Once in a lifetime

If you’re an unproduced writer, or a writer somewhere on the fringes, chances are you’re looking at an opportunity right now and have named it your BIG BREAK. This is it! This is the one which is going to catapult you into the big time, if this one goes wrong you’ve missed out, lost the ‘game of write’ and will never, ever be allowed into ‘the club’.

You know ‘the club’, the one everyone’s trying to break into? The one where you no longer have to write stuff no one appreciates, no longer have to network or pitch or claw, fight and maim to get a commission?

That’s right, the one which doesn’t exist.

Your BIG BREAK is probably a competition, or a trial script for a show, or a well-known director or producer who’s agreed to read your script, maybe it’s an open script call on a production company’s website? The point is, this is THE ONE! You’ve got a limited amount of time to get your script in order or the opportunity will be gone forever.

Fuck the family, fuck the day job, fuck sleep – if this script isn’t finished in time, your fledgling career is over!

Except, it’s not. Not really.

Just look at that list again:

1. a competition
2. a trial script for a show
3. a well-known director or producer who’s agreed to read your script
4. an open script call on a production company’s website

That’s four once-in-a-lifetime opportunities off the top of my head. You see, thing about once-in-a-lifetime opportunities is there’s tons of the buggers. They happen pretty much every day. Competitions are frequently annual … and there’s thousands of them, some shows will always take trial scripts and directors/producers/companies will always need new material.

If your script isn’t finished in time for this competition – don’t enter. If your script isn’t good enough yet, don’t give it to Mr Famous Director because you happened to sit next to him on the train.

Yes, there are tens of success stories from people who got their work produced on a once-in-a-lifetime opportunity; but there are thousands more who sent in a script they’d rushed to finish and didn’t get any further.

The successes may have failed a dozen once-in-a-lifetime opportunities before they found the one which made them.

Similarly, the failures will have many, many more opportunities in the future. Opportunity is always there – always. The worst thing you can do (barring breaking into someone’s house armed with electrodes and bad thoughts) is to send anyone a script you’ve completed in a sloppy rush.

“But Mr Famous Director wants to read it now! He’s leaving town in two days!”

Yeah? So what?

He’ll either come back or he won’t. Giving him a shitty, unfinished script isn’t going to help, is it? If he doesn’t come back, there are lots of famous directors – if the script’s good enough, one of them will take it.

Quality will out, shoving shit in an envelope in a blind panic won’t.

If you’re stressed and panicked, chances are you’re not doing your best work anyway – relax. Let this competition go, you can enter next year.

Prodco taking open submissions? They’re doing it once, they’ll do it again. If they don’t and your idea is good enough, email them in a year’s time (when it’s actually finished) and ask them nicely if they’ll read it. They probably will and you’ll have the added bonus of not being one more script in the massive open-submission slush pile.

There is no such thing as a once-in-a-lifetime opportunity and you won’t know your BIG BREAK until after the fact. This is a race with no defined finish line and is purely against yourself – run it at your own pace, one you can sustain for years if need be. Singling one opportunity out as your ONLY CHANCE FOR SUCCESS is just silly – you’re putting too much pressure on yourself, relax.

I’m not saying don’t take every opportunity you can find, I’m just saying you need to get the egg/basket ratio right.

Don’t send anything out until it’s ready. Not ever. Your big break is out there somewhere, but it’ll choose you, not the other way around.

 

Cutty Sark blended scotch whisky scholarships 2012

I had this via email this morning, not particularly useful to me since I live about as far from Scotland as it’s possible to get (without living further away) and am not Scottish; but it may be of use to some of you:

CUTTY SARK BLENDED SCOTCH WHISKY SCHOLARSHIPS 2012

We are now seeking nominees for Cutty Sark Scholarship’s 2012!

Are you an emerging Scottish or Scottish based Filmmaker?

Then perhaps we have the opportunity you have been looking for…

Cutty Sark Blended Scotch Whisky, in partnership with EIFF and Arts & Business, is offering three emerging Scottish filmmakers the opportunity to attend a film festival of their choice. The scheme is designed to allow filmmakers to challenge financial constraints that may prevent them from attending key festivals, and to use these events to their maximum potential in promoting their film projects and establishing industry contacts. This opportunity includes flights, accommodation, subsistence and a full festival pass.

To apply please see the EIFF CUTTY SARK BLENDED SCOTCH WHISKY SCHOLARSHIP Application Form, making sure you complete all sections and follow all instructions. Please also make sure you have read the Application Guidlelines clearly before applying.

http://www.edfilmfest.org.uk/talentdevelopment/cutty-sark-scholarship

How do I apply?

