Follow @mark_anthoneyD Follow @mark_anthonyD Follow @mark_anthonyD

Monday, 28 October 2013

How Do You Write? The Answers of Notable Screenwriters

How Do You Write? The Answers of Notable Screenwriters May Help Your Process

10.19.13 @ 6:04PM Tags : 
ScreenwritingScreenwriting, as most of us know, isn’t just about sitting down at your computer and slapping your fingers across the keyboard until you have a story with a beginning, middle, and end. It takes preparation, study, hard work, and lots and lots of rewriting to put one together, and offering insight into this tempestuous process through BAFTA’s web series, How I Write, a collection of screenwriters talk about their experience with preparing, writing, and rewriting screenplays.
Offering up their expertise are screenwriters David S. Goyer (The Dark Knight trilogy), Hossein Amini (Drive)Susannah Grant (Erin Brockovich), Tony Gilroy (The Bourne series), Richard Curtis (Love Actually), and Peter Morgan (The Queen). Each writer touches on the different stages of screenwriting and shares the tools they used to get through each one.
All three episodes of the series are available now, so we’ve linked to them below, as well as compiled some takeaways to consider as you’re watching.

Preparation

If to you preparing to write a screenplay means changing into a sweatshirt/sweatpants combo while a free screenwriting program downloads onto your computer — I think it would be wise to go ahead and get serious about some things. Writing the actually screenplay is the last thing you do after accomplishing a battery of tasks.
The screenwriters from How I Write mention how they prepare by researching. If you don’t research your screenplays much, this might be a hard pill to swallow, because it’s fun and romantic to sit down to write a screenplay, but reading up on common communicable diseases from 1930s New York is not so much. Read books, interview people, watch films, travel to places in your story — all of that comes before you type “INT” or “EXT”. From there, drafting an outline or compiling scenes on index cards are also helpful steps to take before starting your first draft.

Writing your first draft

It’s natural that when you first start writing your first draft to be overly critical of your work, because it means so much to you and you want it to be perfect, and great, and whatever. But, one of the nicest things you can do for yourself is to turn off the critic and let the artist work unimpeded. There will always be a time for you to tear it apart later, like a cut-off, acid wash jean vest-wearing hammerhead shark with shades and a pink mohawk (meet my editor, everyone.)
Also, and I’ve never asked myself this question before, but is it better to write screenplays from page 1 on, or to jump around from scene to scene? The screenwriters on BAFTA’s web series seem to think linear is the way to go. Besides, there’s something about writing the screenplay linearly that seems to work well for crafting stories; it’s easier to get a sense of tone, tempo, and flow when you write this way. But, that doesn’t mean you shouldn’t write that great, important scene when it comes to mind.

Re-writing

Re-writing is difficult. If you haven’t already run out of steam and passion and exuberance for your story, you might be digging yourself a massive re-writing hole. Some just want to be done after the 1st or 2nd draft, but some obsess and write 10, 11, 12 drafts hoping to make the screenplay a little bit better each time. Screenwriter Peter Morgan says that if there is something good in your story, you’ll usually see it by the 2nd draft. If you’re on your 10th draft, he says, it may be time to start a different story.
This was actually mentioned in the Preparation video, but it felt more relevant to re-writing. Hossein Amini mentions something that you might be able to catch in your own writing. He says that getting to know your characters occurs throughout the entire screenwriting process.  You’ll be learning about who they are even in the 3rd and 4th drafts. So, if you’re noticing that your screenplay is dialog heavy — like, embarrassingly expositional and wordy, don’t worry. You may just be discovering through a, I guess, pseudo-meta-conversation with your character who they are and what they’re about. They’ll talk less the more you know them.
What do you think about the insight offered in the series? What have you struggled with in each stage of screenwriting and how did you get through it? Let us know below.

Monday, 12 August 2013

Entries in Audience (10)

Entries in Audience (10)

Your Fans Won't Come to Your Shows...

That’s right, on average, 75% or more of your fan base won’t make it out to a show on your next tour. Proximity. Sold out. Cost. All factors which can keep your most loyal fans from attending your next killer show. Learn some creative ways to engage your non-attending fans.

