My close friends and family would probably drop and roll with laugher if they were to read this but I am very shy when it comes to meeting new people. But as a writer it is necessary to network especially in a city like Los Angeles.
Even though I am inhibited when it comes to meeting people, I still love networking. There is nothing like being around people who have the same passion as I do—writing and storytelling. Back in 2007, I had the pleasure of being asked to co-write a short film called ‘Spin’ with writer/producer, Camille Tucker (who also starred in the film) and writer/producer, Keta Brown.
The film was well received and showed in numerous film festivals including winning The Global Art Film Festival Hollywood award for outstanding writing. I enjoyed going to the many festivals not only to support our film but because I was able to see other amazing shorts from various writers. This also helped me to be privy to other events such as; award shows, women writer and director symposiums and special screenings.
Going to school for writing also helped. When I attended Cerritos College, my advanced screenwriting instructor, Steven M. Hirohama, not only hosted established writers and directors in the entertainment industry at the school, but he also sponsored fieldtrips to places like the Director’s Guild.
Unfortunately, when I began working fulltime, all that stopped and I lost contact with that unique circle or when I was invited to attend functions, I couldn’t go because of work. But now that I’ve decided to write fulltime, I’m working my way back into that circle.
Yesterday, I attended a screening of Grisly, a Sci-Fi/Horror short film written and produced by Roger Lewis along with his longtime friend and business partner, Clinton Allen. Grisly, an idea that has been forming for the past couple of years, made its debut in the popular *IFS (Independent Film Showcase) at the historic Laemmle theater in Beverly Hills. I was happy to be included in the invite to preview this film, one because of its various story lines (this short has the potential of becoming, in my opinion, the next X-files) two, I will be able to brag that I knew of it at the beginning but lastly, because Clint and Roger know the importance of networking.
Since meeting these two (I worked with Clinton at Activision, a video game company in Santa Monica, CA, and met Roger through Clinton) I’ve met a cornucopia of writers, actors, etc. who are not only well established in the biz but who also understand the importance of networking.
I’m sure people network not only to make contacts in their field of industry but they are also hoping to meet someone who can get them to the next level. But for me it’s so much more than that. As I said numerous times, writing is a lonely art. You’re held up in a room often for hours hoping to get at least one page done before you can move from that chair and if you’re really on a roll you can go for days not answering your phone or checking your email because you don’t want to move for fear of losing that momentum.
But I also have to say that out of the many places or people I’ve had the pleasure to network with, these guys are my favorite. Why? Because they love to give you props on other projects that you might be working on even if it has nothing to do with their own. They don’t have massive egos and they don’t mind sharing information. And because of their unselfishness, I plan to do whatever I can to help plug their project. After all, that’s what I believe networking should be about. Sharing ideas, stories and contacts whenever possible. These two guys have the mindset of ‘if we make it’ come join us for the ride. Isn’t that what networking should be about?
I implore you to share your networks and contacts. Be selfless…
*IFS is an organization founded to promote and support the creation and distribution of quality independent filmmaking.
Wednesday, May 28, 2014
Tuesday, May 27, 2014
Fear of Success, Rejection and the Unknown...
I’ve wanted to write a blog on fear for awhile. Fear is such an important makeup of our lives. We learn to be fearful early. As children, we are fearless: running, playing and experimenting. But then we hear our parent’s voices saying things like, do not touch, you’re running too fast or come into the house before it gets dark. They are fearful that we could get hurt. I remember my mother would repeatedly tell me when we were in the car to lock my door. “I don’t want anyone to snatch you,” she’d say. I now repeat the same to my friends when they are in my car.
As we get older, there are fears that can cripple us. I remember watching a Seinfeld episode. During his standup, one of his jokes began with him reading about a public poll that was taken on fear. The number one fear was public speaking and two, death. The running joke was that the average person would rather be dead then being the person doing the eulogy.
During the time I was pursuing a singing career, I had a good friend say to me that they felt that if I became successful, that I would change in a bad way. Although I couldn’t imagine that happening, I was fearful that if I did become successful, I would lose my friends. Now that I’m older, I don’t worry about that anymore. One, because that was their fear not mine and two, I’m pretty solid of who I am.
