What did and didn't happen in 2011

Well, it wasn't a great year for me, I didn't make much money, about $2200 in residuals but I didn't sell a spec script in spite of having a fresh credit for 2010. Fresh credits are important to the creative people in the film business, notably being writers, directors and actors.

Anyone whose credits are 3-5 years old will find jobs hard to get. Anything after 5 years and you might as well be dead. 

And I mean that in the nicest way.

Any of the above-the-line people, aka "creative" want to keep their credits current. That means you're working and it's easier to find a job if you have a job. In the same way as it's easier to find an agent when you have one.

The other way to find a job is to know someone who's working.

What didn't happen? I didn't get Casualties of Love made like I thought I would. I did the reading with actors but afterwards something didn't feel right about the script. One could consider this a "writer's block", maybe it is. But it just doesn't feel real.

Emperor of Mars didn't get made as a film, however the book is almost ready to go, I'm getting the 2nd proof version Tuesday and if it looks good, my first book will step out into the real world.

I didn't get much further with my Ghostkeeper sequel and the re-release of Ghostkeeper 1980 will happen in February. It's actually making the rounds of potential buyers but the DVD itself will "drop" February. I've already got a handful of inquiries so I know we'll sell at least 5 or 6 DVDs.

Would be nicer if it was 500-600, but who knows.

I did get a serious offer on another screenplay of mine and at the moment it's being looked at. And given that the town is winding down, I expect to know more by the middle of January. And I still have a few meetings before I leave for Canada so that's a positive.

My Christmas Carole movie didn't catch on in 2011, but oddly enough I have 3 solid production companies in town who all like it. It would be nice if they optioned it, but in this current climate, nobody wants to put out money if they don't have to. One of the companies has asked to take it to two networks so again, I'll probably hear about it next year.

But the Christmas script has also gotten me interest from 2 new agents, which is always nice. However the catch is that since the company above has taken it to 2 networks, the new agents are in a holding pattern.

So all in all, it's been a productive year, especially for the book, but also for a list of a dozen new ideas for 2012, of which I've already started one.

It's a funny thing about ideas. I heard Sting (of Police fame) say that as he's reaching the age of 60 (yes, 60!) he is getting more ideas than he's ever had. I know the feeling.

I come up with at least one new idea or concept every day, sometimes 2 or 3 ideas. Not that all of them are good, of course. Most of the time the ideas fade after one night. But a few of them hang on. I've got a great idea for another Christmas script, you could say "it's out of this world", as the 60's slang went. My idea is literally out of this world.

It's so different that I'm going to register it with WGA and WGC in the next 2 weeks. More on this later.

Also another book; on screenwriting.

Yes... another book on that subject to join the list of around 250 books on screenwriting. But it'll be a little different. For one thing; it'll be written by a real writer with credits (and a recent one too!),  not writing teachers who've never sold a screenplay nor seen a screenplay of theirs make it to the screen.

Believe it or not, there is a difference. When I taught at UCLA extension, most of my students took my class because I was a working writer. I've said this before, Frank, my favorite agent at Paradigm, said to never mention I was doing part-time teaching. Why?

It's the kiss of death.

It means you're finished in the business. You know, those who write, write. Those who can't teach.

Now of course, to be fair, that's not always the truth. But coming from an agent is enough to make you worry about it.

But that's going to be another blog.

The Cat

 DAISY (V.O.)

My name is Daisy and this is the
story of Christmas Carole and how
she changed our lives. It begins right  

here in Sherman Oaks, California, 

where I was born and raised. 

This is the first piece of dialog in my new spec script, Christmas Carole which I finished last week. So far I have 5 places who are "interested". And being interested doesn't mean any them will buy it.

I hope they will.

The odds are in my corner, if one wanted to entertain that thought. After all, I did The Town the Christmas Forgot in 2010 and it played a several times from November thru to December. As you know, it got a 3.7 mil viewership and the company who made it proudly advertises it in it's inhouse credits.

And they have a few dozen credits for movies so being at the head (or second head), is a nice thing. Better than not being last. 

If you're wondering why I quoted "Daisy" above,  it's because Daisy isn't who you think she is. Or what she is.

And if you think there was a glut of Christmas movies last year, well, wait till this year. And the damndest thing is - people watch them. That much of an audience would have grossed over $30 million. Which means at a cost of $1 million, the studio/network would have a tidy sum.

And if it had Robert DeNiro and Dustin Hoffman in it, it would have grossed $50 million.

But it didn't. It barely will make back it's cost of the original $1 million budget. Because times have changed and now the big 3, Hallmark, Lifetime and ABC Family dictate what they can pay. Ratings for TV have mostly gone down.

Too many damn channels.

Commercial rates are dependent on ratings so the less ratings, the less it costs to advertise. Except that Superbowl thing. And American Idol. AI gets around 21 million viewers on an average.