Complete an application form and send with:

• A biography/experience and achievements

• A completed equal opportunities monitoring form

Applications and all supporting documents should be sent by e-mail to:

louise.donoghue@cmi-scotland.co.uk with ‘Cutty Sark Scholarship’ in the subject header. Unfortunately we will NOT be able to accept applications sent by Fax or Post.

DEADLINE FOR APPLICATIONS IS 5PM ON MONDAY 19 DECEMBER 2011

If you have any questions on the application process, please contact

louise.donoghue@cmi-scotland.co.uk

Cutty Sark and Film

The Cutty Sark Scholarships are part of the brand’s commitment to film and filmmakers. Cutty Sark is a major partner to the EIFF and supports many other initiatives that nurture film making talent.

For more information visit: http://www.cutty-sark.com/cutty-sark-film

 

Free books!

I had a clear out the other day and donated/sold an entire bookshelf’s worth of books … without leaving any space on any shelf in the house afterwards.

Which should tell you how cluttered the bookcases had become.

You see, I’ve always wanted my own library. A private one, obviously. I don’t want the general riff-raff wandering in and getting their grubby claws on them. Something like this would be nice:

Basically, the sort of thing which involves killing a large forest and several cows to make.

In preparation for the glorious opening of my fictional library, I’ve collected a lot of books. Some I’ve bought, some I’ve been given but most I just find lying around on planes and trains … but rarely automobiles. Generally, if you have to smash a window with a brick to ‘find’ a book … best to leave it there.

The upshot of this is a lot of creaking from bowed Ikea bookcases and a hell of a lot of books I will never, ever read. I used to read everything I found, fact or fiction; but then life got in the way. Now, I’m selective and probably worse off for it.

Actually, the penultimate upshot is a boot full of books destined for a charity shop.

The final upshot is an offer to you, yes you!

Among the piles of books by briefly popular crime authors are five scriptwriting books. These ones I have read and they all have something useful to add; but I’ve read them now and aren’t particularly interested in reading them again. I think a few of these may have been review copies, the others I bought; but regardless of their origin, their final destination is in your hands.

Basically, I don’t want these. If you want them, I will post or hand them to you free of charge. The books are, as follows:

And for those of you reading this on something which strips out pictures:

Save the Cat! by Blake Snyder

The Sequence Approach by Paul Joseph Gulino

Writing Drama by Yves Lavandier

Your Screenplay Sucks! by William M. Akers

Celtx: Beginner’s Guide by Ralph Roberts

These are the rules:

1. The books are free to anyone who leaves a comment on this post saying they want them (unless postage to your country is so expensive it’s cheaper for me to order them for you off Amazon. In which case, you can’t have any).
2. If only one person wants all five, you can have all five and well done you.
3. If more than one person wants the same book, then I’ll pick the one I like the best based on how much your comment tickles me or whether I’ve seen you being nice to people on the Internet.
4. If you want more than one and your first choice isn’t available … don’t fucking cry about it, that’s just life.
5. If no one wants any of them, they’ll go straight to the charity shop.
6. I’ll post them when I can be arsed, which will probably be in December.
7. Probably.
8. If I forget or change my mind, sorry. I probably won’t.
9. Probably.
10. Anything else which gets me out of being held legally responsible for trying to be nice to people who might get shitty and litigious.

So there you go, free stuff. Have at it!

 

Stalker trailer and competition

If you haven’t seen it, here’s the trailer for Stalker:

The London gala première is on this Saturday, the 15th October, at Empire Leicester Square. There’s a competition on the Facebook page to win tickets to see the film as Martin Kemp’s guest, including the opportunity to have a drink with Martin before the film.

That’s actually pretty cool and definitely worth entering for four reasons:

1. Ladies (or men who are so inclined), he’s gorgeous.
2. Men (or ladies who are so inclined), he’s a really nice bloke.
3. Scriptwriters (of either gender or persuasion) he runs his own production company, has directed one film and will probably want to do so again.
4. It’s Martin Kemp! He’s awesome!

The closing date is midnight tomorrow, so … I haven’t really given you enough notice. Sorry. ENTER NOW! GO!

Then come back and watch the trailer again.