Finding Your Natural Audience

Songwriters, do you know who your natural audience is?
Your songs exist at a point within or outside the commercial mainstream. If they fall in the mainstream, they are similar to other songs, and are most likely to be embraced by a pop audience. If they hang out on the fringes, they are discernible from other songs, and are most likely to be noticed by a niche audience. The pop audience is larger and more accepting, the niche audience smaller and more discriminating. Each has its pros and cons.

Making New Fans in Unexpected Places

Whenever I write an article about sponsorship or marketing, I always talk about finding your unique, target audience. As bands, we usually focus on the genre: people who like certain acts that resemble our music. Sometimes, we base it on the subject matter of the songs or even the band’s image image. However, have you considered just connecting fans who have a similar personality or interest as the band members? Using our passions and some concentrated effort, we can make new fans in some unexpected places.

What if your Band only had One Fan?

What if every band had only one fan? What if live music was no longer available? What if there was no fame or money involved with music? What would you do?

Reason #1 for The Fan Experience – A Take That Story 

At the tail end of 2005, I was sitting in my office as Digital Product Manager at Sony (BMG) working on the Take That website. The band had been away for ten years. Take That were making their comeback and this event was marked by many things - a documentary charting their career, a new “Greatest Hits” album called “The Ultimate Collection - Never Forget” and of course their first official website. Until this point in time the “Take That Appreciation Pages,” had occupied the prime real estate of web space as the number one destination for all things Take That. The owners of the “Take That Appreciation Pages,” were doing a better job then we ever could have at managing the fans. Resources at Sony were stretched between many, many artists. The Take That Appreciation Pages,were dedicated to their cause. When it came to Take That as Lulu said in the documentary you weren’t so much a fan as you were a disciple.

The Crowdfunding Quandry: Sales Vs. Art Vs. The Little Voice Inside Your Head

Here we are at WEEK 9(ish):  60 days in, with 15 days remaining.  Phil has $3,888 raised (39% of the $10,000 goal), and $6,112 needed to get to his goal. It’s been a journey to have a front row seat during this process.  As you may know I believe that crowd funding is a vital tool that artists will be using for the foreseeable future and I have been blogging a series here on MTT called in Defense of 1,000 True Fans, where I have been interviewing artists who are proving the model and creating sustainable livings from their music.  Phil points out that 200,000 people have been exposed in some way to his campaign and that 0.0003% people engaged.  I would like to point out a few other things.
First of all I want to commend Phil: To have 60 True Fans or “Super Fans” (the amount of people who have contributed to his campaign so far) is no mean feat.  Especially since Phil very rarely performs live and he has not had a mass exposure event (such as a placement on a major TV show).  These are two factors that seem to make major impact for artists, according to the interviews I have conducted so far.

Swami Sivers on Leadership

In case you have not seen this video on leadership lessons by Derek Sivers, have a look.  This video is destined to be a classic, and it’s one of those YouTube videos that parents should consider showing to their children.

Man wins Grammy award and then racks up seventy-eight plays on MySpace the next day.

Several days ago, Allan Shadow published a colorful tribute post about David “Honeyboy” Edwards and how he received a Lifetime Achievement (Grammy) award last week. 

Here’s a ninety-four year old man that has given his life to songwriting and music.  How could we (humans) not be somewhat interested in this story?  At least that’s what I thought.

I counted seventy-eight plays on MySpace (where Mr. Edwards’ online presence is maintained) - twenty-four hours later.  It’s kind of shocking at first, but I guess it’s not all that surprising when you think about our culture.

If you have fans, an audience, Twitter followers or Facebook friends, please let’s show this man the ATTENTION he deserves. 

Congratulations Mr. Edwards.

Honeyboy’s Grammy: A Moment for a Great American Voice

The legendary bluesman David “Honeyboy” Edwards received a lifetime achievement award at last night’s Grammy Awards ceremonies. One of the last of the first generation bluesmen, Honeyboy was a close pal of Robert Johnson and a contemporary of Charley Patton and other blues pioneers.