And speaking of advertising,  if this was a theatrical movie that $30 million would barely cover the cost of the $1 million movie and around $25 million to advertise it. Which means about a $5 million profit.

Okay, enough of the figures, some of you have left to check your tweets. But there's a reason for my rambling, as they say.

Yes, I do have a better chance at selling my script than most of the writers out there. But you never know what they like or don't like.

And that's where Daisy comes in.

The story of Christmas Carole started with the title. I had no story, just a really good title that, amazingly, nobody's ever used. It's registered now so I have a little bit of security.

The logline is this: Unemployed lawyer gets stuck with juvenile delinquent over Christmas. 

Simple. Easy to see. Maybe not as good as someone else might describe it. But good enough.

The rest of the story is a bit more complicated, conflict comes from a tragic past for both people (women, incidentally, they watch  more Hallmark movies), confrontation with major life changes and the consequences of being afraid of life and loneliness.

So now it's a bit "fatter" as a D-Girl I knew used to say to describe the major element of any screenplay. Conflict.

Except that I added a fresh element.

Daisy.

You see, Daisy isn't human. Daisy is a cat.

And I don't know why I added her to the cast. I was about 2/3rds of the way through the screenplay when something flashed in my mind. Daisy was there from the beginning, but she was not talking. In fact she just meowed a lot.

Then that god of weird ideas struck me.

Daisy should talk. She should tell the story.

And I'm not talking about all the way through. Just in the beginning and a few lines here and there and finally at the end.

I wish I could say it was brilliance on my part but it wasn't.

Years ago (and I'm talking 50's) I saw a movie that was somewhat like this, don't even remember the title, but I remember the cat. It spoke. Then there was the Francis the Talking Mule  movies. Don't ask.

Somehow it all collided in my hard drive of a brain, and reconnected with several other movies and anything to do with cats (I have hosted cats several times in my life) and it spit out Daisy, the name of which incidentally is from a real cat who lives in San Clemente. According to quantum physics experts, putting random ideas together is something computers can't do, nor will they ever.

And when I sent out the screenplay on Sunday to a producer, I wrote "the cat says in the picture". And when he asked why, I simply added something that he could not deny...

Imagine who would be Daisy's voice?

Betty White? Julie Newmar (the original Catwoman)?

Get my drift?  They could get a name actor for almost nothing to do the voice of Daisy. And they would put that name prominently in the titles. You know, "and Betty White as Daisy".

I just use Betty as an example. There would be at least 50 or more actresses who would love the job.

As Gweneth Paltrow tells the aspiring country singer anxious to overtake her in Country Strong "that's how it's done, sweetheart".

(Thurs: Daisy demands an agent)

Dropping out and reinventing

This blog began in August of 2009 and seems to still be going. In that time I failed to raise funding for Travel Day, the title of this blog and talked about my adventures in television episodic. I also started to get a no-budget  movie going, Casualties of Love but put it aside as I was not comfortable with the screenplay, even after a reading with 5 actors who gave of their time and did a great job.

Now I'm working on trying to fund Ghostkeeper 2, which started as a joke and is now being seriously considered. The idea of a sequel to a movie that was at best, "obscure" in the first place was a crazy idea, but as the distribution of the original 1980 version continues with commentary to be recorded June 4th, the potential became very real.

Could that be "reinvention" as a lot of experts suggest people do now. Or is it the reluctance of a baby-boomer who refuses to quit.

I'm often asked by friends not in "the business" when will I retire as I am of that age. My usual answer is that I'll retire when I drop dead over my laptop keyboard. And I usually add that I want my laptop buried with me.

In case I get a good idea. 

Writers have  a double-edged sword of sorts beginning with the fact that I've stressed over 2 years of this blog; writers don't have to have a job in order to work. I have 34 spec scripts yet unmade and as of today, am writing #35, the Christmas script called "Christmas Carole". It should be finished by next week.

I have a bit of an advantage as there are 4 producers, all of whom make TV movies, who want to read it when it's done. Hopefully one will bite. Even though I had good ratings with Town That Christmas Forgot, none of them would pay me to write it. 

That seems the norm now, which itself is worth a blog, maybe next week.

So, am I taking away from some young wannabe writer? Maybe, but around 85% of the WGA is unemployed in any given month so it comes out to "you're only as good as your next script."  

And I keep getting ideas.

Truth is that most of the producers I've worked for have gone; either retired or left the business. One passed away. But writing is different, you don't really retire from it as it's one of the few jobs a person does alone.

Excusing series TV where anywhere from a handful to 10-15 writers work, or David Kelly who writes ALL of his scripts alone, writers like me keep going. As of now I've heard that Quinn Redeker, who wrote the original version of The Deerhunter, is working on a new movie, and he's 76.

And James A Michenor was 90.

So I got a few years.

And a few more stories you haven't heard.