But as a writer I do have a couple of things I am fearful of—rejection and what success could mean for me. I’ve given up a lot when I left my job. Getting rejects when you have money coming in is not good but at least you know that you’re still getting a check and you can pay your bills. Getting reject notices when you know that ‘yes’ means everything, is a whole new ballgame and it can be crippling. Meaning, it can stop you from finishing those last couple of pages to that book or screenplay. It can keep you from tackling writing projects or genres that you’re not comfortable with because you might suck. And just because I was bold enough to leave my job, doesn’t mean I’m bold enough to take the next step.
My car was recently broken into. They stole my iPod, beats by Dre earphones (both were presents) and my house keys and although these things can be replaced, my peace was gone. For days, I had problems sleeping because the place where I always felt safe (my home) was now replaced with fear. Fear that they could enter my house even though the locks were changed. I was fearful of the unknown because I didn’t know if it was someone who lived or even worked in my complex.
Nevertheless, I am not the type of person that lets fear or anything else stand in my way for too long. At this specific time in my life, I can’t afford to let it stop me or even delay the work that I need to get done. So even though I’m afraid of rejection, I need to finish that screenplay and that book. And even though I may be afraid of success because it will take me out of my comfort zone; I might have to travel, meet different people and more importantly if that book and/or screenplay becomes successful, I will need to prove that it the first one wasn’t a fluke, I need to keep pushing.
What are your fears keeping you from achieving in your life?
As we get older, there are fears that can cripple us. I remember watching a Seinfeld episode. During his standup, one of his jokes began with him reading about a public poll that was taken on fear. The number one fear was public speaking and two, death. The running joke was that the average person would rather be dead then being the person doing the eulogy.
During the time I was pursuing a singing career, I had a good friend say to me that they felt that if I became successful, that I would change in a bad way. Although I couldn’t imagine that happening, I was fearful that if I did become successful, I would lose my friends. Now that I’m older, I don’t worry about that anymore. One, because that was their fear not mine and two, I’m pretty solid of who I am.
But as a writer I do have a couple of things I am fearful of—rejection and what success could mean for me. I’ve given up a lot when I left my job. Getting rejects when you have money coming in is not good but at least you know that you’re still getting a check and you can pay your bills. Getting reject notices when you know that ‘yes’ means everything, is a whole new ballgame and it can be crippling. Meaning, it can stop you from finishing those last couple of pages to that book or screenplay. It can keep you from tackling writing projects or genres that you’re not comfortable with because you might suck. And just because I was bold enough to leave my job, doesn’t mean I’m bold enough to take the next step.
My car was recently broken into. They stole my iPod, beats by Dre earphones (both were presents) and my house keys and although these things can be replaced, my peace was gone. For days, I had problems sleeping because the place where I always felt safe (my home) was now replaced with fear. Fear that they could enter my house even though the locks were changed. I was fearful of the unknown because I didn’t know if it was someone who lived or even worked in my complex.
Nevertheless, I am not the type of person that lets fear or anything else stand in my way for too long. At this specific time in my life, I can’t afford to let it stop me or even delay the work that I need to get done. So even though I’m afraid of rejection, I need to finish that screenplay and that book. And even though I may be afraid of success because it will take me out of my comfort zone; I might have to travel, meet different people and more importantly if that book and/or screenplay becomes successful, I will need to prove that it the first one wasn’t a fluke, I need to keep pushing.
What are your fears keeping you from achieving in your life?
Monday, May 19, 2014
The Joy of Rejections
I think most people would be able to relate to being rejected. We learn it at such an early age—we’re hurt when we are not invited to eat with the cool kids at their table for lunch, when we hear they are having the party of the year but we never received an invite/evite, when we audition for that part in the school play and our best friend gets it instead or when that girl who says no when you invite her to the high school prom. But they’re growing pains of adolescents and we eventually get over these types of rebuffs.
When we get older, rejection can become a little bit harder to come to grips with. That job or promotion that we worked our asses off to get only to be told we don’t have what it takes. That expensive engagement ring you brought only to be told, in the nicest way of course, that they can’t see themselves spending the rest of their life with you. That Broadway call-back that you didn’t get (btw, that happened to me). But how do you come back from that?
