My First Talent Agency Video Call

Checked my email around 5:00pm tonite and saw a message from Max Freedman Media (MFM), time stamped 4:20pm. Max (actually Manuel) asked if I would be available on Saturday (tomorrow) at noon CST to have a video Skype call regarding Back to Normal. I would have to say that I am a bit excited, it will be my first video conference with a current "Hollywood Insider."

Of course, the first prudent thing to do in these cases---is to do what every school student dreads: HOMEWORK. I have been conducting a thorough digital investigation of Max, his company, his credentials, his clients, their successes/or lack-thereof, reviews of his services, and, well...you get the picture.

His zipcode checks out. Zipcode? Yes, zipcode.  90064.

This area borders the famous "Beverly Hills" (90210) and is a several-minute bike ride from the Hollywood area. So, the zipcode checks out...he is in the "high rent" district.

Next, is website. Website checks out...not great, not too inspiring, but a nice (enough) web presence. You can visit it at: http://maxfmedia.com/MFM.htm. There are details about the agents, some of their clients, some of their more successful projects, and projects in the black hole of Hollywood---aka "In Development."

There is one item that is a bit problematic...Max Freedman Media is NOT a signatory with the WGA (Writer's Guild of America). The WGA is a union that seeks to provide an equitable, protected, and regulated environment for writer's, agencies, production companies, networks, etc. Some professionals advocate that one should NEVER go with a non-WGA agency, and others say that it is not a serious deal breaker.

There are reasons that an agency may not want to be a signatory with the WGA, especially if they are in production themselves, as there can be a conflict of interest. For now, I will not get too concerned about that. I will live and learn, if nothing else.

I discovered that Max is a native of Missouri (St. Louis), transplanted to California. I, on the other hand, am a native of California, transplanted to Missouri. This fact alone should give us something to talk about and break the ice tomorrow.

I will post an update immediately after the Skype video call. Should be interesting.

My First Query Letter Positive Response

After using the online mass-email services of Talent Mailer earlier today, here is a copy of my very first QUERY LETTER, and (at the top) my very first positive response. A landmark moment.

Four Little Letters---IMDB--One Big Opportunity

I will never forget the moment. It was the same day last month when the "official" promotion of Back to Normal started.

The same day that Buck McNeely sent the first email to William Morris Endeavor talent agency, and I was researching information on www.IMDB.com
(Internet Movie Database) about Buck's high-level contact.

Then...um, uh, well, it happened.

I am not even sure why I did, but I searched www.IMDB.com for me...Randy McWilson.
(here is my page)

And, to my great confusion and pure wonderment--I saw it. My page on IMDB.com. I, Randy McWilson, had a page on IMDB.com! And on that page was one credit---a visual effects credit for a European mock-action-flick: Planet USA.

For the uninitiated, the non-film-geeks out there, IMDB.com is THE place for all information movie and TV related. It is the encyclopedia-Brittanica of actors, directors, producers, writers, and everyone else in the media industry. From A-listers, to the myriads of Z-listers, the unknowns, and the uncelebrated heroes of media, IMDB is the ultimate melting pot. Everyone wants to be listed, it is an important "right-of-passage" in the business.

So, how did this happen? How did I have a page without even knowing about it? Rewind to the summer of 2012. I was contacted by an Austrian filmmaker. He had seen some of my footage on the stock footage website www.Pond5.com. He was working on a comedy action film in Europe and needed a special effects shot of the Space Shuttle at a secret military base in the mountains. He contracted me to create the single shot, and I did, and well...that was that.

Well, the movie was released. The way that IMDB.com works, is that a feature film, or TV show, or film short, is entered into the database by an actual IMDB member. IMDB then verifies that the production is real, and somewhat substantial. Once it is verified, that production can then have credits entered, like director, actors, writers....and, yep, all the way down to lowly visual effects artists like me. We are the army of the unknown.

The producer of Planet USA entered Randy McWilson as a contributing visual effects artist, which then, in a roundabout way, generated me an official IMDB page...and my discovery of it came, thank the Lord, at the most opportune time: right when I was beginning to promote Back to Normal.

As a script (or more properly, a writer) is being considered for representation by a literary agent, some of the important things that they look for are stability and commitment. They want to make sure that a new writer is solid, that they are serious about the business, that they have a history of media work. They do not want to represent merely a one-shot-wonder, a flash in the pan, no, they want to represent someone that is in this for the long haul...ready to work, and ready to be profitable.

