We covered a myriad of topics, starting with all the biographical
stuff–are you Latina, how do you manage your business, how many scripts do
you read in a week, how’d you get your start, etc. Then, we moved onto business
stuff–marketing, concept, getting repped, story analysis (aka what readers
want), fellowships, competitions, living in Seattle vs. LA, genre choices,
pitching, high concept ideas, etc.

As a self-professed “word
girl,” Pilar
excitedly advised and inspired us at the story, character, and dialogue level.
Her honest, yet hopeful insight gave us all food for thought, ammunition to
move on to the next step in our careers, and drove home that we need to get
that spew/vomit/shitty draft out first.

The Q&A was the best we’ve had in a
long time. I was amazed at how specific the questions were, including: how
do I format dialogue when people are speaking in different languages to one
another; how do I denote who is who in a body-switching script; how much description
is too much in a set-up; how to establish characters (via essence statements);
writing an adapted work; and many more. Great.

On Friday, Pilar’s energy level was infectious, which was easily met by the group’s enthusiasm. She said she wasn’t even tired after the day-long workshop. We went from concept to starting a rough draft, in five hours. This was truly one of the most important workshops I’ve taken and I know I will keep going back to the well with subsequent new concepts, first drafts, and rewrites.

All 25 of the attendees got to pitch their loglines, followed by each of us
contributing how our concepts were progressing through Pilar’s process. I was
impressed and excited by the ideas that the writers pitched, and the openness
that people brought to the workshop. If you missed it, don’t worry, we’re bringing
her back, for sure. But, before that, I highly suggest getting her ON THE PAGE
DVD. It’s basically a non-interactive version of her workshop,
which you watch over and over to work out your stories. Let me tell you, though,
the interactive part makes the live workshop all the better. Thanks Pilar

Anyone else tired of this weather? So gray, so rainy, so awful. Even Brando
didn’t want to go out for a walk. I’m sitting in my favorite coffee shop, surrounded
by everyone else trying to get a pick-me-up. About to add some more pages to
my script, hoping to finish by next week.

Since I haven’t blogged about it yet, let’s talk about the amazing BILL TRUE
and DEAN HYERS. These two are on my top 10 list of nicest guys ever. This list
includes Blake Snyder, by the way. We will bring them back again. For those
of you who missed it, shame on you This was hands down the most invaluable
pitching training I’ve ever had.

We were all nervous as hell. Pitching in front
of an audience is hard. I don’t care who you are. Even as President of NWSG
(basically a volunteer Project Manager) I ranked 6th out of 22, which was a
hard pill to swallow. Of course I blew through my pitch in 37 seconds instead
of the allotted 90 seconds.  I left out my catalyst (duh!) and a major
piece of the subtext/set-up puzzle. 

The hardest thing was to admit that
I didn’t do my best, didn’t prepare properly, and sold myself short by not
using all the time.  I forgot that it doesn’t matter how hard we try to
check our egos and pride at the door, they still crash the party. So,
not only did I learn how to pitch better, more from the heart, and how to hit
the major plot points, but I learned that I need to acknowledge that my ego
is right there with me, vulnerable to, as Dean Hyers would say, devastation.

Phew. Who needs therapy when you can just pitch in front of an audience and
get feedback! Imagine if these guys were mean, I think I would’ve gone home
and drank a bottle of Vodka and watched Taxi Driver. But, in this case, I was
appreciative of their knowledge, brutally honest feedback, and I was inspired
to take my pitch to the next level.

Here’s what they said about US…

Aadip,

Dean and I wanted to take a moment to thank you and all the great people of the NWSG for making us feel so welcome and at home this past weekend in Seattle.

As you know, I just sent a message to Linnea Toney of the Austin Film
Festival, telling her what an amazing group you folks have up there. I would
like to echo those sentiments here by reiterating your group really and truly
“gets it right—and it encourages and educates on the art and the business
simultaneously. I am so impressed by the people they get up there to speak—from
Michael Hague to Blake Snyder to Pilar Alessandra. I am even more impressed
by the number of options and potential sales the group is beginning to see.
All I can say is ‘wow.’”