I’ve heard a few writers comment that the reason why they never send out their manuscripts is because they are scared of rejection. But my question to them is why even bother writing?
I am not new to being rejected. As a one-time singer, I had my share of sending out demos and most of the ones I sent out, I never even got so much as a form letter but I think that’s how it is in the music industry. Rude!
But when you send out query letters to literary agents and you get rejects, at least you are not left hanging. Most will send you a form letter. Some may even send you a personal note. But a reject letter is a reject letter no matter how it’s stated. Even if that letter says you have potential. The only thing we see is the: but, however and nevertheless. It all spells rejection to us.
So why should we continue to write? That is a very good question. I’m sure if my friends, family and associates knew how many rejects that I have received over the years, they would think I was crazy and probably tell me to give up.
I can give you a list of established writers who’ve received many reject letters before they got that yes but you know it’s not about that. It’s about believing that I do have that gift called writing. That I am a damn good writer and I know I will get that contract.
Rejection letters just make me stronger. When I get that yes, I’ll be able to say, “See, I told ya I was good.” Of course if you knew me, you would know I couldn’t do that. I’m not a ‘told ya so’ type of person. But if I don’t believe in myself and I believe what those letters say, then I will fail as a writer and I will end up like many of those other writers—having a draw full of scripts and books that no one is ever going to see and to me that would be a waste. I’m not ready to give up yet.
How many rejects would you be able to handle before you decided to quit?
When we get older, rejection can become a little bit harder to come to grips with. That job or promotion that we worked our asses off to get only to be told we don’t have what it takes. That expensive engagement ring you brought only to be told, in the nicest way of course, that they can’t see themselves spending the rest of their life with you. That Broadway call-back that you didn’t get (btw, that happened to me). But how do you come back from that?
I’ve heard a few writers comment that the reason why they never send out their manuscripts is because they are scared of rejection. But my question to them is why even bother writing?
I am not new to being rejected. As a one-time singer, I had my share of sending out demos and most of the ones I sent out, I never even got so much as a form letter but I think that’s how it is in the music industry. Rude!
But when you send out query letters to literary agents and you get rejects, at least you are not left hanging. Most will send you a form letter. Some may even send you a personal note. But a reject letter is a reject letter no matter how it’s stated. Even if that letter says you have potential. The only thing we see is the: but, however and nevertheless. It all spells rejection to us.
So why should we continue to write? That is a very good question. I’m sure if my friends, family and associates knew how many rejects that I have received over the years, they would think I was crazy and probably tell me to give up.
I can give you a list of established writers who’ve received many reject letters before they got that yes but you know it’s not about that. It’s about believing that I do have that gift called writing. That I am a damn good writer and I know I will get that contract.
Rejection letters just make me stronger. When I get that yes, I’ll be able to say, “See, I told ya I was good.” Of course if you knew me, you would know I couldn’t do that. I’m not a ‘told ya so’ type of person. But if I don’t believe in myself and I believe what those letters say, then I will fail as a writer and I will end up like many of those other writers—having a draw full of scripts and books that no one is ever going to see and to me that would be a waste. I’m not ready to give up yet.
How many rejects would you be able to handle before you decided to quit?
Friday, May 16, 2014
I’m Ready For My Cigar…
How many of you have heard the saying, ‘Close But No Cigar’? If it’s new to you, then let me simplify the meaning. Say you are an advent lotto player and one night while you’re watching them call the numbers on the tele, you realize that with each number they pick you’re getting closer to becoming the big winner. You’re on the edge of your couch. Three numbers left and you’re now crawling to your set with your ticket clutched in your hand. Your palms are sweating because it’s so close you can taste it. Like a horse that you’ve bet on at the races you can see it getting closer to the finish line—come on… come on… Aw darn. Better luck next time.
I thought about this when I was in New York this past week. I was on the Metro North train heading back upstate from Harlem when I met what I thought might be my soul-mate. You know what I mean—that first glance and your heart skips a beat. You can’t help but sneak a peek at him as he reads his paper and you just hope like in the movies he might ask you for your number and when he does, you just know you’ll have a great story to tell your grandkids. But then seven days later he doesn’t call. What the what?