Talent Agents only make money, when those that they represent make money. This relationship is on a percentage basis, usually between 5% and 15% of negotiated deals.

As I begin (and others help me) to promote Back to Normal, it is especially important for my online "image" and digital bio to be "all that it can be." Agents and producers will be scanning the web, wondering, "Who is this guy that wrote Back to Normal?" Having a solid and detailed IMDB page is essential for that all-important first impression.

Fast-forward to January 2014. Once I discovered this gift of my own IMDB page, I saw immediately that there was work to do. It was there, but it had a single, lonely, isolated credit--hardly enough to impress even the most eager and desperate of talent agents. It was like a house with no furniture. Empty.

It was time to roll up my sleeves...and get to work. It was time to populate the page. To do this, I had to tackle two different strategies:
(1) Find all productions that were already on IMDB for which I could get legitimate credit.
(2) Seek to get new productions verified and listed on IMDB that I worked on, and then get credit for my role in those creations.

First, I scanned IMDB for the productions that I knew had used my visual effects and stock footage in their productions. Most of these are TV shows (like Meteorite Men) and B-movies on Netflix (like Air Collision, Sharknado, etc). I then went through the application process to get IMDB credit for this type of technically "uncredited" work. Once I had applied, in less than two weeks, every one of my requests were approved, the last being Total Recall 2012 (my shot was on screen for 1.5 seconds!)

Simultaneously, I went through the agonizing and painstaking work of seeking to get some of the short films and even a TV series (that I had worked on) officially verified and listed. It took a few days, and they were all approved. Once they were online, I could then get credit for my different roles, whether cinematographer, associate producer, editor, or visual effects.

Those first few days were a steep learning curve. IMDB, and rightly so, makes it a bit difficult to seek to add new shows and new films. It is a never-ending morass of drop-downs, screens, and technical jargon. But, I had come too far with Back to Normal to let bureaucracy stop me now. Thankfully, the shows and films were added, and I could claim legitimate credit.

Fast-forward to February 27th, 2014. I have enough industry credits for any bio-scanning agent or curious producer to drop by for a visit. I am thankful to my industry friends and contacts that have helped me in this time-consuming but worthwhile process.

My IMDB home finally looks "lived in." You know, it's only 4 tiny letters, but this digital dwelling called IMDB could open up one big opportunity.

It's a NUMBER'S GAME

I don't live in Las Vegas (aka Lost Wages) but when it comes to looking for representation on my TV series, it feels like a casino experience at times.

If you think about gambling, in reality it is:
a highly speculative "investment" of money,
usually time and time again,
with the odds overwhelmingly stacked against you,
hoping against hope that you will somehow, inexplicably come out on top.


This is all too familiar in the world of screenplay/script promotion:
- It is a highly speculative venture (a lot of time and favors invested for no sure return...maybe ever)
- It is a process which involves asking, emailing, calling, mailing, time and time again
- Odds are greatly stacked against you (less than 1 out of 1000 "make it")
- Hoping against hope that "your script" "your idea" "your baby" will be selected and produced.

It is, unfortunately, a numbers game. You are guaranteed to be rejected, oh, probably 99.5% of the time. So, the only path to POSSIBLE "discovery" is to try, try, try, try again...and then try again some more, after you try and try and try again. Knock on every door, maybe even twice.

Enter Talent Mailer. (website http://www.talentmailer.com/)

I did a little research about mass emailing services. These services will, for a modest fee (usually less than $100), send an email to hundreds or even thousands of talent agencies, production companies, and literary agents for you. The process is:

(1) Write a query letter--this is a SHORT email that will hopefully get a literary agent or agency to request a copy of your screenplay/script
Here are some links on HOW TO WRITE A QUERY LETTER
http://www.scriptdoctoreric.com/popular/how-to-write-a-query-letter
http://www.writersstore.com/writing-successful-query-letters/
(2) Send the mass emailer (i.e. Talent Mailer) a bit of cash (paypal!)
(3) Wait for the requests to "roll" in.

