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Shameless

5/21/2020

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Shameless Self Promotion...Rocks
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​“But they don’t even know I exist.” How many times, on how many shows and in how many true to life situations have you heard that tired cliché line? Thing is, it’s true. The first thing actors, writers and creatives of any kind need to do then is to let the people who can hire them, produce them, publish them and buy them a double mocha, half-caff grande at Starbucks, know they exist.
 
Self-promotion is a funny concept. It falls somewhere between the extremes of being egocentric and purposely invisible and a lot of times is only done in the most common and run of the mill ways.  Promoting an event on Facebook, Linked-in or Twitter, asking politely for subscribers on your site or sending out countless resume’s all are good and necessary; they provide the impetus, they are the foundational agents and vital aspects of our marketing and getting produced.  But they are not enough.  
 
Reminds me the oft repeated line in “The Untouchables” movie by David Mamet, where the character Malone, played by Sean Connery would ask Elliot Ness whenever there was an obstacle to him, “what are you prepared to do?”  We need to ask ourselves the very same question especially if what we are currently doing isn’t really netting us much.
 
Today that translates into putting yourself out there and in a different way, a scary way.  What are you prepared to do that is scary to you but that if it works could bring you to a whole new level and whole new level of people? How are you networking?  What are you doing that is out of the box?  What creative risks are you taking on your marketing to get you in the running?
 
Self-doubt, in my experience, does two things: One, tells me I am not good enough, or worse not good enough yet (oh, I better wait), and two, tells me I am bothering people who I have no business bothering.  But I have heard the best in our business say that they learned on the job and in the midst of the project, and as far as the second one goes, yeah, people are busy and you may bother a few, several, a lot, but sooner or later you’ll hit gold. 

Overcoming self-doubt is a muscle just like your roommate’s abs, the more you put it out there the less the rejection affects you—that is the key to it as well as real support and a tribe that are with you and doing it as well. Stay connected man, that six-pack is coming.
 
Yeah, sure, easy for you to say, you tell us, but what are you doing that is scary Terry?  Earlier this month I finished an E-book for us writers and I needed to get some juice going on it.  I was interviewed and published by a brilliant blogger on writing.  I also asked for and then got, an interview on VoyageLA magazine. I then contacted a ton of multi-produced TV writers and producers and asked them to read my book and give me some promotional feedback. 

This was scary as I too had the self-doubt and thought they would say “no”. And do you know what? A lot of them did say no and in the most creative of Hollywood ways; “I just ain’t got the bandwidth; not right now my mask fell off; I’ll get right back to you on that as soon as I slow down…in April of 2024; I'm teaching my dog social distancing” and, of course the dozens of non replies one factors in when reaching out.  Bang, pop, pow—comes with the territory.  But then again, a few people did respond and help me, and this is the where the gold is.  Hit the buttons below.
 
Also, be prepared when you do have to put up, that’s the other side of it.  Do you need notes; dazzling supporting documents such as a synopitch, one-pager, written pitch document; a rewrite, a revision or the best catchphrases of the day? We got that over here at Story Builders--M here for ya there too.

So tell me, what are you prepared to do now?

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May 12th, 2020

5/12/2020

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Does Your TV Series Have a Great Conceit?
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Today we are going to talk about your TV show’s conceit. What it is, why it is important and how it cuts clear and fresh your premise, as well as your unique Voice right from the logline.

A story conceit is an idea, a distinctive approach to the concept of your show. It is what makes an everyday situation different and never before seen because it is the very basis of it.  The show's conceit could be the nature of the main relationship of the series, as we demonstrate below, but it doesn’t have to be as it could be more situational, but, it does have to take the ordinary, the everyday and the expected and come at if from a whole new angle or spin. 

The conceit is enmeshed in your logline and points the whole tone and feel of your show as well as implying the inner conflicts to come.  Could be simple, could be severe but there is a uniting factor incorporated here and hints of the thematic going on, so, individuate your show and watch it take on a specific line of story and universal line of appeal.    

