Serial Killer

Hola, and happy Cinco de Mayo!  Today, something I've been thinking about, and maybe you have too if you’re writing a new spec for this year’s upcoming TV writing program circuit (as mentioned yesterday, deadlines are fast approaching...be sure to check the list again, I had a few mistakes actually that I just corrected).

Specs can cause a lot of headaches.  Like I said in a post way back when, there are a lot of conflicting “rules” when it comes to specs.

“Rules” aside, one issue I always seem to hear fellow spec writers discussing this time of year is: how do I deal with spec’ing a highly serialized show? (like Breaking Bad, Sons of Anarchy, and lots of other cool shows you might want to spec).  As a friend of mine recently summed up, “I wrote a spec for a really serialized show last year and a couple episodes later, everything on the show had changed and now my spec is worthless and makes no sense.”

Wrong kind of "serial."

Jane Espenson has written extensively about specs and this specific issue on her a-mazing blog (btw she advocates NOT constantly updating your specs, so don’t think that is the solution).  I suggest checking out her blog for real pro advice, but two tips I’ve run across/have been suggested in my baby writing circles that I think are most helpful when spec'ing serialized shows are as follows:

1. Write a “one off” episode.

A “one off” is an episode that could happen essentially any time in the show’s chronology/doesn’t have to come after the last episode that aired/you saw.  This is easier said than done with some shows, and honestly, no matter what, you will probably have (and want) to deal with SOME (or many) juicy serialized elements or current cool storylines of any show you want to spec.  However, instead of trying to play psychic with how all the mysteries of your favorite show will develop, try instead to introduce something new into the show (and I don’t mean “new” like new character or location, I mean new like new conflict or relationship between existing characters...something that hasn’t been extensively explored or even hinted at...yet).

OR

2. Write an “in between” episode.

This is when you pick two fairly current episodes of the show you want to spec and write an episode that occurs in between these.  Your spec might seem a little stale as the show progresses and characters change, get together, break up, die, move away, but technically your episode will always be valid.  Thinking this way might actually help you do #1 and create a one off idea since you won’t be as preoccupied with predicting your show’s future.

Contest Deadline Alert – mid MAY and JUNE

Picking up where I left off last month, a continued list of/reminders for upcoming writing related contests/programs/fellowships and their application deadlines.  Be sure to check their websites (links under CONTESTS AND STUFF on the right) for more specific information (some of the later June ones aren't even open to submission until the end of this month).  Once again, the WHAT is what you need to give each contest/program and the HOW is how you deliver it.  Time to get organized!

Deadlines...away!

SCREENWRITING

Austin Film Festival
Deadline: May 15, 2011, June 1, 2011 (Late)
WHAT:
       • Original screenplay
       • Entry form
       • Entry fee ($40 regular) ($50 late)
HOW:
       • Snail mail (paper) OR
       • Online ($5 processing fee)

TELEVISION

Austin Film Festival
Deadline: June 1, 2011
WHAT:
       • Spec OR Pilot
       • Entry form
       • Entry fee ($30)
HOW:
       • Snail mail (paper) OR
       • Online ($5 processing fee)

Disney | ABC Writing Program

Deadline: June 1, 2011

WHAT:

       • Spec (multiple submissions not okay, 1 per person only)

       • Application form

       • Resume

       • Autobiography

       • Statement

       • 2 letters of recommendation from industry pros

       • Legal Release

HOW:

       • Snail mail only (no paper, CD with PDFs)

WB Writers' Workshop
Deadline: June 1, 2011
WHAT:
       • Spec
       • Resume
       • Short composition/statement
       • Entry fee ($30 per script, multiple submissions okay)
       • Online confirmation page
       • Signed submission agreement
HOW:
       • Online application first, THEN snail mail only (paper)

Fox Diversity
Deadline: June 30, 2011
WHAT:
       • Pilot
       • Cover letter
       • Signed evaluation letter (for unrepped writer)
       • Resume/Bio
       • Notarized release and agreement
HOW:
       • Snail mail only (paper)

NBC Writers On The Verge
Deadline: June 30, 2011
WHAT:
       • Spec
       • Application form (with short essay questions)
       • Resume
       • Signed release
HOW:
       • Online only (scan and email, all PDF)

Coverage Ink's Writers on the Storm Screenplay Competition - Open for entries

Happy Friday all!  If you can’t tell by my recent short posts I’ve actually been kinda busy...just writing my stuff and not writing because I've been helping some awesome people I know with their webseries (more on that in a few weeks).  Oh, and there was also that last twenty four hours I spent awake to watch the Royal Wedding (kidding, but I must admit I did DVR it).

Anyway, saw this listing for a new writing contest I hadn’t heard of (you know I’m wild about contests) and thought I'd pass along:

Coverage Ink’s Writers on the Storm Screenplay Competition

Hooray for contests!