Talent Agencies and Literary Agents will not accept an unsolicited script  (99% of the time)...this means that they will either return (unopened) or trash any scripts you send to them. There are several reasons for as this:
(1) If they didn't reject them, they would receive hundreds of scripts per day
(2) There are legal issues involved in reading scripts and hearing about people's "ideas"
(3)  They have a right to select who/what they represent

The trick/plan is to get them to REQUEST your script so then it is not UNSOLICITED. Once they ask, well, you have overcome a significant hurdle. If the long process of getting a TV show made is like a journey of a thousand miles, then getting a request for your script is like the first twenty feet or so--not a huge thing, but progress---and necessary progress.

So--I took the plunge, I plopped down about fifty bucks, wrote the query letter, and used the Talent Mailer service. Within a few hours, various emails started "rolling" in. Most were cordial refusals (probably automated...seeing the service as almost SPAM). Here are some actual responses:

Thank you for your interest in our company. This is an automated reply to acknowledge that we've received email. Please note that if you have just sent us a query, we are not actively considering new literary clients at this time.

Thanks so much for your interest, but we are no longer accepting new submissions. Wishing you the very best of luck.Thanks, but I'm not the right agent for you. Best of luck in finding the one who is. Cordially,----------

But, thankfully, the emails that rolled in today, we're not all like those above. In fact, here are a few that I did receive today already:

Randy: Thanks for reaching out. I am interested in reading your material and look forward to doing so. Thanks.Thank you for your inquiry. For consideration of representation, please send current bio. For EACH screenplay, your WGA registration number, log line and 2 paragraph synopsis. Please remit by MAIL or FAX ONLY.
Here was an interesting reply (probably automated...but interesting nonetheless):

Dear Randy,
Thank for writing and for your interest in doing business. I applaud your energetic outpouring to set this project in motion. You've worked in TV and so you probably know how it works. Of course, the landscape keeps changing. What else is new? We might have a phone call to discuss things. I talk first. Read second. And then together with the creative think about how to make money with it. I am much more interested in the people than the financial rewards, which attach themselves to great projects on their own once momentum is achieved. I work early morning to late night 365 days a year. I have video skype and video facetime and regular phone, with a preference for video skype. If you have further interest, please feel free to list to me some possible times and days for a chat to say hello and get acquainted.

UPDATE:

Wow--Just seconds ago, I received a second email from the first "positive" response above. They are now asking to see the teaser/trailer as well! Here is the email:

Could you also send the teaser/trailer as well? Thanks

This is good news. This means they read the logline in my query early this morning, they were interested in the concept, and asked to read the full script. And then, sometime later in the day, they were looking at my query again, maybe showing it to someone else, and then noticed I had mentioned a teaser trailer.  They just now asked for a link to watch the teaser trailer! Great news. I just sent the link. I also asked them if they wanted a PDF copy of the script or a printed one in the mail. Some agents want digital, some, print only. If you are a new writer....find out.

UPDATE AGAIN:

I just received an answer...they want a PDF. Ask ask ask. Don't assume. 

Here is a link to more information about the agent that has requested my script and trailer:

http://www.oneononenyc.com/events/sessions/2814

I started this blog entry by stating that this is a numbers game, and it is. But the lucky number is really ONE. You only need ONE yes. C'mon one.

Of Seeds and Surprises

The process of seeking to promote the “Back to Normal” TV series concept sometimes makes me feel like a farmer, and other times, like a young child on Christmas morning. A farmer? A farmer. Farmers must have one character trait above all others…patience. Those seeds go in the soil, and an impossible-to-predict series of environmental circumstances begin to play out well-known, yet unknown, outcomes.

Looking back to late January, about 30 emails were “sown” into the rich, online soil. Seeds reaching into the dirt of Los Angeles, Hollywood, New York and beyond. We sow, we wait, we watch, we wait some more. But look! I see a green and tender sprout poking its young frame above the crust. The magic moment…a promise of good things to come.

A welcome sign of life was received yesterday morning, a sprout of interest, so to speak. I received an email from a producer in LA. He was very impressed with the trailer. He said that he had a couple of contacts over at the prestigious “The Weinstein Company” (Here is TWC IMDB page) that he was going to immediately send it to. TWC has been responsible for a long list of hit feature films, such as the award-winning The King’s Speech, Inglorious Basterds, and Django Unchained.

Read more about The Weinstein Company HERE

A farmer must have patience, that much applies, but what about the child at Christmas? The primary feature of the expectant youngster is surprise. He rips into those colorful boxes, not knowing what treasures may await. This is similar to my experience of contacting dozens of people in “the biz.” As each response comes in, like a digital package, anticipation builds. There it is, not under the Christmas tree, but under the heading of NEW MAIL.

