PITCHING TO AGENTS & PRODUCERS

www.michelewallerstein110.vpweb.com

When a writer needs to pitch their project most of them shrink back in horror at the prospect.  It often feels too much like a performance and performance anxiety immediately rears its ugly head.  Yes, it is a necessary evil and writers must learn to do it and do it well.  The good news is that you can learn how to do it and with practice you can do it well. Once you know how to do it, you might even find it fun and exhilarating.  After all, you are telling your stories and as a writer you are a storyteller. 

There are different kinds of pitching that you will run into.  We’ll discuss the differences between pitching to your own agent, pitching to try to get an agent to sign you and pitching to a producer.  All three are quite different in style and nuance.  Certainly the basics are the same.  You have a limited amount of time to explain an entire movie, describe your characters and excite your audience.  It’s an important aspect of your working life and no one else can do it for you.

PITCHING TO AN AGENT:

  Upon first meeting an agent, at a pitch fest, you should try to sell yourself more than your project.  Agents are not buyers.  They can not finance your movies, but they are the doors to those buyers that you will need.  Your best bet is to project an image of self-confidence along with your knowledge as a writer and your love of the work.  Of course they want to hear your ideas and if you can tell them an interesting story that is a tried and true genre, you will be on the right track.  Agents want to know that you are a good writer, that you are prolific, and that they can live with you.  Being overly aggressive will turn them off, as will being too shy.  They want to hear someone who believes in themselves and their work.  They also want to know that you can listen to suggestions, advice and counsel.  

PITCHING TO YOUR OWN AGENT: 

You will find that you’ll often have to pitch your new ideas to your own agent.  They want to know what you are working on and what ideas you have for future work.  This is done in a much more relaxed atmosphere, with a good deal of give and take. 

PITCHING TO A PRODUCER:

  This kind of pitching involves all of the talent that you have as a writer and a performer.  You need to know your material backwards and forwards.  You will need to show a great deal of self-confidence and yet be willing to listen to their questions and ideas.  Your attitude is always “up”.  Show your enthusiasm for your project in a businesslike way. 

Now go out there and have some fun with your newly developed talent.

www.michelewallerstein110@vpweb.com

Nine Years As a Consultant!

This month is my ninth year anniversary of being a script consultant.  It's impossible not to look back and weigh my choices and decisions.  I'm delighted to say that I chose well and have loved this new career.  After spending so many years as an agent I couldn't imagine finding something else that I would want to do that would bring me fulfillment, joy, fun and a bit of money too.  Being a consultant for writers has done all of that for me.

I've always loved to read and loved the movies.  Having two great careers that encompassed those loves has been amazing.  When I left my world as an agent I thought I was through.  I was exhausted and saddened.  A long rest was in my future.  After a couple of years off there was a feeling of ennui.  What was I accomplishing?  What was my value to the world?  How could I be of use again?

An old friend suggested that I become a novel and script consultant.  It took me a few months of thinking and discussing this to come to my decision to give it a try.  I called old friends who were so encouraging and pushed me forward.  They helped me get started with their enthusiasm and advice.  I will always be grateful to Michael Hauge, Linda Segar, Kathy Fong-Yoneda, and Mollie Gregory who believed that I could do anything I wanted to do and were happy to help me do it. 

I learned that I still loved writers and that they needed me.  My agency work was the background that was perfect to help them move forward and improve their work.  I began getting speaking engagements at writers groups, film festivals and pitch fests.  These have been so much fun and so fulfilling.  I was asked to write articles for various online sites and realized that there was a book inside me that could continue to educate new writers.  When I wrote MIND YOUR BUSINESS, it was a gamble.  What a terrific experience and I'm happy to say that four (4) years later it is still selling like hot cakes!

Well, I'm now looking forward to my 10th year with as much enthusiasm and joy as ever.

Thanks to all of you for making my life so great.



web site:  michelewallerstein110@vpweb.com
email:       writerconsultant67@gmail.com

HOW TO SELL YOUR SCRIPT TO HOLLYWOOD

NOW AVAILABLE ON DEMAND 
   (TAKE IT ANYTIME!)
        

