: Rewrite pages 45-60 Day 20: Tweak Act 3 Day 7: Write pages 90-120 Day 14: Rewrite pages 60-75 Day 21: Celebrate

Basic ideas on the first read and rewriting: don’t judge; check if scenes work, if ideas are conveyed clearly, if there’s a more efficient way to tell something; ask yourself if this is the story you wanted to tell; compare the movie you wanted to write if the you actually did.

9) Things to look for while tweaking: look for holes in the plot; answer questions that need to be answered; check if cause and effect builds, if set ups are paid off; tighten the first 10 pages; make sure the dialogue is clear; recheck if the central life questions are clear; sum up descriptions in one word, if possible; make jokes funnier, if it’s a comedy; check if exposition is too in the face …

10) “Obstacles are only there in case you care to stop.”

INSTANT LIBRARY: SAVE THE CAT! by Blake Snyder

Pen Densham — Mon, 23 Apr 2012 18:49:12 +0000

By Blake Snyder. Publisher: Michael Wiese Productions. Book review by David S. Lee

Blake Synder’s Save The Cat! is a succinct guide on screenwriting from the perspective of an actual working screenwriter who has sold numerous screenplays. The book is broken up into 8 chapters, covering concept, character, genre, structure, visual outlining, immutable laws of screenplays, rewriting, and selling. Synder writes from a blockbuster Hollywood perspective, presenting strict rules that he believes a screenplay must adhere to in order for it to be financially successful. At times, the book feels like a treatise on screenplay formula, but Synder manages to interject personal stories and examples from famous movies and screenplays that illustrate his point – the most financially successful movies and scripts all emerge from the same set of fundamental rules. Synder presents his ideas clearly and so persuasively that even those screenwriters jaded with the Hollywood formula might find themselves eager to apply his rules to their next script. With Save The Cat!, Snyder passes along many useful tools that provided the foundation for his successful career as a Hollywood screenwriter.

Top Ten Points:

Every screenplay needs to have a “Save the Cat” scene, where we meet the hero and the hero does something – like saving a cat – that defines who he is and makes the audience like him, which is key to drawing the audience into the story.
Before actually writing, a screenwriter must first spend time conceptualizing the story. First, he needs to figure out what the story is about. This concept should be encapsulated in a logline – a single sentence description of the movie that is ironic, compelling, and contains a killer title. Synder advises pitching the logline to as many strangers as possible to get their feedback, because strangers are the ones who will be watching your movie.
The writer must determine which genre the screenplay belongs to, and research the hell out of movies from that particular genre, to understand and apply the rules and structure to his own script. Only after that foundation has been laid can the screenwriter begin to provide his own fresh twist on the genre.
The screenwriter should then determine who the movie is about and add that to the logline. Who it’s about should contain an adjective to describe the hero, an adjective to describe the bad guy, and a compelling goal the audience can identify with. This main character should carry the movie’s theme, offers the most conflict, has the furthest way to go emotionally, and has a primal urge to succeed.
Structure is the single most important element in writing and selling a screenplay. To help with structure, Synder created a beat sheet of 15 key elements that a screenplay must contain, which can be found here: http://www.blakesnyder.com/downloads/beatsheet.doc

Another helpful tool with structure is “The Board,” an exercise where the screenwriter uses pens, index cards, and pushpins to put up on a board to create a visual outline for the structure of the movie. The board should contain 4 categories: Act 1 (p.1-25), Act 2 (p. 25-55), Act 2 (p.55-85), Act 3 (p.85-110). The cards, each representing a scene, will be put on the board in the corresponding act, which can easily be rearranged if needed. Each of the cards should contain the basic action of the scene, the emotional change, and the conflict of the scene. Example:

INT. COFFEE SHOP – DAY

Bob confronts Helen about her secret.

+/- (Emotional Change): Bob starts out hopeful, ends up disappointed.

>< (Conflict): Bob wants to know the secret; Helen can’t tell him.
Along with creating the “Save The Cat!” scene, Synder’s rules of “Screenplay Physics” tell the screenwriter to: bury exposition in visually interesting scenes, make sure every single character of the movie changes during the story except for the antagonist, and maintain the fourth wall.
Synder’s rules of “Screenplay Physics” tell the screenwriter to avoid: creating more than one piece of magic that the audience must accept per movie, spending more than 25 pages to setup the story, trying to squeeze too many character elements into the protagonist, and creating a really slow-burning danger that isn’t immediate.
After the first draft is finished, Synder says to immediately rewrite while focusing on the hero. The hero should be active and motivated, not dragged through the story for no particular reason. The hero should reveal his character through showing us his behavior, not by telling the audience. The hero can be made more heroic by making the bad guy badder.
Finally, Snyder impresses upon the reader that after the screenplay has been written and rewritten, the battle has just begun. It’s time to sell the script, and seeing the screenplay as a business plan. The screenwriter must sell not only the script but himself, by seeking out people who he can help as much as they can help him, and to never stop improving at the art and craft of screenwriting.

150 Words from 7 Top MWP Authors

Pen Densham — Mon, 01 Aug 2011 18:11:33 +0000

August 27th, 2011 will see a first for our publisher. Michael Wiese Productions is putting on their first-ever conference about The Future of Story, taking place at LA Center Studios in downtown Los Angeles. Pen Densham will personally be leading a panel along with several other top MWP authors at this all-day event.