Not only did Dean and I have a great time, we appreciated the groups hunger to learn and to improve. Our hope is that our teaching—based on our personal experience in the trenches—gave them something they can use to help take their writing careers to the next level.

Please send our thanks to the entire group. We look forward to seeing our friends in Seattle again soon!

All the Best,
Bill True & Dean Hyers

Finally, I’m putting it out there. It’s not secret that I am a huge Barack
Obama supporter and consider political involvement an important
part of who I am. I was a delegate to my district and congressional caucuses,
but I’m also going to Spokane next week as a state delegate on behalf of
Obama. I’ve been volunteering on behalf of the campaign for years, even before
there was an official one, so I feel personally involved in his nomination.
That’s the power of a leader like him, he can rally many disenfranchised
voters to at take part and even derive pride and value from the fact that
someone like him can have a serious chance at being President. I want to
say that Hillary Clinton’s commitment to universal healthcare will be her
calling card in the future, whether or not she is involved in the Obama administration
or not. 

I want to congratulate Barack on winning all the delegates necessary and doing
so with class, style, and grace. I’m also excited to try to speak with superdelegates
in WA State about incentivizing filmmakers to shoot their stuff in WA, instead
of going to Canada, Bulgaria, and New Mexico. We’ll see.

How should you prepare for a pitchfest?

First, read Stephanie Palmer’s excellent
book, GOOD IN A ROOM.
Not only is this book informative and accessible, it’s a fun and fast read.
I consider this book required reading for anyone serious about pitching
and taking meetings. You’ll explore every aspect of a meeting, different types
of meetings, preparation, goals, asks, desperation, teasers, trailers, when
to get out, the importance of Q&A, and most notably, building rapport. I also
cannot stress enough that everyone subscribe to Stephanie’s free bi-weekly
tips on being good in the room. I find them invaluable. Stephanie is your one-stop
place to develop, refine, and take the fear out of pitching.

Second, listen to Pilar Alessandra’s latest "On The Page" podcast,
#37: PitchFests with Bob Schultz, Exec Director of the Great American PitchFest
(a co-sponsor of our PitchFest event).  This
installment is a huge source of how to write loglines, pitches, synopses, acting
professionally, approaching the meeting, staying cool, introducing yourself,
etc. Each of her podcasts is like going to film school, but
without the student loans and boredom. It’s easily the best type of programming
on screenwriting anywhere..and it’s free. By the way, Pilar will be teaching
at the GAPF, renamed the Great American Pilar Fest.

Finally, Pilar will be visiting us in July, conducting her much sought-after
workshop, On The Page. People have already started registering for this event,
so sign up soon. 

On
the way to the hotel, Marilyn and I had so much to talk about, from stereotypical
roles for actors of color and our mutual Law and Order addiction to hot rapper/actor/producer-types
(Ludacris, Ice Cube) and the types of concepts coming out of
film schools (Oh no, not another heist or vampire movie).

After barely surviving Friday traffic in Seattle, a few Board Members had
a great time at Taste of India with Marilyn, hearing some old war stories
(Marilyn’s trip to Uzbekistan) and getting our guest sufficiently full of rich
curry, wild salmon, and bottomless chai infused with cardamom.

At the meeting, Marilyn and I had a great conversation/interview about
writing scripts that will attract actors–actors being the folks that really
get projects made–the dreaded or lauded “attachment” thing. Marilyn loved
the questions from the audience, which I thought were excellent.  Marilyn
was an absolute gem, extremely forthcoming, and honest. I learned so much.
I’ll have to get someone’s notes!

I just got back from our workshop at the NW Film Forum (we lost our usual
room for today) and I learned even more. The first thing–the Sorrento Hotel
loans their guests the world’s most dangerous umbrella.
 