The 94-year-old Honeyboy was instrumental in establishing a unique American voice, one that was born of slavery and struggle, spirit and magic. It’s a rich history that begat rock and roll and even rap. Artists from Bob Dylan and the Rolling Stones to Jay Z emanate from those underpinnings, and many more contemporary artists have paid homage to this field of music from which they came.

Music Think Tank Notes and Etc.

A new design for Music Think Tank
In case you have not noticed, Music Think Tank is sporting a new look and feel.  Thanks to the excellent work of Kynan Griffiths of Sculpt.  Note:  Sorry, we no longer support IE 6 (Not sure if we ever did?).

10 Questions Artists Should Ask Themselves at the Beginning of Their Careers (To Increase their Chances of Success)


10 Questions Artists Should Ask Themselves at the Beginning of Their Careers (To Increase their Chances of Success)

Every young artist has their reasons for working hard at their music, yet so rarely do they ever define these reasons to themselves, bandmates, and their team. Some reflective thinking and sharing could lead to a great deal of clarity when running your business (well, band).
I’ve seen success get in the way of an artist’s core values and goals too many times. Sure, goals are allowed to change and augment, as circumstances do, but too often do great goals get lost, and that bands fold on the brink of their success, and abandon everything they have worked so hard for.
Thinking about these questions and sharing the answers with your team might be hard, but it could help bring you back to what’s important OR save you from wasting your time with the wrong team, and pursuing your career aimlessly in different directions that will never connect.
I realize there is, of course, that underlying passion and urgency that we all have that tells us we MUST work in music and there’s no other choice. My point is to not question that feeling (always trust that feeling), but instead use that gut feeling and turn it in to productive aids in defining you career goals and path. The 2nd important aspect is to show you the importance of clearly communicating that with your team.
This advice is not just for musicians but could be useful for any business owners. Asking these questions will prepare you for future curveballs and ultimately protect your dream. Stay focused and you just might get everything you’ve ever wanted!
Question #1: Do I need validation in order to feel that my music is good?
What factors do I use to rate my musical output? Are these factors productive and healthy, or are they holding me back from taking risks? Who do I trust to give great feedback on my music and why? When writing do I think a lot about what different people are going to say or think? How do I think this affects my songs?
Question #2: By what terms do I measure success?
When thinking about success and my music career do I use a scale based on internal goals and surpassing them, or based on the market and my position in it? Do I have a balance between internal goals and external position? Which element is more important to me? Why does one element (internal or external) weigh more than the other to me?
Question #3: As an entrepreneur and business owner, what are some of my biggest weaknesses?
What are areas I realize I am struggling in or I fear that I will? Why do I feel this way and is it justified? How do I plan on improving my skills in this area and ensuring that this weakness does not get in the way of my career development? Are these weaknesses tied to particular insecurities I have due to past experiences? How do I ensure I don’t let these insecurities make bad business decisions for my career?
Question #4: What elements of my career bring me the most stress?
Can I handle those elements always being present? What tools do I have that can help me manage this stress? Why does this element cause so much stress?
Question #5: Do I trust and believe in my partners (band mates, team etc.)?
Do I have any doubts that they might not be on the same page? How will I address these feelings if I ever did? Do we all envision the same ideal situation for our career success? Do I trust them to represent and share the same morals and standards with me? Do I enjoy hearing their feedback and asking their help when it comes to my career? Do they challenge me in healthy ways on a regular basis? How do I communicate my needs as an artist and human being to my team? Is it a constructive work environment?
Question #6: Do I believe I can be the biggest artist/band in the world with unwavering confidence in myself and my team?
This question is hard to admit, but sometimes to achieve big scary goals you have to say things that may sound a bit crazy. I truly think that, to be the biggest band in the world, you don’t get there by believing that you’re not ever going to be there. You need to believe that you are going to get there and can.
So… Can I be the biggest band in the world? What raises doubt and gets me down? What or who can help me keep on track in these moments of doubt?
Sure one could argue that it’s healthy to have some doubts to help propel you forward but there is a difference between some small doubts and a big gloomy doom monster lurking in your gut. Ask yourself, Do I have a big gloomy doom monster lurking in my gut?
Question #7: Am I ready to really truly work and give everything to this dream?
Is there anything holding me back? Are there any side projects, other careers, or back up plans left open ended that I need to tie up? Do I care what my friends and family think of my career choice? Do I enjoy working all hours of the day and night? Am I ready to really develop a serious work ethic and push through the aspects of this career that are unenjoyable? What am I willing to sacrifice?
Question #8: Is there a point in my career where I see myself hanging my hat up?
What is that point and why? How did I arrive on this idea? If I do have a hat hanging moment, what will I do after the hat is hung?
Question #9: How do I want my writing and songs to affect people?
In detail, what do I want my listeners to think? What if they think or say the opposite? What would be the most flattering compliment someone could say about my writing?
And most importantly…
Question #10: What are the values I will consider when making hard career decisions?
What are the most important things for me when it comes to making a mark with my music? Will I always keep those at the forefront when decision making? What could potentially challenge those values down the road? In what order will I consider these values and why?