In anticipation of this exciting gathering, below are seven 150-word articles written by featured MWP authors. For more information about The Future of Story Conference, visit: www.mwp.com/thefutureofstory

THE MORE THINGS CHANGE THE MORE THEY’LL STAY THE SAME

by Pen Densham

It’s very exciting to see the development of technology and its affect on the creative arts, but I profoundly believe that the stories that we tell in the future will remain biologically bound – i.e. the love stories, stories of human endeavor, conflicts between rivals and, as I always jokingly say “the avoidance of being eaten” stories like Jaws, Alien and Jurassic Park. The laws of nature, which have taken millions of years to evolve, do not change quickly. But the dynamic approach to communicating emotions, characters, and the human process will continue to be innovatively explored. We now live in an almost science fiction-like world where instant communication is available on almost any topic, and the visual literacy of our audience is immensely sophisticated. The audience craves innovation and that’s where we artists will fit in. I’m privileged to be running a panel at The Future of Story Conference on August 27th with several celebrated authors and futurists, and am looking forward to learning from them.

The Future of Story

By Ross Brown

Humans crave story. We’ve told stories in caves, read stories by candlelight, and now we upload stories to the Internet – which is exactly where the future of story lies. Webisodes, streaming movies and television, blogs, and e-forms as yet unknown will all be part of the explosive growth of story because on the Internet, there are no gatekeepers. You don’t need a publisher, or a TV network, or a movie studio to give you permission to tell your stories. If you’ve got a story to tell… do it! Write, create, upload, and find your audience.

One other thing: you must learn the craft of story. Because audiences don’t want just any old story; they want good stories, well-told. That means you must master structure and character. The smartest story people in the business will be at the Future of Story Conference to discuss these issues and more. See you there!

People Will Always Want a Good Story

By Paul Chitlik

We know that people will always want a good story. What we’re not sure of is the delivery system. Your story could take the form of thirty 3-minute webisodes. It could be viewed on an iPad, an Android phone, a netbook, or a giant 3-D screen. What we do know is that the story must be gripping, the characters compelling, and the whole experience satisfying. To stake out a place in the extremely competitive market that we’re in, your script has to better than you ever thought it could be. You’ll have to go through ten, fifteen, even twenty drafts (Don’t panic; that doesn’t mean a complete rewrite each time.) to stand out from the crowd. Consider rewriting part of the natural process of getting your script into the best shape it can be so that it can then be applied to any of the new media.

Let’s talk more about this and other story questions with my fellow MWP authors on August 27^th at the Future of Story Conference.

Excerpt from the 3rd Edition of Writing the TV Drama Series

By Pamela Douglas

Television has swung widely in the past few years. Quality drama series were supposedly killed by cheap “Unscripted” shows, but hour dramas actually grew instead. Broadcast networks themselves were “dead,” with the rise of cable and internet viewing; but, guess what, broadcast audiences increased while cable also grew.

Now that filmmaking equipment is inexpensive, some claim that professionally produced full-length shows will be replaced by home-made productions. Right. Everyone really wants to see Junior’s series in which he bursts out of a closet in a sheet rather than The Walking Dead. I even hear that television itself is a zombie killed by internet fever. Gimme a break.

No matter what happens – you are what everyone needs. You bring the content. If you create credible characters with enough depth to develop long narratives, if you are insightful in telling the stories of our times and our relationships, if you acquire the craft to make the world of your script compelling on screen, then wonderful opportunities lie ahead in TV. I’ll tell you about those at The Future of the Story Conference.

THE FUTURE OF STORY

By Jen Grisanti

“The Future of Story” is about reflecting on life and evolving as we move forward. Story progresses as we do and mirrors back the changes we see in the world. As storytellers we interpret life through a variety of lenses and shades, drawing from our own well of emotional truth and revealing it in the stories we tell. As our truth grows and progresses, the stories that we tell emerge from this experience. Story started in a place of simplicity and positivity. Now it has grown into a place where we covet complexity, flaws and a balance of dark and light because this is more universal to what we experience. We want to feel story — we want it to resonate with us. The future of story will empower us because it will come from a place of greater depth, resonating from the ever-changing lives of our storytellers. I look forward to exploring this concept further with my fellow stoytellers at The Future of Story Conference.

The Future of Storytelling

By Chris Riley

The future of storytelling is firmly linked to its past. The primal human appetite to tell and consume stories will continue because the needs that fuel our storytelling will continue: our need to find meaning, to connect with each other, to reach beyond ourselves to something truer and better. Our technology, however, will change. The decreasing cost of the tools for creating cinema will put those tools in more hands. We must not think, however, that the wide availability of pencils and paper will turn us all into Tolstoys or Tolkiens. The hard disciplines of the storyteller remain. If we will tell the stories of the future, we must embrace those disciplines: excellence of craft, unflinching honesty in seeing and telling, a commitment to seeking meaning, devotion to enriching and ennobling our audience, and a refusal to treat the story or the audience as only a commodity.

In the Beginning was Story…

By Catherine Ann Jones

From the early beginnings of Hollywood a century ago, the movie moguls were interested in one thing: the story. “What’s the story?” Louis B. Mayer of Metro-Goldwyn-Mayer would ask, “Just tell me the story.” Even today – no matter what technological computerized wizardry abounds – Hollywood executives still decide which story will make it to the screen by hearing the story pitched or told to them.

First, you must discover meaning for yourself in the story you have chosen and then find the necessary form that can be meaningful for others. What is the emotional personal thread from your own life which can be woven into your story? Answer this, and you will have the key to meaning for yourself as the writer as well as for the audience, who will identify with your feeling.

Learn the craft as well as you can. Then create space within and listen to your story. It will guide you.