Sunday, March 22, 2015

Walking Away from The Walking Dead



Expert use of subtext hinted that there would be a fire.
*Spoiler Alert*  

We find ourselves about to give up on THE WALKING DEAD for the second time. We know, yes, the much-beloved THE WALKING DEAD. But after watching the season two finale on Netflix... meh.

The first time we bailed was right after the pilot, which seemed full of holes as well as a blatant "28 Days Later" rip-off. But because of the urging of friends, a year later we went back to it.

Season one was fairly flaccid -- not a lot of forward momentum, as well as constant, irritating sexism. But it wasn't awful; they just hadn't found the rhythm quite yet. Well, the sexism in season one was awful to be sure. But we had it on good authority that situation would improve, so we stuck it out (hint: it did not.) 

This is hard to admit, but losing (season one showrunner) Frank Darabont apparently helped the show tremendously, 'cause the first part of season two picked up the pace in a big way -- multiple heart-pounding storylines going on at the same time. What a turnaround! Suddenly, the show became GREAT. 

And then... it all kinda started to unravel again. Mid-season 2, we had two stinker episodes in a row -- one in which nothing happened but talking heads, an obvious cost-cutting "bottle" show, and the next featuring a poorly thought-out and unmotivated attempted suicide "B" story from a character we didn't care about (Herschel's daughter, whose mom actually died months ago - so why does she want to kill herself now?), while ignoring the far more fascinating Daryl/Carol dynamic. It's Carol who should have had this "B" story -- she's the one who just lost her daughter!

Um... yup.
Throughout the season, we found ourselves repeatedly shouting at the screen, "Hey, Rick, how about organizing a party to go shore up that fence?" "Rick! THE FENCE!!!" Like, the first and most obvious thing you'd do, right? But no, this was never even mentioned. And so it came as no surprise (to us) when these dopes were caught off-guard as the flimsy fence gave out in the season 2 finale and the farm was overrun. Groooan.

Dammit woman, see what happens when you try to drive? Get back to the laundry!
Oh, and there were other irritations along the way -- we're TOLD Andrea is a civil rights attorney, but we never see her say or do anything attorney-like, even in the key scene that would specifically call for her to step forward and handle the whole situation -- the discussion of the fate of the intruder boy. That should have been her "Inherit the Wind" moment. 

And yet more sexism smashes us about the skull as Laurie bitches to Andrea that her not doing laundry is actually creating more work for the rest of the women -- are you shitting me?  But the piece de resistance: the one time a woman goes off on her own, she wrecks the car and has to be rescued by a dude. WTF???

And, writers, have you noticed the show's aversion to subtext? Characters MUST always speak directly what's on their mind, generally one on one, with nothing else happening at the same time. Because apparently you can't do action and drama simultaneously, and you certainly can't have characters keeping thoughts to themselves or using body language or saying the oppositie of what they really mean. 

Last but least, there's the secret the CDC told Rick -- who cares? This piece of information doesn't change their situation at all. So what if we all carry the disease? *That's* the big reveal? Completely useless factoid we'd already figured out, because duh. 

It's all so frustrating, because there is a lot to like about this show, which is why we stuck it out until the end of season two. But for now at least, these ambulatory deceased are going back on the shelf. Now we know a lot of folks love this show -- tell us we're wrong!

http://www.coverageink.com


Monday, March 09, 2015

Underground's Trevor Engelson Joins CI's Get Repped Now!

Engelson
What is that pleasing fragrance in the air? That, fellow scribes, is the sweet smell of opportunity.

We are pleased as punch to welcome manager Trevor Engelson from Underground to our Get Repped Now! manager panel. The red-hot management company reps such folks as John Singleton and our own former CI analyst Kevin O'Hare, who has moved on to become a successful TV writer/producer with several shows in the works.

Engelson, who covers both features and TV, joins our panelists Jake Wagner, head of lit at Benderspink (who sold Get Repped Now! contestant Brandon Barker's script "Nottingham & Hood" this past fall,) Chris Mills from Magnet Management, and Jeff Belkin from Zero Gravity.

How does Get Repped Now! work? From April 6th to May 3rd 2015, all scripts (features and TV pilots) submitted to Coverage Ink for script coverage are eligible to be advanced to our manager panel. The script must score a "consider" for script (roughly top 5%) of all submissions) to qualify. All considers are guaranteed to be ready by the panel -- Wagner, Engelson and Belkin for features, and Wagner, Mills and Engelson for TV. Those who do not garner the coveted grade of  "consider" for script will receive our standard detailed coverage report. Writers may then elect to polish the script and resubmit before the deadline, if possible, or simply use the notes to plug all the leaks in the script. Either way, it's win-win for everyone.