   HOW TO SELL YOUR SCREENPLAY
   taught by Michele Wallerstein
   6-week online course

If your current material isn't getting you representation, then you need this insider's tricks of the trade - now at a special price. Only $300 to have Michele be your guide on How To Sell Your Screenplay and move your career forward.

In this online class, Michele Wallerstein, author of Mind Your Business: A Hollywood Literary Agent's Guide to your Writing Career, and screenplay, novel and entertainment consultant as well as a veteran former Hollywood Literary agent, demystifies the ins and outs of the business of writing as well as how to get the most out of your material and your writing career. Whether you are an up-and-coming writer or a seasoned pro - get your career on track with this special On Demand price!

    

www.esefilmworkshopsonline.com  to purchase and enroll.

email me if you have any questions:

writerconsultant67@gmail.com

   Cost: $300.00

HINTS FOR A SUCCESSFUL SPEC SCRIPT

You want to write for a living. You want to sell that screenplay. Here are some hints to help you further your goals:

 1. You must write "spec" screenplays. Lots of them. Your first one will be awful. Your second one may be fair. Your third one might be OK and your fourth one may be good. Personally I still don't think that four is enough, but I know you will want to sell your first one.

 2. You will need to know the difference between a spec script and a shooting script. You will be writing spec scripts if you are not being paid to write. That's the simple explanation, however there are lots of differences between the two. A spec is a sample of your writing as well as a script that you hope to sell. When you are paid and are writing on assignment it is also a sample of your work, but you will have other people who will give you input left and right.

3. When writing a spec script there are some very important keys that you must know. These things are not written in screenwriting books. They are the unwritten laws of the spec. First, you can't write lots of exposition. These are all of the descriptive passages wherein you tell the reader if it's raining, or what kind of dress a woman is wearing, or the architectural style of a building. It also covers whether the characters are standing or sitting, where they are looking, what hand movements they make or if they walk in or out of a door. Please stop putting all of this into your specs. It will drive an agent or producer crazy. They simply want to know if you can use a proper 3 act structure, have an interesting plot and most importantly if you can write interesting characters.

 4. Stop directing your actors in you specs. Don't tell me what they think, feel, where they look, how they look, what expressions are on their faces, if they walk across a room, if they smile or frown. All of these decisions will be made by the real directors and actors based on the script's dialogue and story information. If you are lucky enough and talented enough to sell your script, it will be rewritten so many times that most of these things will be moot.

 5. Don't crowd your script with too many characters. Ask yourself if introducing the parents or aunts and uncles of the main characters is truly important. If anyone doesn't move the story forward or help the star characters in some important fashion, then get rid of them.

 6. Your stars must be on every page. OK, maybe they are not in one or two scenes, but no more then that. Everyone needs to know that Studio movies cast big stars so that they will at least be assured of a big opening weekend at the box office. Every star wants to be in every scene.

 7. Stop writing flashbacks. Tell that information in dialogue if it is very important to the script. 8. Do not describe every punch in a fight scene.

 9. Do not tell the music playing in the background. Do not write your own lyrics and put it in the script.

10. Do have your star grow and learn something about themselves.


 Now, go back and edit those scripts then send them to me. See my web site at:
www.michelewallerstein110.vpweb.com

MOVIES EVERYWHERE AND NOTHING TO SEE

OK, here are some of the things I want to gripe about.  I can't find movies to go see.  I can't even find semi-old movies on my VCR to rent.  90% of the movies on HBO, SHOWTIME, CNMX, ENCORE, etc. are films I've already seen or won't even consider watching.  I'm a grown up and the major studios couldn't care less.  They just want those male teenagers.  It's called having an audience that goes back and sees the same movie over and over with other friends.  One of the things I'd like to know is where do those boys get all that money for movies, popcorn, candy and sodas.  Thank goodness there are still a few good little independent films. 

I hate all of these re-makes.  I don't care if they were great films or just action junk.  Why aren't the studios making more original films??  It is the death of the new idea and creativity.  Film is an art and we should never forget it.

If you want to be a successful screenwriter, you better learn how to write mindless action pieces.  I know I'm being a bit snarky but I miss going to a movie whenever I feel like it.  I have to wait a long time before a good picture arrives on the scene.  However, the truth is that right now if you are writing intimate relationship dramas or adult comedies, it ain't gonna sell.  They might be good sample scripts so keep writing them and get very good at it.