 

Pitch Competition

PITCH YOUR SCRIPT TO THE INDUSTRY WITH ADVANCE FILMS 07/10/11

Get ready to pitch your script to the most influential people in film with David Pope, the director of advance films, whose directing credits include the award winning feature film, MILES FROM NOWHERE. advance films have teamed up with online writing platform, Circalit, to host a screenwriting competition to find great ideas for film scripts. As the former head of the New Producers Alliance, David knows the who’s who of the industry, and he will get your pitch up to speed so that you’re ready to be introduced to a network of contacts tailored to your project. David will help you position your screenplay for the industry and recommend to you the producers and executives who are just right for you.

advance films is a London based production company that also provides training, support and consultancy services. advance consults on projects at all stages from development to finance to distribution and David’s clients and collaborators have included everyone from the BBC, BFI and the UK Film Council to the Cannes Cinefondation, The Rotterdam Lab and Edinburgh International Film Festival; so make the most of his experience to get your script pitch perfect.

All entries will receive a professional feedback report on their script. The deadline for submissions is Dec 1st 2011. Please visit www.circalit.com/projects/competitions/davidpope for more information.

 

EIFF Network Opportunity

I’m sure everyone knows about this by now, but in case you’ve missed it:

Network offers a fantastic opportunity for screenwriters, directors and producers – individually or in teams – to develop a feature film project in collaboration with industry professionals.

Successful applicants will be invited to

• Develop a feature project with expert, bespoke industry support.
• Attend formal and informal events throughout the year, all over the UK.
• Attend the Edinburgh International Film Festival as a guest delegate in 2012.
• Access Network website with exclusive podcasts, film industry forums, discussion groups, blogs, email feedback, instant messaging, industry news, resources and film professionals.

Deadline: Friday 7th October 2011

The full details are on their website here: http://www.eiffnetwork.com/ including who can apply and how to apply and lots of other stuff to do with applying.

If you’ve got an idea for a feature project, a sample script, a CV and a few spare minutes to fill in the application form, then it’s got to be worth a punt.

 

Lift every stone

If you’re an unproduced (or a seldom produced, currently between assignments) scriptwriter – are you doing everything you can to get work?

I know a lot of you have no credits (yet) and are writing spec scripts of (possibly) outstanding quality; but are struggling to find a producer willing to option/produce said scripts.

My question is: is that your only approach?

Is that all you’re doing? Writing your material in the hope of selling it to someone?

Or are you trying to get paid work elsewhere? Basically, how many baskets are those eggs in? If your CV has nothing on it (training doesn’t count. No amount courses from a weekend seminar to a four year degree count as much as one produced film credit) then on paper you have no experience.

Yes, your spec script should be stand apart from your CV. If it’s good, it’s good – end of story.

But … how many people are willing to read your script? How many people secretly IMDb you before deciding whether or not it’s worth agreeing to waste valuable time reading something you’re trying to flog to them?

Even a CV full of bad films shows you’ve got experience collaborating with others and there must have been some interesting spark to your work to attract that cast and the money before it ended up being ruined during production. So what are you doing, in tandem to writing spec scripts for the over-crowded spec market, to get stuff on your CV to show you’ve got experience of working with producers, directors, actors, budgets, deadlines, genre constraints and all the other obstacles you have to negotiate in order to turn a script into a film?

Have you, for example, applied for every job on Mandy.com?

Take a look at today’s listings: http://mandy.com/1/jobs2.cfm?terr=wld&skill=scr&paid=no (if you’re looking at this tomorrow or next month, you’re probably looking at different jobs to the ones we’re looking at today). There are six paid jobs at the top of that list.

Six.

Possibly six idiots who can’t afford to pay anyone; but you don’t know unless you apply. Even the unpaid work is worth applying for sometimes. You don’t know who these people are or where they may be in a year’s time. It’s got to be worth sending them an email and a sample script, right?

I mean, come on, if no one is nibbling at your spec scripts then what have you got to lose? At the very least, you’ll have learnt how to spot a no hoper from their adverts, which is invaluable in itself.

Working for someone is great motivation and training for your burgeoning career. If you’re not getting anywhere and you’re seeing more closed doors than open ones, ask yourself this question: am I knocking on all the doors?

Don’t limit yourself in the beginning. If one approach isn’t yielding fruit, diversify. Try everything, you have nothing to lose.

 

Industrial Scripts – Talent Connector

Just been sent this press release, sounds interesting and might be worth checking out:

Industrial Scripts launches 1^st UK script promotion programme, backed by Curtis Brown Group

The ongoing programme assesses film & TV scripts and champions the best unrepped talent to come through the company’s coverage system, using Industrial Scripts’ experience and network. It is the first of its kind in the UK and Industrial Scripts neither charges writers fees to market projects, nor takes a fee if projects sell or attract the representation of an agent.