In fall 2014, Brandon Barker's Robin Hood comedy "Nottingham & Hood" grabbed the eye of Jake Wagner, who signed him and got him into UTA as well. The script then sold to Disney for six figures, launching his career. Mission accomplished.

For more on Get Repped Now! please visit our website. Then get polishing, because we are looking to give these guys something they can sell!


www.coverageink.com

Thursday, March 05, 2015

Coverage Ink's Get Repped Now! Returns April 6th

http://coverageink.com/getrepped.html

Last year, in the very first Get Repped Now!, we had the pleasure of reviewing several hundred scripts. Five were rated 'consider' for script, and were read by our panel of industry managers. Writer Brandon Barker's Robin Hood comedy "Nottingham & Hood" blew away Benderspink's Jake Wagner. Within a month, Barker had signed with UTA and the script sold to Disney, where it is now fast-tracked for production.

Sweet, huh?

So we're doing it again. From April 6th through May 3rd, all scripts submitted to Coverage Ink for script analysis which score a 'consider' for script will be read by our panel of managers, guaranteed. We're looking for the next Brandon Barker. Have you got the goods?

So whip out that can of Pledge and start polishing those scripts. We want the next big splash to be made by you.

For more about Get Repped Now!, please click here. Good luck, everyone!

--Jim C.

Wednesday, January 07, 2015

THIS IS MY BOOMSTICK

Happy New Year, fellow scribes!

If you're like me, you may use the coming of a new year as time to reflect on your successes and failures of the past twelve months. Sure, we may not like some of the conclusions we draw, but I believe personal and professional growth comes from listening, really listening, to constructive criticism, taking it to heart, and -- this is the most important part -- devising a plan of action. I mean heck, that's kind of why I founded Coverage Ink 13 years ago in the first place. 

Thirteen years. Wow!

So if you're like me, one big question likely pops into your head as you assess how effective your efforts to break in have been: "What am I doing wrong?" Heck, we all feel like we deserve success, right?  And yet it proves elusive. Your last batch of queries was met with a collective shrug; the one producer who did request your script never got back to you; you flamed out in the first round of last year's contests, except for maybe one quarter-final slot; and you sent your script in for coverage somewhere and got hit with 12 pages of notes.

It's enough to suck the mojo right out of your walrus gumboot (obscure Beatles reference, BTW. Kanye thinks they may have something.)

So because I have SO been there and have agonized over this stuff to the point of absurdity, allow me to share some observations and conclusions that have come from this often painful introspection -- as well as from knowing a lot of writers. Here are a few things you may indeed be doing wrong without even realizing it.

15 Drafts Don't Mean Done. 

Oh, one of the more painful ones, we know. You do draft after draft, and eventually you get frustrated, say "Good enough," and pull the trigger -- posting the script on BlackList, sending out queries via Virtual Pitchfest, contacting your industry connex. But was the script really ready to go? Were you rocking consistent 'considers' or getting raves from your friends? Were people contacting you to ask if they could help or be involved with the project? Because that's what happens when people really dig something, and that is the momentum you need to see before you send your baby out into the cold, cruel world. 

Irritatingly, progress on a screenplay may not always be a linear forward path. You've heard the expression 'one step forward, two steps back' I'm sure. This is never truer than in writing. What happens is, often when we fix problems, we unknowingly create new issues, or perhaps the fixes cause another issue, which may not have been that noticeable previously, to now be prominent. Over time, the screenplay can become more and more disjointed as the spot-fixes may not always coalesce with the whole. In those instances, it's often better to literally wipe the page and start afresh. 

Yes, this sucks, but great writing seldom appears on schedule, within the timetable we've allotted for it. One has to be flexible enough and secure enough to not pull that trigger just because we're already invested a year in a damn script. Working on several projects at once can help prevent burnout. 

Entitled Ain't Just a River in Egypt (Um... What?)


This is what you call a "first-world problem" a lot of us share -- because we've studied screenwriting and written a bunch of scripts, perhaps invested years in it, we feel entitled to success. We may resent other writers who have broken in and are now making a living while we're still forcing a smile as we ask customers if they want extra foam on their freaking Caramel BrulĂ©e Frappuccinos. This is only natural; we all have egos. 

