Save the Cat! Strikes Back: More Trouble For...

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Save the Cat! Strikes Back: More Trouble For... Page 16

by Blake Snyder


  Unique variations on the writing partnership have been attempted by super talents such as Ron Bass (Rain Man, My Best Friend's Wedding), who hires a team of writers and has them under contract in a kind of atelier. It's much like a Renaissance painter who might run a studio that bears his brand but to which multiple apprentices contribute.

  There is always a new way to work together. At Strike Back U. we encourage all such collaborations. Not only is there safety in numbers, but a solid partnership can turn out great work fast, and with the least amount of writer whining.

  The best teams are 1 + 1 = 3. You are better together than you are apart. Each owes everything to his or her better half, who sat with you while you went through your divorce, put up with your annoying o.c.d. habit of always making sure the page breaks look nice, and let you down easy when the joke you try dies a miserable death. There's nothing better than true partnership, and the best ones pay tribute to this unique bond. Yes it's true:

  There's no “I” in team…

  … but in a good team there is plenty of I. O. U.

  AGENT SWITCH

  As stated earlier, agents tell writers they will spend the first half of your career putting you into a box and the second half getting you out of it. Hence this elective, for what happens when the box the agent put you in is a coffin… and the agent is hammering the nails?

  If you are uncertain if your agent's time on Planet You is growing short, try taking this simple, if teasing, pop quiz:

  1. When my agent calls and tells me I have a meeting with “one of the Wilsons,” I assume he means…

  a. Owen

  b. Luke

  c. Mr.

  2. The last time my agent called, it was to inform me…

  a. I had just sold a big project to the studio

  b. I had just received an offer from a top producer c. I owed the agency money for postage

  3. My agent represents me because of…

  a. My years of experience

  b. My multi-faceted talent

  c. My incriminating photos from the Disney retreat

  If you answered (c.) to any of the above, it may be time to switch agents. Your rep has lost interest, or doesn't know how to sell you. It's painful but true: It's time to commit tenpercenticide.

  But how do you handle the time honored “agent switch” — and still keep your integrity intact?

  We hate sneakiness at Strike Back U. Our motto, translated from the Latin, is “ethics, ethics, ethics” because we know that when the points are totaled, it is better to have played the game honorably.

  And yet…

  If you really have decided to switch agents, you have to play this horrible game… without telling your agent you're doing it. Like looking for a job while remaining at the one you're in, you become less attractive if you have no home.

  So you must keep your foot on base till you're ready to go.

  Odds are if you are on the market for new representation, part of the problem is your lack of heat. You have to do something that will raise your temperature without your agent, so that you can bring yourself and your new ideas to someone else.

  This means letting it be known you are “in play.” And this is where having a lawyer or a manager who is also aware of these problems can really help. Maybe you're just overly sensitive? Maybe you just have task avoidance about the latest assignment your agent got you that you're stuck on? It's usually best to get someone else's opinion about your situation because you are not always the best judge. And if you think stirring things up will generate new heat, the word quietly gets out.

  “In play” means that if anyone out there is interested in representing you, they may now consider it fair game to take you to lunch to talk about your career — not that this hasn't stopped them from doing so before. Only you had kyboshed that before. We hope.

  Nothing is worse than an agent flirt.

  If you are serious about switching agents, great. But don't schedule a meeting with one and be coy about it. If you want new representation, fine; if you just want lunch, buy it yourself.

  And get ready for action. The pitch from possible new agents will be overwhelming.

  All kinds of new techniques for representation will be laid at your feet, for example (drum roll), the agent “team”! Someone to represent you in TV, in new media, and with corporate America (meaning you can write commercials on the side). Mostly what the new agency will be stressing, without being petty, is how your current agent does not appreciate you, and how they do, and will serve you better.

  Will they?

  What you are looking for is not the dazzling wheels and gears of the new agency, but the who. Are you sensing that the new guy or gal across from your Chinese Chicken Salad gets you? Is there a burning desire in your heart that is not being met, a lack of attention to, or staleness in your current relationship that will be revitalized or enhanced with this new person?

  It's a gut reaction.

  Return to your earlier course work in HEAT AND YOU: AN OVERVIEW. Review your one-, five-, and ten-year plans and see how they are being met by your current agent. But remember, the new agent really, bottom line, doesn't have any more contacts or insights than your last agent, only different ones. And remember too, as far along as you are in your career, nothing's changed:

  Whaddya got for me?

  The Big Picture: “Get me Beach Nuts!” One of the best cautionary tales about Hollywood ever, The Big Picture captures lunch with an agent (Martin Short as Neil Sussman) that still rings true.