Saturday, 3 August 2013

Acting Auditions for Kids & Teens: What You Need to Know

Acting Auditions for Kids & Teens: What You Need to Know

Auditions for kids and teens are plentiful. But you have to know where to look. (And who to talk to...) So let's get started!
What do stars like Natalie Portman, Drew Barrymore, and Leonardo DiCaprio have in common? They were all children when they got their start. And they all had an agent.

Agents and Managers

For adult actors, representation is not as important. It's better to focus on finding auditions and mastering their technique. Getting an agent happens when they're working consistently. It happens when they're ready.
But when finding auditions for kids, they must have an agent first. Why?
Ever been to an open casting call for the Disney ChannelIt's a zoo.Everyone and their mother is there. Literally.
(And speaking of Disney, read my article about how to become a Disney Channel actress.)Auditions for Kids
Agents and managers can save you from that stressful experience by getting you a private audience with the powers that be.
Here's how to find an agent/manager for kids:
  • 1. Do your research. Google acting studios in major cities near you. Call and ask if they teach a class for kids (or teens). If they say yes, it almost alwaysmeans that they're looking for local talent to sign.
  • 2. Take a class. The studio might offer kids' courses from 6 to 9 weeks long. (This is another good signal that the studio is poaching kids to sign contracts.)
  • 3. Snoop around. Ask questions, seek answers. Someone connected to that studio is an agent or manager. Make sure they know who you are.
  • 4. Be talented. They won't sign just anyone. From a class of 30 kids, maybe 1 will be approached about working with an agent. Make sure it's you.
The strategy is simple: Find the right community and become an indispensable part of it. This is how success works.
If it doesn't work the first time, try again with a different class. Or even a different acting studio. Keep your eyes and ears open. It's easy to become a child actor, you just have to be in the right place at the right time.

Be Careful

Some agents and managers can get you into private acting auditions for teens and kids. Absolutely. But others are just liars and charlatans. Here's how to tell the difference:
They ask for money. If an agent or manager tells you there's a fee for signing his contract, run the other way. Why?
Because agents and managers get a percentage of what you earn as an actor. If they ask for money up front, it means they might take it and disappear.
And the same goes for organizations like ProScout, which promise to set you up with agents and managers.
Hide your checkbook. Period.

Acting Training for Kids & Teens

Kids have a wonderful capacity for imagination. Much better than us adults. And imagination is one of the key components of acting talent.
In my experience, acting classes stifle a kid's ability to imagine. Too much structure and not enough creativity.
"But Adam, you just told me to sign up for an acting class!"
True. But stick to classes like voiceover or commercial technique. Anything that doesn't directly involve acting methods. Plenty of time for that later. Make auditions for kids your first priority.

Stage Mothers

The musical fable Gypsy is about Mama Rose pushing her daughters to be vaudeville performers. But along the way, she exposes them to adult situations, and destitution.
Mama Rose is the ultimate stage mother: Agressive, domineering, and downright pushy. So what happens to her? She ends up alone, desperate, and abandoned by her family.
A simple word of caution for parents: Make sure you're not confusing your kids' dreams with your own. Don't push them.

The Bottom Line

Auditions for kids are out there. But it's a wild world, and you should only do business with people you can trust. If you follow my advice, you'll be a real working (child) actor!