Now suppose I put it to you like this: how long does a lawyer have to study before they are allowed to actually practice law? Or a doctor -- from college through through internships and certifications, how long does that all take? And these folks are investing big money (if you're a US citizen; of course, this type of education is free in every other civilized country) and likely going into heavy debt. Six to eight years later, after 40-80 hours a week invested in your education, you are now ready for a starting job in that field. 

Now tell me: how many of us have actually invested that much time and/or money in learning our craft? The truth is, very few of us. We just assume that because we're decent writers and we've all read books and seen movies and got an "A" in Creative Writing in college that we can make millions writing for movies and TV. Why should breaking in as a writer be any easier or require any less time or experience than any other high-paying, highly skilled profession? 

Friends, the industry is hard to break into by way of quality control. Hollywood's high castle walls effectively keep out the riff-raff; only the select few -- the crafty, the industrious, the hardy, the indefatigable -- will eventually breach the fortifications.

Sucks, yeah.  But it's all well and proper when you think about it.

How Groan Is Your Valley?

We read a lot of scripts here, and the vast majority of them do not suck. But many of them suffer from what I call Conceptitis, which means -- even in its most ideal form, the premise of the story may not ever get anyone excited. 

"Whiplash"
Truth be told, finding a killer concept, or even a decent one, is about as easy as finding an honest politician. As my old pal producer Dan Ostroff once told me, "I'll take a poorly written script with a great concept over a well-written script with a mediocre concept any day." The reason is, you can always rewrite a weak script, but a mediocre concept may be an insolvable problem.

As the bull's-eye for features and TV scripts grows ever more miniscule, there are certain ideas which are just not commercial at this time or else are currently played out. Dramas are a tough sell, unless -- and this caveat is true of every single genre or idea -- unless you find a really new, fresh, or different take on it. If you blow people's minds, doing something really amazing or unexpected, the sky is the limit. Just look at "Birdman" and "Whiplash," two of 2014's best movies. In the hands of lesser filmmakers, they could have been boring, deadwood dramatic exercises. But smart, intense scripts dialed it up and made them rock. Ensemble dramas especially -- meh. They just don't work as specs. And expensive period pieces (unless they're for TV) are always a tough sell. 

On the more commercial but played-out side, anything with werewolves, vampires, spies, a serial killer, terrorists or superheroes are all basically DOA. Again, there are exceptions, but getting traction on one of these is a Sisyphean task. Finding an awesome, fresh concept may take a lot of brainstorming sessions. But it's better to wait until you have that killer idea than to move forward with a so-so one and waste a year of your life pushing it. 

Can You Will An Alternative Reality Version of Hollywood into Being?

Not Coming Soon.
Continuing with the above thought, we all wish that Hollywood was more like it was in the '70s and '80s, before the studios were gobbled up by megacorporations. In those days, they might take a chance, sometimes, on riskier material. Of course, they churned out a lot of crap, too. But they made way more movies than they make now, and thus there was more opportunities for good storytellers. Too, minimum guarantees on foreign sales meant lots of opportunities from smaller film companies making "programmers," which could always be counted on to turn a profit. All of that meant talented writers could earn a pretty good living -- the opportunity was there.

Hollywood will likely never return to those days; don't expect it to. If you're writing the next "Kramer Vs. Kramer," good for you -- but don't expect Paramount to make it. Instead, one now has to think about independent or foreign financing or self-producing. Awesome movies are still being made; they're just being put together in more creative ways. And if the end result is a great movie, then a big studio might pick it up at Sundance and release it. Way less risk for them. As for the writers, those paychecks are harder and harder to find as the middle has been almost completely squeezed out of the marketplace.

But in case you didn't get the memo, there is a renaissance going on right now, and it's called TV. Premium cable led the charge with incredible content like "The Sopranos" and "Dexter." Basic cable stepped up and gave us "Monk," "Breaking Bad" and "Sons of Anarchy." And now we have Netflix, Hulu, Amazon and YouTube creating envelope-pushing original shows with none of the cliches and censorship associated with network TV. 

Truly, it is an AWESOME time to be a writer. Adjust rose-tinted goggles and set sights accordingly.

Dead Horse, Meet Flogger.

