You’ve probably have heard that you need to schmooze in Hollywood, and sometimes hearing this makes actors shudder because they feel it means they need to be fake, manipulative, and a put-on. The fact is that schmoozing can be thought of as simply being very *** with talent agents, personal managers, movie producers, directors, and everyone else….
Mastering the art and skill of writing a compelling logline is critical for screenwriters who want their chance at success in Hollywood. Your very first step toward that success is to get a producer or studio to say YES to reading your script AFTER they read or hear your logline! In this article, we will clarify some
Lots of Screenwriters say they’ve done everything they know to do and are still not achieving the goals they want, still not getting their scripts read. This two-part article series is meant to help you set your goals and then break them down so you have actions to take on a daily basis. Whether your
Most screenwriters know that networking and getting to know producers, agents and managers – or have them know you and read your work – is critical to a successful screenwriting career. You’ve heard how you should attend networking events, and you know you need to take the plunge yourself. So you pay your money to
Along with selling a screenplay, early on, one of your first goals should be to get a “Screenplay By” credit on a produced movie—even if it’s a bad one! You get the bragging rights of saying you are a produced writer. If the movie stinks, you can always say that the producers and directors changed
When you pitch your screenplay to a Hollywood executive, whether in a one-on-one pitch in person or in a query letter, your story needs to have a hook and it must come through in the pitch. While you may have heard the term, I’ve found that most writers don’t know really know what a hook is.
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