I’ve come so close to getting that cigar many times as a writer. In 2004, when I was halfway thru writing my first novel, I began sending out query letters to literary agents. Like many first-time writers, I was anxious to get a contract. I just knew I had a bestseller in my hands.
Not long after mailing around 10 queries, I got a response back from an agency in New York. The sequence was the following:
1. Please send us a synopsis
a. No problem. I can write one immediately
2. We like your synopsis. Please send us first 3 chapters
a. No problem. I have 3 chapters and I can send them immediately
3. We like the first couple of chapters. Please send us the whole book
a. Ooops. I better finish my book.
I rushed the last of my chapters and sent it off only to receive a form letter soon after telling me that my novel was too short.
After getting that letter, I put my novel away for a few years. But after awhile I took it back out and started to work on it again.
There have been many other times when I’ve come close to signing a deal but for some reason, it fell through. In 2010, that same novel became a quarter-finalist in the Amazon.com’s Breakthrough Novel Award competition. That’s 6 years later.
I will continue to draft and redraft my novel until I get it right. Recently I had it edited by a wonderful editor by the name of Jean Jenkins and I’m absolutely sure that when I send it out this time, I’ll get a yes and will finally be able to light that cigar.
Here’s smoke in your eyes.
How many of you have heard the saying, ‘Close But No Cigar’? If it’s new to you, then let me simplify the meaning. Say you are an advent lotto player and one night while you’re watching them call the numbers on the tele, you realize that with each number they pick you’re getting closer to becoming the big winner. You’re on the edge of your couch. Three numbers left and you’re now crawling to your set with your ticket clutched in your hand. Your palms are sweating because it’s so close you can taste it. Like a horse that you’ve bet on at the races you can see it getting closer to the finish line—come on… come on… Aw darn. Better luck next time.
I thought about this when I was in New York this past week. I was on the Metro North train heading back upstate from Harlem when I met what I thought might be my soul-mate. You know what I mean—that first glance and your heart skips a beat. You can’t help but sneak a peek at him as he reads his paper and you just hope like in the movies he might ask you for your number and when he does, you just know you’ll have a great story to tell your grandkids. But then seven days later he doesn’t call. What the what?
I’ve come so close to getting that cigar many times as a writer. In 2004, when I was halfway thru writing my first novel, I began sending out query letters to literary agents. Like many first-time writers, I was anxious to get a contract. I just knew I had a bestseller in my hands.
Not long after mailing around 10 queries, I got a response back from an agency in New York. The sequence was the following:
1. Please send us a synopsis
a. No problem. I can write one immediately
2. We like your synopsis. Please send us first 3 chapters
a. No problem. I have 3 chapters and I can send them immediately
3. We like the first couple of chapters. Please send us the whole book
a. Ooops. I better finish my book.
I rushed the last of my chapters and sent it off only to receive a form letter soon after telling me that my novel was too short.
After getting that letter, I put my novel away for a few years. But after awhile I took it back out and started to work on it again.
There have been many other times when I’ve come close to signing a deal but for some reason, it fell through. In 2010, that same novel became a quarter-finalist in the Amazon.com’s Breakthrough Novel Award competition. That’s 6 years later.
I will continue to draft and redraft my novel until I get it right. Recently I had it edited by a wonderful editor by the name of Jean Jenkins and I’m absolutely sure that when I send it out this time, I’ll get a yes and will finally be able to light that cigar.
Here’s smoke in your eyes.
Friday, May 2, 2014
Married or Divorced
During my college years, I had to write short stories, screenplays and poetry. Because those writings were primarily graded, I had to make sure I followed the instructors’ assignments. Fortunately, most of my teachers would allow me some creative license. But now that I am writing purely for myself, I have the freedom to write what I want and how I want. Or do I?
There are tons of literary agents and publishers out there and we writers are hoping to connect to at least one that is able to relate to our words and understand the story we're trying to tell. But what if that agent or publisher loves 98% of what you’ve written but wants you to change a percentage of your story. Just a small 2%. That’s not a lot is it? But what if that one piece anchors the whole story? Would you divorce the idea or fight to stay married to it?