Another thing I hate is "ghostwriting".  I hate everything about it.  I've even seen some consultants who offer to ghostwrite.  I want to call the writing police and have them arrested.  Your sample specs are YOURS.  If anyone else writes it with you they must get credit on the title page, otherwise you are lying to the producer, agent and development person.   I once had a partner who represented a famous writer who received lots of TV assignments.  He would hire young writers, pay them a very small amount, read the drafts and put his own name on the project.  He made a huge amount of money and I was furious when I found out.  It was fraud.

In the wonderful movie, ROCKY, our hero talks with some kids on his block and warns them that "All you got is your rep". I agree with that statement.  I believe that your word is your bond, a deal is a deal, and you never lie.

Thanks for letting me get these things out of my system.  Take them to heart and become the smartest, best, most creative writing artist that you can be.



Come see my new web site:  www.michelewallerstein110.vpweb.com

CONTACT and CLASS INFORMATION

Hi Everyone:

Just a note to let you know that I have a new web site.  This site will give you all the information on my background and my credentials, along with my screenplay and novel services.
My rates are listed along with my phone and email address.

The site also has a link to my new on-line course titled "MOVING YOUR WRITING CAREER FORWARD".  This course is designed to teach you how to get your material read by the right people as well as what you will need to do after it has been reviewed.  It explains the agent/client relationship so you will know what to expect from an agent and exactly what you
will need to be responsible for in that relationship.  There is also much, much more insider knowledge you must have to succeed in your writing career.  If you have any questions about the course, please email me at:  writerconsultant67@gmail.com

Since the course is on-demand it will be available to you at any time you desire.  I am currently offering a large discount, but that may end at the end of February.  Sign up now!

Check my web site at:   michelewallerstein110.vpweb.com

SUCCESS IN 2015

HAPPY HOLIDAYS MY DEAR FRIENDS!!  Let's make this new year a great one.  Let's make it a year of fulfilling your dreams and aspirations.

You are capable of doing this by redoubling your efforts.  The old saying of putting your nose to the grindstone is the only true way to make your desires come true.  Sounds pretty grueling, but it's true.
You will need to spend more time at your computers writing those scripts.  You'll need to read more, see more movies (old and new), buy books, watch videos and listen to podcasts on writing skills, take more writing classes online and in person.

Try to write 3 new screenplays in 2015.  I know you have jobs, spouses, families and other responsibilities, but you can find the time to hone your craft.

If you have a true calling as a writer, make this year the one where you make it all happen for yourself.

If you write small, intimate stories, you will also need to research small, low budget independent filmmakers.  If you write big youth movies, great thrillers with strong male leads, teen comedies or huge budget sci-fi, then you must spend more time researching the Hollywood Studio world.

I am now teaching an on-line class titled "MOVING YOUR WRITING CAREER FORWARD", via ESE Filmworks.  We have recently decided to offer this as an on-demand course because we know how busy you are and that money can be tight at different times of your life.  I've also decided to make the homework sections of the course as a choice for you. 

This course will be taught in conjunction with my book; "MIND YOUR BUSINESS: A Hollywood Literary Agent's Guide To Your Writing Career".  If you are serious about selling your films, you will sign up for the course as soon as possible.  You need the knowledge to move forward.  There's no point to writing and putting those scripts in a drawer.  You must learn how to get them ready and get them to the right people.  You must learn how to find the proper management team and how to work with them.  Do you know what's expected from you as the client or an agent or manager or attorney?? Do you know how to make all of those pitch fests and weekend seminars work for you?

Lots and lots of questions like these will be answered.  I will mentor you through the 6 week course on a personal basis.  Don't let a lack of knowledge hold you back.  Learn how the system works and make it work for you.

This course is available to you over the internet so that you can take it from anywhere in the world.
Let me help you travel the complex world of making movies.

Go to: http://www.esefilmworkshopsonline.com for more information and to sign up for our class.
You might want to email me if you have any questions at:  writerconsultant67@gmail.com, I'd love to hear from you.  

Have a wonderful time over the Holidays and let's get started early to get your life on your chosen path.