We’ve yet to have someone speak from the actors’ or actors’
representatives’ perspective. I think it was instrumental in driving home how
important character development is. We get structure crammed down our throats
till kingdom come, but structure doesn’t sell screenplays–it’s character,
dialogue, and of course, concept. I guess actors don’t look at a script and
say, “Wow,
I love how the writer created that false victory at the midpoint” or
“Man, that catalyst is something I can really sink my teeth
into.” They
want to see that there is a character that a) lets them stretch/leaves them
room to create, b) is compelling/non-stereotypical, and c) they have
an emotional connection with. She confirmed that the worthwhile screenplay
competitions are the Nicholl, Austin, Big Break, and Sundance.

She made it clear that our first ten pages must be stellar
and to view each scene in the film as if it’s the first scene–memorable, meaningful,
and pushes the story forward.

She went around the room and asked everyone to
name two memorable tv/film characters and why they were memorable. The characters
we discussed were: Hannibal Lecter (Anthony Hopkins in Silence of the Lambs),
Travis Bickle (Robert DeNiro in Taxi Driver), Madeleine White (Jodie Foster
in Inside Man), Nikolai (Viggo Mortensen in Eastern Promises), Michael Dorsey
/ Dorothy Michaels (Dustin Hoffman in Tootsie), Erin Brockovitch (Julia Roberts
in Erin Brockovitch, duh), Edward Scissorhands (Johnny Depp in ES), Darth Vadar
(Star Wars), Ophelia (Jamie Lee Curtis in Trading Places), Indiana
Jones (Harrison Ford in Indiana Jones), James Bond (a bunch of dudes in a bunch
of flick), Jason Nesmith (Tim Allen in Galaxy Quest), Ana Garcia (America
Ferrera in Real Women Have Curves), Roy Batty (Rutger Hauer
in Blade Runner), Roger ‘Verbal’ Kint (Kevin Spacey in Usual Suspects), Roy
Neary (Richard Dreyfus in Close Encounters of the 3rd Kind), and many more.

Marilyn also discussed how dialogue, subtext, and description reveal
character–very illuminating.  We reviewed scenes and sides from Habla
Con Ella, School of Rock, Mystic River, The Departed, Three Kings, and Devil
Wears Prada. She also reiterated that we all see Wedding Banquet (Ang Lee).
I think I speak for all in attendance that we definitely got our time and money’s
worth. I’ve never been to a workshop like that before. Did I mention that
Marilyn is just a helluvalot of fun to be around?  She’s
a firecracker. 

Then I gave Marilyn her newly acquired pedometer so she can get all her steps
in (rehabbing her leg). Tom procured some popcorn and shared it with the masses.
Who doesn’t love popcorn?  On the way back to the hotel, Marilyn and I
had a nice romp through Rite Aid–nothing like boding over toiletries,
gossip magazines, and eye drops. 

Tomorrow will be
full of pitching at the Sorrento, which Marilyn is anticipating greatly. She
was unable to hide her excitement about Seattle and the members
of the NWSG. Apparently we’re very insightful. Yay us!  Hey, while those
L.A. screenwriters are at the beach or Coffee Bean and Tea Leaf, we’re avoiding
the rain by penning that next great movie, right? I prefer the beach/writing
combo, but I always get too much sand in my MacBook, and Brando gets sunburned.
His poor pink belly.

Oh, I found this
old Seattle PI article from Thursday, April 20, 2006 about how everyone wants
to be a screenwriter instead of being a novelist. We made the list of some local
resources for aspiring screenwriters, including "Best Local Support System
and Best One-Stop Rundown of Script Contests." Yay us again. It is again
if it happened two years ago?  Whatever.

Laura and I are about to sit down and watch The Mark of Cain, a documentary
on russian criminal tattoos. It’s probably cause of all that talk about Eastern
Promises today. I love that movie.

On Saturday, they heard 30 pitches, yep, 30,
from our Compendium Members. All the while my dog, Brando, was running around
like a crazy pup. Funny enough, the execs requested his presence at the pitches.
I think he helped calm a lot of people down, too. I hope.