Because your show’s conceit is a hook that is embedded in in the central idea and is driving the show’s concept in perpetuity after it is established, it does have to be already up and going in the pilot.  It does not have to be initiated in the pilot, although it usually is, but it does need to give viewers the sense that this very element is going to be a major reference point and be illustrated in some measure weekly.

Also, it has to come from you, your take on this world you create or the subject as you will be illustrating it week after week.  The conceit highlights your imagination and implies that this world is already second nature to you and that you will be able to allegorize it expertly as per your own life experiences and emotional core; that you have nothing but great ideas on how to progress it, arc it and keep the flow going continuously.

The logline is the first thing that anybody reading your Bible, Synopsis or Written Pitch Document will see but the conceit will be the first thing that they “get”.

Let’s look at a couple.

A sensitive FBI agent, fresh from an intense emotional break-up, is paired with a tough CIA operative who personifies his issues with his ex as they embark on missions to save the world but have to put up with each other in the process - Whiskey Cavalier
 
Yes, of course they are playing on the whole mismatched duo idea but look how specific it is.  They are using a bit of role reversal, a little of the ole 80’s, “will they or won’t they” trope but it is done in a cool new world and the characters are fresh and inventive.  We also see the central and external conflicts as well as a good idea of what the interpersonal ones will be and that they will be different yet ongoing.

Good loglines become more effective when the conceit is clear and built into it.

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A talented but immature police detective is forced to curb his shenanigans when a no nonsense captain takes over the precinct as this off-kilter squad of cops work to keep the streets of New York safe and their personal lives in-flux -   Brooklyn 99

Mismatched duos have been the basis for hooks and conceits since “I Dream of Jeannie” and “My Favorite Martian” and that is because when you put your own unique spin on it, it not only works but is the mainspring of your story engine that will illustrate how this premise and TV series will be able to run forever.

For more on proving how your TV show is unique, fresh and can go the distance, checkout the “Written Pitch Document' or 'Show Bible”.

Written Pitch Bible
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May 05th, 2020

5/5/2020

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Got A Kickass One-Pager?
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​​Screenwriters, TV Writers and Show Creators need to have lot of supporting documents at their disposal when marketing their projects. There is the Treatment, the Outline, the Written Pitch Document or Show Bible and these docs are always asked for after the proverbial foot is in the door. But what about when the foot is still on the street or in the trenches or standing in line at Starbucks?

Generally, a simple query sent to film production companies, directors or agents comes with the cover letter and a blurb about the project; perhaps with a synopsis and logline attached but that is not enough anymore.

Things are moving at the speed of sound in the industry now, and yes there are a lot more opportunities and platforms to get your work out there but there are also a lot more creators and writers as well. It is vital when given or taking any type of opportunity to be as specific, clear and bam-pow-pop concise as you can.

A kick ass one-pager is the best bang for the buck because when done correctly it conveys so much about you and your project and takes only minutes to read. But sculpting this document is no small feat. You want it to not only be fluid, new, have a fresh take, be in your own unique voice and, in the tone of the genre but it also needs to read easier than the grocery list you wrote on the back of a paper napkin while watching the kids at soccer practice. Specificity, pointedness and focus are required here but so, so, so worth the effort.

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A well-crafted one-pager for TV, will, in small pleasurable bursts, convey the style of the show, what it is; include the logline, tagline, themes, the overall summary, the pilot episode, character descriptions, and a concept paragraph. It will imply why it has legs and the makings of a great story engine. This is the one page that could get them to ask for more, you have to kick-ass, man.

​For a screenplay it should include the logline, a 2 or 3 paragraph synopsis/summary and a pitch paragraph where you also talk about your vision, how your take is unique and different yet relevant and identifiable and why you wrote it. Close the page with a sentence or two that lights a fire under their butts. Talk about why this script will succeed, who it will appeal to, the hook, perhaps budget—and end on a button that you want them to hit…on their I-phone.

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    Terry McFadden is a Script Doctor and Writing Coach dedicated to helping TV Writers &  Screenwriters find and hone their Own Unique Voice.

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