With so many contests out there, it’s hard to know what's a waste of time or money and what might actually be useful (especially since many contests, including this one, have crazy websites so full of ads for screenwriting stuff it's hard to see the links you need to read about the actual contest).

However, once I got past all that, a few things about this contest really appealed/jumped out at me and made it seem like a good thing to pass along:

1. High placing entries signed with agents/managers.

There's a whole interview with the runner up whose entry last year got him signed by UTA...not too shabby, and it seems like the contest gave him good guidance.

2. Major/reputable companies have agreed to read entries.

The contest has an impressive list of companies who have agreed to read top placing entries (including UTA, ICM, Gersh, Management 360, Gotham Group, and Untitled Ent.).  The contest seems to focus on getting the scripts read by managers more than agents, which is cool.  As they point out on their site, it’s managers who are looking for new talent to nurture and develop while agents…not as much…but you already knew that agents only really want to step in when it’s time to make money.

3. Every entry gets feedback

Yes, there is an entry fee for the contest ($40 if you enter from now till 6/1, $45 from 6/2-7/11, and $60 from 7/12-7/31) not unusual for most writing contests (readers gotta get paid…and frankly $40 is on the low end for many contests) but one cool thing is that every entry will get feedback (not like full in depth coverage, just a taste of it).  So, even if you don’t win/advance, you get SOMETHING back for your money (which is more than most contests promise).  The site also offers you the chance to pay for coverage services before the contest (so you can “get your script ready” and if you do that you can enter the contest for free).  Didn’t check the rates on that, but I imagine it’s quite a bit more…maybe not a bad idea if you feel like you don’t know anyone who can give you good feedback.

4. $10,000 top prize

Yeah, this is cool, but it's lower on the totem pole for me.  Most contests like to lead with this, and hey, who wouldn’t want to win $10,000 in a contest?  In the end, getting signed by an agent/manager is probably more important to most baby writers, but as someone who enjoys spending my time writing and not working a non-writing related job, money is always nice.

20th Century Fox announces “Emerging Writers” Program

On Monday, 20th Century Fox announced it will start an “Emerging Writers” program.  No word yet on all the nitty gritty details, so keep your eyes peeled for more info.  From the looks of the Deadline article, the program will be motion picture writing centric, focus on original ideas (not rewrites or existing franchises), and I imagine this will be one of those writing programs where you’ll need an agent/manager to submit you when the time comes for submitting...and they'll probably have their pick of black list writers.  In other words, it's probably one of those programs that's kinda useless to most unrepped baby writers or baby writers who are repped but only by smaller/boutique agencies or managers who don’t have as strong of a relationship with the major studios.  Buuuuut, I could be wrong…it might be open to everyone the way the big TV writing programs and the Nicholl are (speaking of which, if you’re submitting to the Nicholl this year, scripts are due this next Monday, May 2nd).  Maybe if you win, you can have your new CAA agent submit you to this program.

Pretty Boring

Happy Friday!  Let's see...what's new...I’ve been playing nurse the past week to my Significant Other who had some minor surgery, but is recovering nicely.  Other than that, just working on that new TV spec after catching up on all the current episodes of the show.  And…that’s all from writing land...pretty boring.

Speaking of pretty and boring, Perfect Pia got voted off Idol.  While I was surprised to see her go, I always did find her a tad robotic.

But, I thought auto tune was "in"

Even a super “perfect” singer like Celine Dion has lots of fist pounding/chest thumping passion in her shows, and Pia was kinda…stiff.  But, she’s young and incredibly talented and she’ll probably get more comfortable in her own skin...with time.

I guess I could say Pia was like a script that hits all the beats at the right pages but fails to get you because it’s just...dull (or to look at it from the inverse, yeah the script for The Social Network might break all the rules, but screw “perfect” and “normal” because it’s an extremely compelling read).

Or…maybe there’s no writing related lesson to learn from Pia’s surprising early exit, but rather, a writing contest related lesson and that is: even if everyone tells you you’re great, taste is subjective…or...win or not win, if you have a product people want, and you market it well, people will buy it…eventually.  Sure, Carrie Underwood won the show and sold a ton of records and won tons of awards, but for every Carrie there is a winner like Ruben or Taylor who flopped while contestants who lost like Chris Daughtry, Jennifer Hudson, and Clay Aiken have gone on to more success.  Heck, some famous singers like Colbie Caillat didn't even make the cattle call cut to sing for the judges.

In other words, well, I don’t know exactly what my point was.  Talent wins out in the end?  Or…keep working hard, and stick with it!  Or…contest?  You don’t need no stinkin’ contest!  Take one of these and remember it if you ever get rejected by a writing related contest…especially if you make that first or even second cut, only to fall short at the end (I know I did).