Your pulse quickens, the eyes widen, the fingers tremble. And then you do it…you click. The eyes land upon the possible treasure—or possible trash. It could be the Golden Ticket, or a Dear John, it could be Hello Hollywood, or a Bye Bye Baby.

This latest little gift was a seed worth waiting for. It is a potential, possible promise, a shoot of new life to the project, perhaps. In a sense, it is a digital "tin can" kicked down the road, but any movement of the can in this phase is important. It is better for me to hear “I’m sharing this with so-and-so” than “It looks good.” 

Looking at my Google Analytics for my website promoting the project, there has been a flurry of activity in Los Angeles and New York. Like the famous "pass arounds" at Lambert's Cafe, someone is sharing the "Back to Normal" project, tossing it around like so-many throwed rolls.

Active movement is better than passive interest. This farmer is looking out over the field…there are some signs of life, so I will wait for the surprise. Maybe it will be a "cash" crop.

BABY STEPS

In the hilarious flick "What about Bob?" Dr. Leo Marvin (Richard Dreyfuss) counsels Bob (Bill Murray) about the secret to overcoming many difficulties.

His tiny yet powerful secret?

Baby steps.

Of course, Bob took the Doc a little too literal, and was baby-stepping his way into elevators and sidewalks and stores. The real genius behind his (not new) idea---making little connections over time can lead to significant achievement.

The "Back to Normal" TV project has undergone some predictable-if-not-always-enjoyable stages:

It began with the IDEA (aka--the spark, the great "What if?")

Which turned into an INTERESTING CONCEPT (aka--I've got this! Now what the heck do I do with it?!)

Which soon morphed into a BACK-BURNER SIMMER (aka--unconscious musing and quiet moment revelations at odd hours)

Which led to an IRREGULAR OBSESSION (aka--extremely unpredictable bursts of creative progress)

Which matured(?) into a DESPERATE OBSESSION (aka--I've come too far to not-do-somethin-about-this dang thang so now I better keep writing!)

Which expanded into a TUNNEL LIGHT (aka--Wow, this might actually get done, I can see it!)

Which transformed into a TADA! (aka--Well, folks---here it is! Whaddyathink?)

Which naturally became a TADA II (aka--Oh, yeah, hadn't thought about that, revise revise revise)

Which necessarily leads to the actions and events of late (OK, I know that you want me to give it a "stage title" so, um, how about LIKE ME? BUY  ME?!). The triumphs and travails of the past three years from conception to promotion have led to today's blog title--Baby Steps.

Now that I have begun the all-important-all-consuming phase of promoting the TV show, it is all about tiny progress, baby steps. Once the trailer was done, the agonizing task of micro-networking is in full swing. It is all about finding out Who-knows-someone who then also knows-someone in "the business."

As an encouraging update in the process of baby-steps-promotion, I spoke with my good friend, Chris Edmonds (owner, element74 website design) about the project and asked point-blank if he knew ANYONE in "the business" that I could send the trailer and promo materials to. He mentioned that he had a friend in LA who was a producer on "Dancing with the Stars." He sent them a message, and about 24 hours later, I was in a 30-minute phone conversation with Dave West.
(http://www.imdb.com/name/nm0922013/?ref_=fn_al_nm_2)

Dave likes the overall idea of the show, and requested to read all three of the episodes that I have written (pilot+2). He wanted to pass them around to some of his friends in "scripted" television (as opposed to reality "unscripted" television). He was very blunt and honest with me, explaining that I have little chance of success selling the show unless I can get an established "showrunner" (main tv show producer) "attached" (seriously interested) to the show.

As Randy McWilson, here is what I have going for me (listed in order of importance):
1.
2.
3.

Yep, not much there. I may have a TV show idea (there are thousands of similar people in LA), I may have completed episodes written (there are many hundreds of those in LA), I may have some compelling promotional materials (a trailer--but there are hundreds of others out there as well).

But, without serious connections with serious TV experience, "Back to Normal" may remain forever in the infinite void that swallows lost socks, car keys, and other "good" ideas. So I asked Dave West, straight up: "If you were me, what would do with this TV show?"

His answer: "Exactly what you ARE doing...network, talk to people, find out who knows someone who knows someone." AKA-Baby Steps.

So, in keeping with solid industry advice---may I ask YOU, the reader:
"Do YOU know someone who knows someone?"