Matt and Kevin felt that our pitches were “a cut above” what they usually get down in LA. Pretty cool.
Finally, I’m happy to report that the execs requested contact info for eleven Guild writers so far. Way to go NWSG!

Lastly, we’re pleased and excited to start promoting our next event, April
11-12 with Catherine Ann Jones. She will be presenting her much-lauded Way
of Story workshop. Did I mention she’s got an NEA Award, Fullbright, and several
others? This one will sell out.

Way of Story may appear as a deceptively simple memoir/manual, but it is not.
Catherine rockets you into the essentials of craft, as well as urging you to
dig deep into yourself and transmit your emotions to the page, and the story.
Few books simultaneously pay equal attention to both the architecture AND the
soul of the story.  Finally, I think the book offers gems to both novice
and experienced writers, including advice and a bounty of challenging exercises
to get the ideas out of your head and onto the page. I wish I’d had this book
when I started!

Here are some tips to stay sane at the Expo:

General:
- Bring snacks so you don’t have to spend a ton of money at the hotel feeding yourself.
- Bring a ton of business cards.
- Bring a lot of paper and pens. I ran out a ton last year. Didn’t even use my laptop to take notes.

Pitching:
- The atmosphere is very hectic because everyone else’s nervous energy will permeate the hallways. People will be especially nervous because of the impending Strike. Right now agents are being asked by studios NOT to submit pitches or scripts.
- Don’t dress like you are going on a job interview (no suits). Clothes should be clean, comfortable, and more on the casual side, but not sloppy.
- Take a deep breath, practice your pitch, and make sure you have a one-sheet leave-behind. List your Logline/Pitch, break out each Act with a short description, include the Climax and Resolution, Main Male and Female Leads (with possible casting ideas), and your Contact Information.
- Don’t feel compelled to fill up all the time by going on-and-on about your story. Hit them with your pitch (30 seconds-1 minute), and hope they ask questions.
- Practice getting your pitch into a conversational tone, and make sure you give them the title, the genre (fish-out-of-water comedy, a revenge story, etc.), and bring note cards so if you get nervous/confused, you can refer to it.
- In some cases you’ll get a “What else you got?” Have another script/story idea that you’re ready to pitch.
- DO NOT…. DO NOT bring props like a musical instrument, stuffed animals/puppets, t-shirts with your movie’s logo on it, etc.
- Remember that most of the people you will pitch to don’t want to be there. You’ll get some 20-year-old with no experience listening to your pitch. Don’t take it personally if they reject it outright. They know less than you.

Classes:
- Take advantage of the interviews and panels with working writers. You will learn volumes from their trials and tribulations.
Get there really early for the big names, though. Last year we couldn’t get in to see Oliver Stone and we got there over an hour ahead of time.
- Don’t worry about the arbitrary designations for attending the Advanced and Pro seminars. If it interests you, go. People in the Guild tend to be far more experienced and prepared than most of the people who attend Expo.
- Take at least one course on the film market/industry. For those of us outside of LA, it is important to stay connected to what’s going on.

By the way, I offered up some pages from my brand-new script (concept tested in the BSBS workshop), which will have some key mistakes in it, so you guys better have some examples of how I screwed up. Consider it payback for those of you whose scripts I’ve ripped with a red pen. 

My favorite Hauge gems of the night were, "Nobody likes to be grabbed, they want to be seduced in the first ten pages" and "When anyone in the industry reads your screenplay, they are doing it under duress." 

I’m pretty exhausted, but pleased that we now have 97 active NWSG members. NINETY-SEVEN. Go out and recruit three friends! Thanks to Diane for gatekeeping, Deb and Judy for bringing refreshments, Wally for getting Hauge up here, and Betty and Mark for being good company/good sports.  If I forgot anyone, forgive me.

Saturday’s workshop will have 46 attendees, with a tentative schedule as follows:

- Overall Structure
– Character arc and transformation
– Love stories
– Lunch break
- Pitching
– Exercises: Loglines
– Trash Mark and Aadip’s scripts
– Coach Pitches / Q&A