Industrial Scripts is the London-based script consultancy founded by some of the UK’s leading script editors, hosting the broadest range of script development services in Europe.

The company, active in script development, training and the education sector since January 2010, also recently launched a successful script doctoring/re-write service through two ex-UK Film Council Executives: THE KING’S SPEECH Creative Editor Aaron Anderson and THE IRON LADY Story Editor Jon Croker. Its script editors all have high-end industry experience, consulting for companies including the UK Film Council, Paramount Pictures, BBC Films, Ealing Studios, Scott Free, Working Title and Warner Bros.

Talent Connector is continuously open for submissions, all year round, and will culminate each December with the announcement of the Industrial Scripts Gold List – when the best 10 scripts to pass through the coverage system will be revealed, and prizes awarded.

Evan Leighton-Davis of Industrial Scripts said: “5 years ago the first line on the script filter was the agencies. Now, however, many agents can’t even accept unsolicited material due to the volume of submissions, leaving new writers scratching their heads as to where to turn. We’re confident we’ve created an everyone-wins filtration system with Talent Connector: writers receive industry-standard script feedback from vastly experienced development professionals, and the opportunity to have their work championed at no extra cost; while execs, agents and producers can access already-vetted scripts without exposing themselves to an unmanageable surfeit of material. Similar programmes have been highly successful in America and we are confident we’ll unearth great talent in the UK too”.

Nick Marston, MD of The Curtis Brown Group said: “As an agency time-management is becoming increasingly important in the crowded digital landscape we all now inhabit. As the volume of scripts and writers grows year-on-year it’s important to think of innovative ways of assessing and tracking new talent, and we are delighted to be backing the respected script consultants within Industrial Scripts and their Talent Connector programme, which we think will become the main access and entry point for new talent in the industry”.

The first set of qualifying film & TV projects was released to agents, execs and producers on 20^th July 2011, and further releases will occur once a month thereafter.

Bona fide agents, executives, producers and directors across the industry can subscribe to Industrial Scripts’ once-a-month newsletter containing details of qualifying film & TV projects by emailing info@industrialscripts.co.uk with their CV attached, and “Talent Connector Opt-In” in the subject line.

A comprehensive FAQ about Talent Connector can be found here: http://industrialscripts.co.uk/talent-connector-public/

All information about Industrial Scripts and its script consultants can be found here: http://industrialscripts.co.uk/

 

Meet Barnaby Thompson tomorrow night

The London Comedy Writers’ Festival is thrilled to announce an exclusive, one night only, in depth Q&A with Barnaby Thompson, Head of Ealing Studios, the home of British Film Comedy and the oldest continuously working film studio in the world.

Barnaby is the Head of Ealing Studios and co-founder of Fragile Films. He is the co-producer / co-director of the fourth highest grossing British Film of all time – ‘St. Trinian’s’ (with Oliver Parker) and has also produced 5 of the top 20 British independent movies of all time.

From ‘Wayne’s World’ to ‘Spiceworld’, everything that Barnaby Thompson touches turns to (Fritton’s) gold!  So join them for this exclusive session with one of the UK’s most prolific and successful producers and ask the man directly how to get your script to the top of his pile.

Tickets: £10 (buy here) or free to Comedy Writers Festival Delegates (buy festival pass here)
Date: March 30th
Time: 7.00 – 9.30pm
Venue: Ealing Studios, Ealing Green, London W5 5EP

Remember, you can get £25 off festival tickets using code JobbingScriptwriter … plus, I’ll send you a cheque for a further £25 after the festival. Details here

 

BAFTA Rocliffe New Writing Forums

I’ve always thought this sounds like a good opportunity, never quite got round to submitting anything; but it’s got to be worth a punt:

BAFTA and Rocliffe are accepting scripts for their next two New Writing Forums, London on the 9 May and Edinburgh with the Edinburgh International Film Festival on 16 June.

At the submission stage your script extracts will be read by a panel of established industry members made up of producers, script developers, directors, literary agents, actors who are looking for new writing talent. Should your script be selected for the event, it will be performed by professional actors to an audience including BAFTA members,  agents and industry executives – a fantastic way to get noticed!

The closing date is 25 March 2011. Entries should be sent to Alex Cook, BAFTA, 195 Piccadilly, London W1J 9LN. The entry form can be found here Rocliffe Application May/June 2011 And more details are here: http://www.bafta.org/access-all-areas/rocliffe-blog/