  Maybe before any of this dance with a new agent begins, you should come up with something like a new spec screenplay, a virgin no one's seen that you'd be willing to show a new agent if she says the right things. But be careful, too. Agency coverage is forever. When you hand a script to any agent, you must assume it will be turned over to agency readers, reviewed, and catalogued for better or worse, and even be made available to studios. Ideas we can share forever, but actual scripts — especially virgin specs — are gold, and their value decreases the moment you hand one off to anyone.

  You also want to know: Who are your contacts? Who can you get me to that my current agent can't? Only you can say how important this is, based on your present and future goals.

  At the end of the day, you can call up your new suitor, or let it be known through the person who set up the meeting, that it's either a go or not. Strike Back U. recommends that you always be open to finding those people who can help sell you best. But switching agents is like plastic surgery: Don't get addicted. An agent face lift will only help revitalize you so much, but if you start switching as a matter of course, your lips shot up with Botox and your eyes lifted with every new makeover, you can look like what you've become: used goods. Avoid this. Switching agents, like getting an agent, only takes you so far. The real work is the writing skill you must forever be improving.

  A new agent can help revive your career…

  … but doesn't make a new you.

  ANTI-AGING AND WRITER REJUVENATION

  Is there ageism in Hollywood?

  Yes and no.

  We can cite hundreds of writers who feel there is, and can claim it was “being over 40” that did them in (not realizing it was the fact their ideas were “over 40”). For every sad story there is a hopeful one. Alvin Sargent, a Strike Back U. All-Star, had been writing for 40 years when he hit Spider-Man 2 out of the ballpark. And Horton Foote was going strong well into his 90s. In TV, it may be true, but in movies, we care less about someone's age and more about their ability to write primal, meaningful stories. For those breaking in late, this seems like a barrier.

  It's not.

  And yet like considering getting a new agent, the phrase “re-inventing yourself” comes up after a certain point. If you've reached a dead end, or feel like you have, what can you do to jumpstart your sagging career, and make yourself appear trimmer?

  ► Youth injection. We know many an older writer who has paired up with a younger one. T
here is merit to this tactic. It's in a sense a fair swap: my experience for your fresh approach and insight into a market I may no longer understand.

  ► Working for free. This doesn't mean giving away work; it means working on projects like short films, webcasts, etc., that aren't paying gigs, but may lead to them. If you don't need the money and like to experiment, it might be the best way to pursue your more creative, less commercial, side, too.

  ► The Other Side of the Desk. Many writers moonlight in development, often taking jobs that help them get a better feel for the market, so that when they write their projects on the side, they have a better chance of selling. Many times you will see development executives put a pseudonym on their spec script when it's sent out, not only to avoid conflict of interest if it sells, but embarrassment if it does not. Overall, this is a great way to keep in the game.

  These strategies for rebooting your career can work, as do attempts to play producer. Many times the screenwriter will graduate to a producer role, parlaying early success as a writer and then buying the rights to a news story, novel, or other property — and attaching himself not as writer, but as producer. See, there are all kinds of ways to skin Ol’ Cat, and being fleet of foot, sensitive like a Cat! burglar to every noise in the night, and forever attuned to the changing winds is the only way to be.

  And that's what Strike Back U. is about:

  It's not personal, it's business…

  … and there's plenty for everybody!

  STRIKE BACK U. SABBATICALS: LEAVING LOS ANGELES

  Sometimes when all else fails, we have to pick up our ball and jacks and go elsewhere. Whether long term or short term, getting out of Dodge can be a healthy reboot for writers who find them-selves stalled in L.A. at any stage of their careers. Be advised it's not the only game… or the only town.

  We spend our careers trying to break into the business, then one day the smart move appears to be breaking out. And one of the solutions many screenwriters are finding is moving away from Hollywood to “film towns” that offer a new freedom and a revitalized sense of the possibilities the business has always offered. Hollywood, remember, was in itself an escape destination. It was running from Thomas Edison and East Coast film syndicates impairing their ability to be free that led pioneers to settle in Hollywood and begin the Golden Era in the first place.

  There is an argument the era is over and that the business is going the way of the music industry, with more independents, do-it-yourselfers, and wildcat entrepreneurs who need only a narrow but loyal audience to continue making a living. Perhaps, the current wisdom goes, those seeking more freedom should take their act out of town — often for good.

  And there is quite a variety of locations to choose from.

  In my travels I have discovered many such spots, some for real, some yet to emerge, and a few not as advertised. These cities offer the most hope for Hollywood II:

  Austin, Texas – “It's like Mommie, Dearest and you're the kid who only knows what it's like to be beaten, and then one day you have a new mother. It's like a brand new life.” This is the description writer Anton Diether used to recommend his decision to move from L.A. after a 20-year career. After years of being rewritten and told “you're the writer, just write,” Anton is now pursuing both writing and producing, and Austin has proved the perfect spot. As a film community, the city has great prospects for becoming the real deal. Both the annual Austin Film Festival and South by South-west offer access to Austin's other great creative community, the music business, and the talent pool for both above and below the line is indicative of a bright future. Directors Robert Rodriguez and Richard Linklater, and stars like Sandra Bullock and Matthew McConaughey call it home. The true test of a film town is talent, not just tax breaks or “facilities,” and Austin has not only the creative chops but an independent streak a mile wide… and bats!