I wrote a screenplay a couple of years ago called, Close-up. When it was done, I entered my script into screenwriter’s contests and was excited that I made it to the quarter and semi-finalist portion for a few. After getting close but never winning, I began to think that maybe I should make some changes to my script. I decided to take a writing class at UCLA. UCLA screenwriting classes are known to be taught by instructors whom have a body of published or produced work.
I took a class for 8 weeks and the format was the following:
1. Student would send the teacher a script or a script idea
2. Student would send teacher an outline of a script or idea
3. Student would read pages of the script in front of the class
After reading the script in front of the class, you would get critiques from each student on what they liked, disliked, worked or did not work with your script. Seldom there may be students in your class that are really good at giving constructive criticism. But some may have never written a script or studied screenwriting while others are just not remotely interested your genre. But what about the instructor?
I liked my instructor. Though we argued back and forth about the first 30 pages along with the use of flashbacks, I decided in the end he was right and rewrote most of the beginning of my script. Excited about my changes, I sent it out again but to my surprise I never got even an honorable mention. Was it the changes to my script? I don’t know.
I recently started watching a show called, The Writers’ Room. The show interviews writing staff from popular television shows. A couple of weeks ago it had Shonda Rhimes, executive producer and creator of Scandal. She spoke about how she came up with the idea for the show—a political series about a woman who owns a crisis management firm. When Shonda was selling the idea to the network, they loved it but were not keen that the main character would be having an affair with the President of the United States.
She stood firm to that premise and if you are a fan of the show you know that story line is pivotal to the whole series. But Ms. Rhimes has established herself as a screenwriter, producer and director and I have not. Did she ever have to change a story or concept even though she didn’t want to at the beginning of her career? I’d like to know. I’m not sure what will happen when I'm given that choice. I can’t wait to find out.
What would you do?
During my college years, I had to write short stories, screenplays and poetry. Because those writings were primarily graded, I had to make sure I followed the instructors’ assignments. Fortunately, most of my teachers would allow me some creative license. But now that I am writing purely for myself, I have the freedom to write what I want and how I want. Or do I?
There are tons of literary agents and publishers out there and we writers are hoping to connect to at least one that is able to relate to our words and understand the story we're trying to tell. But what if that agent or publisher loves 98% of what you’ve written but wants you to change a percentage of your story. Just a small 2%. That’s not a lot is it? But what if that one piece anchors the whole story? Would you divorce the idea or fight to stay married to it?
I wrote a screenplay a couple of years ago called, Close-up. When it was done, I entered my script into screenwriter’s contests and was excited that I made it to the quarter and semi-finalist portion for a few. After getting close but never winning, I began to think that maybe I should make some changes to my script. I decided to take a writing class at UCLA. UCLA screenwriting classes are known to be taught by instructors whom have a body of published or produced work.
I took a class for 8 weeks and the format was the following:
1. Student would send the teacher a script or a script idea
2. Student would send teacher an outline of a script or idea
3. Student would read pages of the script in front of the class
After reading the script in front of the class, you would get critiques from each student on what they liked, disliked, worked or did not work with your script. Seldom there may be students in your class that are really good at giving constructive criticism. But some may have never written a script or studied screenwriting while others are just not remotely interested your genre. But what about the instructor?
I liked my instructor. Though we argued back and forth about the first 30 pages along with the use of flashbacks, I decided in the end he was right and rewrote most of the beginning of my script. Excited about my changes, I sent it out again but to my surprise I never got even an honorable mention. Was it the changes to my script? I don’t know.
I recently started watching a show called, The Writers’ Room. The show interviews writing staff from popular television shows. A couple of weeks ago it had Shonda Rhimes, executive producer and creator of Scandal. She spoke about how she came up with the idea for the show—a political series about a woman who owns a crisis management firm. When Shonda was selling the idea to the network, they loved it but were not keen that the main character would be having an affair with the President of the United States.
She stood firm to that premise and if you are a fan of the show you know that story line is pivotal to the whole series. But Ms. Rhimes has established herself as a screenwriter, producer and director and I have not. Did she ever have to change a story or concept even though she didn’t want to at the beginning of her career? I’d like to know. I’m not sure what will happen when I'm given that choice. I can’t wait to find out.
What would you do?
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