Please contact me:  randymcwilson@yahoo.com

You may not think that your connections are that "big of a deal", but I don't need big, I need baby steps.

Continuing to Network with a Local Author

The importance of making connections, and encouraging existing contacts to reach out into their own networks cannot be overstated when it comes to promoting a literary property (such as a script or screenplay).

I reached out to former Prosecuting Attorney Morley Swingle, who has authored several books including: Bootheel Man, Scoundrels to the Hoosegow Perry Mason Moments and Entertaining Cases From the Files of a Prosecuting Attorney, and his first novel, The Gold of Cape Girardeau. Morley Swingle is a very connected individual.

He informed me, today, that he has passed on my request and information to a good friend of his who has written for several television series. These connections can work out on so many levels. First off, they may know someone, such as a producer or another executive, who could move it forward. Or, they may be able to put you in touch with their own literary agent---which is a must in Hollywood. Finally, they may be able to provide valuable insight into the business and solid critiques of your work.

Here is more information on Mr. Swingle and his works.

http://www.paperbackswap.com/Morley-Swingle/author/?t=cl

Finding Help in Your Own Backyard

It is amazing that we will often reach out across the world, sail across the seas, and go to the farthest port, in order to find people who can help us in the world of media. We think of cities such as Hollywood, New York, and Chicago...but how about a new one: Cape Girardeau.

Cape Girardeau?

That is not a clever French misprint. Cape Girardeau. I had a chance meeting today with a friend in media who had heard about "Back to Normal." He asked me if I had reached out to Jim Uhls. Are you familiar with that name? We should be.

Ever heard of Fight Club (the movie), or Jumper? Both were written/adapted by Mr. James Uhls, Hollywood author, and a Cape Girardeau Central High School graduate.  (http://www.imdb.com/name/nm0880243/)

My friend said that his wife was really good friends with Jim Uhls' sister, and that he would ask her to try to make "something happen."

Sometimes we need to put away our telescope, and set our binoculars down, maybe the help we really need to look for is in our own "backyard."

For more information about Jim Uhls:

http://en.wikipedia.org/wiki/Jim_Uhls

The Big Apple Takes A Bite

Just checked the stats on the "Back to Normal" website. I know that Michael Tadross should be looking at the trailer any day now, and that he lives in New York City. Lo and behold, I had a hit in the last 24 hours from New York City (I love the analytics that Adobe Business Catalyst offers).

Since I have been controlling and monitoring exactly who I give the exact website address for the "Back to Normal" promotional site to, this could very well be a hit by Tadross. (I do not know of any other people in New York that I have sent requests to).

It's not definitive, but it is exciting to consider.

For those interested in knowing more about Michael Tadross, his info is here:
http://www.imdb.com/name/nm0846333/?ref_=fn_al_nm_1

FIRST POSITIVE FEEDBACK: Roller-Coasters and Whispers

The scripture says: "For you do not know what a day will bring forth." 

Less than 24 hours ago, I received an email from William Morris Endeavor (my first "official" response) in which they said they would "have to pass on the project." My first rejection, my first NO, and from the largest talent agency in the world.

I will be honest...ouch.

But now, today, not quite 24 hours later, I am driving to work and I see an email. This email is from a television writer and producer with over 75 shows to his credit on IMDB. He is based out of Hollywood, a real, living, breathing, producer, even award winning. I will leave him anonymous, but I will quote his entire email.

"I watched the trailer and read the one-sheet. The trailer is very well done, suspenseful and provocative, and packs a lot of information into 2 minutes. The one-sheet is clear and concise. The opportunities for conflict are immense. Even within the group, I'd love to see people from the '90s or today dealing with people with a '60s or '70s mindset.

If you're at William Morris, then you are definitely on the right track. They will guide you to the right outlet. This show could easily be a Syfy show...and I could see it as a Network show too.

I think the one thing a network (cable or Big 4) will look for is someone on your team that has experience in network scripted drama. However, if you don't have that, William Morris could certainly pair you up with one of their clients.

Please let me know what happens. If WMA doesn't work out for some reason, we can talk about possible production partners. But I don't think you'll have to worry about that. This seems like a smart, entertaining show."

The roller-coaster gamut of emotions that one experiences when your literary "baby", your precious script, the fruit of your intense labor, is being passed around, is almost indescribable (but I had better be able to, for I am a writer!).