  Atlanta, Georgia – All planes go through Atlanta, an air travel hub. The city's always been a busy commercial center for advertising and industrial film, and has a vibrant music industry too. Tyler Perry has made camp here, operating a booming studio that does both TV series and films. Perry also has one of the best methods for evaluating films to be produced: the church play circuit. Weekends find Perry testing out his stories, much like stage performers in years past tried out material for their movies on the nightclub circuit. His studio is the center of a definite revival in independent filmmaking here, and though plagued by initial conflicts with both the WGA and the DGA, the balance of being away from L.A. has worked for Perry and others in this growing film community.

  Vancouver, British Columbia – The tax breaks are still great in Canada and the film business thrives here (and in Toronto). Like raising money to make movies anywhere, there is red tape involved, but here it's the governmental kind. Those bureaucrats play favorites just like at the studios. Lots of series production, especially American cable fare, is located here. Many B.C. professionals have lives in both L.A. and Vancouver.

  Portland, Oregon/Seattle, Washington – Kind of a tie between these two places. Portland's film scene is wildly independent, with local patron saint Gus Van Sant the leading light in the city's Pearl District, and a great annual film festival. Seattle, on the other hand, has a vibrant indie biz too, with lots of writers groups like the Northwest Screenwriters, and lots of contests, short film festivals, and independent theaters and actors ready to work. Both cities are populated with L.A. escapees, many of whom use the relatively short commute to justify living in the Northwest but still working in Hollywood.

  Other cities and countries around the world offer similar chances for escape. UK, Australia, South Africa, India, Hong Kong, China, and Brazil have a growing global presence and an appetite for seasoned Hollywood filmmakers looking for a change of pace. Yes, there always is a new film community springing up somewhere, but the goal remains the same. Leaving Los Angeles is a great way to use what you have gathered here at Strike Back U. and take it to a place where these lessons can be put to use.

  TUITION

  The best news about Strike Back U. is: Tuition is free. Whether you take classes in Los Angeles, New York, Chicago, London, or Sydney, or in the farflung campuses of India, Hong Kong, South Africa, and Eastern Europe, the rigors are similar, and both challenging and exciting. You the writer have a free pass to jump in and start learning.

  And it's better than film school.

  Putting yourself into the work-a-day world, trying to beat the system that is both welcoming and guarded at the same time, is the real test. And keeping your wits about you is really a matter of knowing what you want — and what you can deliver.

  But the final subject, which we'll talk about next, is not taught in any school.

  chapter 8

  DISCIPLINE, FOCUS, AND POSITIVE ENERGY

  Blake's Last Blog /August 3, 2009

  “The most important thing to do is to love what you're doing. That way, getting better at it isn't a struggle, it's a pleasure.”

  At the outset of this book, I boldly declared that I was about to offer you a soup-to-nuts guide for how to get out of any frustrating corner writers find ourselves stuck in.

  But have we missed the odd bisque, or random filbert?

  We've talked about all manner of story problems, from concept and logline to the hurdle of presenting both.

  We've examined the fine points of every section of a script and seen how each has its own demand and tone.

  We've gone over the mental body English (is there such a term?) required to sit still while executives who've paid us to write, rip apart our beautiful writage.

  And we've given you some really lovely “inside the Beltway” tips on how to find, keep, and hondle your career — discussing everything from firing an agent, to finding a writing partner, to coming to grips with the possibility your future is outside the Beltway.

  So what are we missing?

  Ah, yes! My favorite!

  The subject we haven't discussed, not overtly any
way, is that part of the process that is invisible — that part of “hitting the wall” that, like the hero of every good story, requires you to “dig, deep down” and find the inner strength that goes beyond the material world, that part of tapping into the big picture in which you too are touched by something you've heard of, but maybe don't believe in.

  Yet.

  And if I am a man of my word, and I am, I will now attempt to discuss this powerful experience.

  But only if you promise not to tell.

  This is just you and me talking now.

  That screenwriter who won an Oscar® with his very first screenplay, we'll say a quiet prayer for him. We who have to struggle to find our stride, we who bang our noggins against the wall not getting it, I'm letting you know right now, are ahead of the game when it comes to this part. Because if you are six scripts in and haven't sold a thing, if you are stuck on a script you know is “the one” but can't get it right, if you're sure you have “the stuff” and yet are not quite connecting, all the tools — and all the success in the world — won't give you this part.

 

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