In other non Idol entertainment news, Alec Baldwin said 30 Rock was ending next year (boo) then back pedaled and confused everyone (huh?).  Oh, and after teasing about it in numerous interviews/excerpts from her new book (that I’m super psyched to read) Tina Fey announced she was 5 months pregnant (yay!  I clearly love babies) and also she will host SNL on May 7th (double yay!).

Contest Deadline Alert - APRIL (and early MAY)

Meant to do a post like this at the end of March, but I am a procrastinator.

We’re entering the biggest months for writing contest deadlines. In other words, time to write that spec/finish that screenplay/ have all your friends proof read your work. The weeks will fly by, and some contests need extra materials (like a bio or an essay) and if you’re trying to do it all at the last minute, you won’t make it (or you will make it, but it won't be pretty).

To help get organized, here are several writing comps with deadlines in April (and early May) AKA everything less than a month away as well as the WHAT (you need to give them) and the HOW (you give it). Be sure to check out each contests’ site for other rules and competition specifics if you’re thinking of applying (links under CONTESTS AND STUFF).  Also, know that many of the contests I have links to are open to entries even if their deadline isn't in the next month, and know that I haven’t participated in all of these, so if you think I’m pushing something that’s not worthwhile, please let me know!

The deadlines are coming!

SCREENWRITING

Scriptapalooza
Deadline: April 15, 2011 (Regular) April 18, 2011 (Late)
WHAT:
          • Original screenplay
          • Application
          • Entry fee ($55) ($60 - Late)
HOW:
          • Snail Mail (paper)
          • Online

Script Pipeline
Deadline: May 1, 2011
WHAT:
          • Original screenplay
          • Signed agreement
          • Entry fee ($50)
HOW:
          • Snail Mail (paper)
          • Online

Nicholl Fellowship
Deadline: May 2, 2011
WHAT:
          • Original screenplay
          • Application form
          • Entry fee ($30 or $45)
HOW:
          • Online only

Sundance Screenwriters Lab
Deadline: May 2, 2011
WHAT:
          • First 5 pages of your completed original screenplay
          • Synopsis of screen (no more than 2 pages)
          • Cover letter (1 page)
          • Resume/bio
          • Entry fee ($35)
HOW:
          • Snail mail (but you can pay the fee online)

Baby Idol

Happy Friday!  It’s been a pretty productive week.  I would have liked to get more work done on my newest spec, but I couldn’t resist going back to my pilot for a few tweaks I had on my mind, as well as picking up a few long suffering projects.  It was also a productive week of watching American Idol…I think I’m into the new season for now, the talent level seems higher than it has been in recent years, although the judges are all way too nice…seriously, is Randy going to be the mean judge now?

Anyway, every time I watch Idol I can’t help but flash back to my own experience as a finalist for one of the TV writing programs and think that their selection process (and the selection process of many fellowships/script programs/contests) is a lot like Idol.  Think about it, lots of people who want a shot at turning their passion/hobby into a professional career sing a song/submit a script and hope their work is good enough to get noticed.  Then, if they make it past the first round they get to sing again/submit other scripts until they get to actually do their thing at an interview/on the live shows until finally…well, you get the idea.

I think one good thing about thinking about writing programs/contests that way is that it shows the importance of having multiple scripts (having more than one song).  Like that Scotty kid this year.  He sang that one song GREAT, but it was the only song he sang for a LONG time and people (me) as well as the judges started to wonder if it was the ONLY thing he could sing and that was a concern…one song does not an Idol make.  The same goes for scripts…if you only have one great sample, you’re like Scotty, singing the same song, over and over and over again…and one script does not a writer make.  

Baby lock them doors...

How do you motivate yourself to write?

Ugh, it’s tough to motivate yourself to write some of the time (or all of the time).  Even if you love writing, life often has a way of keeping you from your latest script (or blog post…I’ve procrastinated this week…can you tell?). 

When you’re a pro who has been hired for a job it seems so simple: You get paid to write, you have a deadline to meet, you don’t meet, you don’t get paid, the end.  When you’re a baby writer you probably have another 9-5 job that pays the bills (or 9-9…or 9-11).  When you get done at the end of your day you're tired, annoyed, maybe you have a family waiting for you (or perhaps a long suffering pet or significant other) and episodes of Idol languishing on your DVR.  And yet, you have to somehow summon the childlike enthusiasm of Anne Hathaway and say …”HOORAY! It’s time to work on my script!”  When you’re a baby writer you write for YOU and the crazy dream that someday it’s gonna be YOUR name being called on the Oscars and you’ll be the one who gets to thank Scott Rudin and tell Aaron Sorkin’s daughter she ought to show you more respect.