We all seek many things, but a writer seeks VALIDATION. That intangible-yet-palpable something that proves that other people also see the merit in our vision. Every parent thinks that their child is beautiful, but it is nice to hear a compliment from people who aren't obligated by being related to you, and who aren't on the payroll.

It's not a sale, it's not a promise, it's not even a "YES"-- but it is an encouragement from within that coveted circle of Hollywood "insiders" that whispers in your ear: "This could go somewhere!"

At this point, I'll take a whisper.

Trailer Viewing at the CTC

3:00 pm was the time, the Career & Technology Center was the place. This afternoon we had a showing of the "Back to Normal" trailer to all interested staff at the CTC in the Distance Learning Center. About 50 colleagues graciously showed up.

I spoke for less than 10 minutes (no small miracle in and of itself), going from the genesis of the project four years ago, to the latest updates regarding even the recent rejection notice I received from William Morris Endeavor Agency. I answered a few questions, showed some photos of the trailer shoots, and even pulled up the "Back to Normal" promotional website.

I then showed the trailer while the crowd enjoyed popcorn courtesy of Michael Baremore. Thankfully the teaser was well-received, and there were many words of encouragement afterwards. One notable conversation occurred in the hallway immediately following.

Dean Whitlow (former assistant director of the CTC) mentioned my rejection from William Morris Endeavor. He told me the story of rock-n-roller Joan Jett. Apparently she took her music to TWENTY-EIGHT different labels seeking representation and distribution. They ALL said NO.

Then she decided to self-publish and became an "overnight" success story with a huge hit record. I really appreciate these words of encouragement. Also, a special thanks goes out to Kristy Unger for setting up the event today.

REJECTION: Two little letters put you in good company

Feb. 11, 2014--received my first response to "Back to Normal" today from the first talent agency that I contacted with the project (William Morris Endeavor--the largest talent agency in the world  http://www.wma.com).

I was sitting in front of my computer, and one of my good friends was chatting with me. The message popped up in my yahoo email client. I turned to him and said: "This is it, the response from the talent agency...when I click on this email it will either say "YES, we want to work with you" or "No, we don't." I had already signed all the legal paperwork, we had gone back and forth with scripts and one-sheets and such, there was nothing left for them to contact me with, so therefore, this had to be: the BIG ONE.

He smiled, I raised my eyebrows, maybe a few quick, last-minute heavenly supplications, my heart skipped at least one beat (though my pulse quickened), and I reached over and clicked on the email. We leaned in, words came up, it was short, but, trust me, it wasn't sweet.

In short, the short email said: Thanks, but NO thanks.

As an aspiring writer, with high-hopes of early success and gilded visions of eager executives with cash-in-hand and contracts galore, this first "official" response was admittedly...a tough one. 

Us writers, we would prefer almost anything to a NO, we would rather "not now", "maybe later", or even "work on it and get back to us"...anything but a NO. (The actual email said "we have to pass on the project", which is the Hollywood way of saying NO, without saying NO---you are supposed to take the word "on" which is just before "the project" and then flip those two letters--try it, it works out to NO).

As a beginning writer, to have the first Hollywood appraisal be a NO, is...well, many intangible unpleasant things.

It is amazing that literary giants, men and women who create worlds, that develop strong and complex story lines, and that wield the nearly-infinite power of the pen in their very fingers---are then easily felled by two tiny letters: NO.

Rejection. One has observed that the real definition of screenwriting should be:
the art of crafting complex creations utilizing carefully selected words throughout agonizing months, that will be casually dismissed as poorly constructed drivel in a matter of moments by unpaid, faceless interns.

As screenwriters (i.e. hopelessly optimistic idealists) we thrive on creativity and the oft-unpredictable...it is anathema to us to think of our "business" in terms of numbers, percentages, and ratios. But the brutal reality of the last 100 years of screen-based entertainment begs to differ. If the history of the motion picture and television industries proves anything, it demonstrates that writers have to play the numbers game.

What am I actually saying? The hard reality is that we will have to get a large number of "NO's" to a disproportionately smaller number of "YES's". Here is the equation of screenwriting:

NO>>>YES  

Simply put...you will get much, much more rejection, and far, far fewer receptions. Way more NO, way less  YES.