Anyway, yeah, sometimes it’s hard to motivate yourself when your work is so…open ended, and no one is waiting for you to finish.  So how does a baby writer get motivated to write?  I’ve gotta say, I think the best way to motivate yourself is CONTESTS.

The winning moment.

Sounds like a cop out, I know, since I’ve talked a lot about fellowships/writing programs/contests before, but I actually know several baby writers who have spoken about lacking motivation and when I mention several popular contests they haven’t heard of them.  Contests give you that deadline I think most humans need so they can see the endgame for their work.  “I’m writing this script to submit to the Nicholl this year” versus “I’m writing this script to sit in the hard drive next to my computer until an agent/manager eventually asks for it.”  See what I mean?

Anyway, yeah, contests...check out links to some good ones under CONTESTS AND STUFF and get excited because deadlines are starting to come up!

What show should you spec this year?

I'll probably post in more detail on this in the next few months as more baby writers plan their specs for the upcoming TV writing program/contest season, but for now, a (fairly) short post.  

As I mentioned before, while pilots are the hot thing to have, new specs are still important to baby writers (until all the contests change their rules to allow pilots).  So, what should you spec this year?  There are lots of opinions and "rules" out there for specs that sometimes conflict: 

• Spec something popular so readers will recognize it/DON'T spec something popular since you'll have too much competition.
• Spec a show that's well established/DON'T spec a show that's been around too long and is overdone.
• Spec a show in its first season if it's a big hit/NEVER spec a show in its first season.

Rules, rules, rules.  I think the most important thing to remember is that whatever you write it MUST BE GREAT.  I think people worry about "rules" a little too much sometimes.  Yes, it's smart to not pick the most overdone shows to spec because you'll have lots of competition, but if you have an AMAZING idea for a popular show, who cares?  Anyway, like I said, I'll offer more unsolicited advice later, but for now, a link to get your brain started...

Fall 2011 TV Scorecard

While all the "rules" out there aren't set in stone there is ONE RULE that is fairly stern, and that's that you can't submit a spec for a show that has been cancelled or has ended (well, I mean, I GUESS technically a lot of these competitions say you can submit a show that aired new episodes this year, but seriously, why would you spec a show that was canned?).  Note, this is just a list of network shows, there are many cable shows out there as well.  Also note, I actually think this list is a tad optimistic for some of the lower rated "looking good" shows...keep your eyes peeled for more news on new renewals...and pray hard if you wanted to spec "Chuck" this year.

Winning the lotto

Earlier this week, I bought a lotto ticket for the first time in several years (and I wasn't the only one).  The Mega Millions was up to 355 million and after taxes that's 200 some million.  I didn't win, and that's way more money than I'd know what to do with, but I had a few ideas on how to spend it.  That being said, I don't like to play the lotto because the odds are astronomical while the promise of "it can happen to you" can suck you into spending lots of dollars on quick picks.  I much prefer contests where some skill is involved, or gambling games where I feel like I have some control over the results.  That's probably why I've tried my "luck" by sending my work off to several writing programs and competitions over the years.  Hey, one almost panned out.

I guess this is my way to get around to saying the last thing I'll say about moving/not moving to LA.  My last post talked about connections as a way to solve the problem of wanting to be a working writer but living in the wrong city.  Honestly, connections are important to anyone who wants to get paid to write, regardless of city, but when you're a baby writer lacking connections, there's one more option, and that's CONTESTS!

If connections are the secret handshake to get past an industry doorman, contests are the battering ram to break down the door.  You could be Joe Schmoe one day, win the Nicholl the next, and suddenly have agents blowing up your phone asking to meet.  Many Non-LA (but mostly LA) baby writers have sent their work off to prestigious and reputable contests, competitions, festivals, and writing workshops/fellowships to launch their careers.

Now, applying for stuff gets tricky because good contests are SUPER competitive AND there’s about a bazillion contests that will just plain scam you.  I’ve listed several contests that I think are reputable/worthwhile under CONTESTS AND STUFF on the right.  But, just like lotto quick picks, you shouldn't go crazy.  While some are free (huge plus) most charge a reasonable fee to enter.  Don't crank out something mediocre and waste a bunch of money sending it everywhere and don't apply to contests in areas outside your interest (I'm looking at YOU baby writer who applies to TV fellowships despite not actually wanting to write for TV).  After all, some of these contests have an interview/vetting process, and if you aren't serious, you don't stand a chance (this is mostly for the TV fellowships, but even the Nicholl has a small additional vetting process for finalists).

So yeah, that's pretty much my final word to baby writers who won't come to LA.  But, I warn you, lots of baby writers who DO live in LA (like me) will also be sending scripts off to all of these contests, and the ones that are programs often want people who have industry savvy and experience.  Being a baby writer with the wrong zip code might hurt your chances in the eyes of the contest deciders.