But take courage, fainting and fearful heart, for history justifies our optimism, and shines favorably on our hard work. Here is just a brief look at a list of well-known literary works that faced a long gauntlet of rejection before the doors of interest began to crack open. (from http://www.writingclasses.com/InformationPages/index.php/PageID/341)

Dune by Frank Herbert – 13 rejections
Harry Potter and the Philosopher’s Stone – 14 rejections
Carrie by Stephen King – over 30 rejections
Gone With the Wind by Margaret Mitchell – 38 rejections
A Time to Kill by John Grisham – 45 rejections
Louis L’Amour, author of over 100 western novels – over 300 rejections before publishing his first book
John Creasy, author of 564 mystery novels – 743 rejections before publishing his first book
Ray Bradbury, author of over 100 science fiction novels and stories – around 800 rejections before selling his first story
The Tale of Peter Rabbit by Beatrix Potter – rejected so universally the author decided to self-publish the book
An actual note on the rejection slip for George Orwell's Animal Farm: “It is impossible to sell animal stories in the U.S.A.”
From rejection slip for article sent to the San Francisco Examiner to Rudyard Kipling: “I'm sorry, Mr. Kipling, but you just don't know how to use the English language."

What about big motion picture scripts, concepts, and screenplays? Have any well-known movies faced an uphill battle through the maze of NO's to finally reach that one reader with vision? Uh, yes, many of the BIGGEST.

Have you ever heard of a mop-headed little screenwriter known as George Lucas? He shopped his screenplay for American Graffiti to all the major studios including MGM, Paramount, Fox, and Warner, and it took about a year to finally get Universal to bankroll the project. Even with the success of American Graffiti, he struggled to get anyone to see the merits of a little project called (The) Star Wars.

You may be casually familiar with a little franchise known as Indiana Jones. Well, Raiders of the Lost Ark was flatly REJECTED by almost every single studio in Hollywood--even with the clout that Star Wars gave to George Lucas. Imagine that.

A survey prepared by a major studio predicted that the potential audience base for the movie "E.T." would be far too small to support it----and then the movie went on to make a BILLION dollars in the box office. 

The Back to the Future franchise had a similar rocky start. Written in 1980, it took years to get anyone to see the merits of the story, fearing it would be a financial flop, yet the first movie came out and grossed nearly 400 million dollars. 

(for a more enjoyable read about these movies-that-almost-weren't visit here: http://www.denofgeek.us/movies/22058/the-hit-films-hollywood-studios-didn-t-want)

The Grand Master of Rejection-Rejectors must surely be Thomas Alva Edison, who failed almost 2000 times when attempting to invent the common incandescent light bulb. He said later that he didn't fail 2000 times, he said that he actually made 2000 important discoveries---2000 discoveries of ways NOT to create the light bulb.

Perhaps it is attitude and perspective that are truly the bright idea...the realization that it takes time to connect with those of means and vision. Think about it--those two tiny letters N-O, are in reality the first two letters of the phrase "NOt us, someone else will be much better for your project."

Michael Tadross: A Hollywood Heavy-Hitter Considers "Back to Normal"

Wow, only a few days into the "official" promotion of the "Back to Normal" TV concept and I received some great news. A friend of mine was recently introduced to major Hollywood producer Michael Tadross (http://www.imdb.com/name/nm0846333/?ref_=fn_al_nm_1). Tadross had commented that he was always on the lookout for new and fresh concepts for television shows. My friend told him about "Back to Normal."

Today, Tadross emailed and requested the pilot script and my WGA registration number to possibly consider the show! This is huge...Tadross produced such blockbuster films as:
DieHard with a Vengeance
I Am Legend
Hitch
Indecent Proposal
(many more)

He has a movie "Winter's Tale" (http://www.imdb.com/title/tt1837709/?ref_=nm_flmg_prd_2) which actually hits theaters Friday, Feb. 14, 2014, so I am pretty sure he will be very preoccupied until the fanfare surrounding the release calms down. I have no expectation of hearing any news, good or bad, until closer to March.

WGA Registration Certificate Received in the Mail

Today I received my official Writer's Guild of America (WGA) registration certificate for the pilot episode of "Back to Normal." The WGA is often used by writers of TV and Film to protect their work by offering an industry-recognized means of date-stamping intellectual property.

In short, if there were to ever be a legal dispute or accusation of someone stealing a writer's ideas/story, the registration with the WGA provides a provable means of WHEN someone had an idea...and if it was BEFORE someone else did. It's very affordable (less than $30) and anyone can register a script, treatment, one-sheet, etc.