The industry expects you to be able to create 1-3 scripts/year. If you're still trying to send out the same script you were shopping this time last year, pardner, that ol' nag is ready for the glue factory. Sure, there may always be new opportunities for an old piece of material, but if the script has been exposed to the town in any significant way -- as in, it's been submitted to a couple of production companies -- you may well be dead from this point forward and not even know it.

The reason is because of tracking. Any script which is sent out in any significant way is tracked; development execs sometimes share coverage as well. Which could mean if you got pass/pass at Disney, you may already be dead at Universal. This is not always true, but in this day and age it's probably best to assume everyone knows everything. As well, once a script has been submitted to a company, any further submissions will inevitably result in the previous coverage being pulled up. People are always looking for an excuse not to read. So even if it's a new draft, you might be dead in that case as well.  Hell, I got busted once even after a title change. Their database actually pulled up the coverage based on writer name. Yep.

Most importantly, agents, managers and CEs hate when you query them the same script you've already hit them up about and/or submitted last year. Heck, sometimes our record-keeping is inept (we are writers, after all) and we forget whom a script has gone in to. But they don't, and they'll hold it against you. One of the biggest pet peeves of agents and managers is writers who don't write. You must expect that the vast majority of your work will be "practice" and put it on the shelf once it hits the expiration date (roughly a year from the time you start sending it out.) Writers write. So get over it and move on. You do have other ideas, right?

Doing the Notes Is Not Really Optional.

I love our clients -- we have so many amazing ones who constantly blow me away. Some of you guys really embrace feedback as a valuable part of your script development process. Take Carlo Bordone, for instance, who has sent us probably a dozen drafts of his script "Wartime Revelations" over a period of almost two years. His latest draft scored a coveted 'consider' as part of Get Repped Now!, thanks to lots of hard work on his part, and we will be sending it to our manager panel this month. 

Carlo Bordone
Yet others reject the notes and fire back several pages of flame-mail vitriol. Sigh. Look, of course not every note is going to be right. Sometimes a reader truly does not get what you're trying to do or flat-out misses something. It absolutely happens. But to reject the notes in whole or even in part is just kinda foolish, and says more about our own egos than anything else. I mean, you're paying for that feedback. Actually listening to it however, that's up to you. Except... it isn't really.

'Cause at the end of the day, there really is no getting around doing the notes. It's a lot easier to reject the reader's comments -- "What a moron!" No one wants to take on all that -- especially since we thought we'd nailed it in the first place. So maybe we'll do a couple of the little easy notes, but the big script-rippers -- like not having a clear protagonist, or the inciting incident not coming in until page 43 -- we ignore those. Because that means WORK.

Look, we all hate doing script rewrites. But isn't that what we signed up for? Isn't that exactly what we hope to be paid for someday -- doing revisions on your script (or someone else's)? But to get there, we *must* learn to not wall-up when we receive constructive criticism. And to do the damn notes.

And finally:

You Do Know the Odds, Right? 

Sometimes we do everything right, yet even then, things go south.  Your friends all love the concept of your new script. You get a couple bites and send it out. Then boom -- another spec with a similar concept beats you to the marketplace. You're dead in the water. Or the script that you've painstakingly ironed the bugs out of is just not a genre that's popular at the moment. Or your manager sends out the script and everyone likes it, but no one buys it. Who the hell knows why? Could be all the companies had already spent their development budgets for the year but didn't feel your script was discretionary fund-worthy; or perhaps it requires a tricky or specific bit of casting, or the budget is just too big... and on and on and on.

It's at times like these that I recall the legendary Ash Williams:  

"You see this? This is my BOOMSTICK!"

Yes, this whole writing thing will beat you down and wear you out and suck all the joy of creation right out of you if you let it. I know I just said you have to temper your ego, but gumption is just as important. Think of yourself as the protagonist in the movie of your life. You will be tested. What you're trying to do is not easy. The stakes are huge. The cost of failure: dire. And vast enemy armies will be doing everything they can to stop you. 

But... we have a goddamn metaphorical boomstick, and best of all, it has INFINITE AMMO. So no matter how many slings and arrows you may suffer, hello, there is always another shell just waiting to be chambered. You just have to reach for it and load that sucker. Then stand up proudly and brace yourself, because another wave is coming at you. But this time you'll be ready. Because you've invested the time and energy into learning your craft and you are a talented, never-say-die son of a gun. 

Lock and load, baby.



Jim C.
www.coverageink.com

www.coverageink.com

"You see this?! THIS... is my BOOMSTICK!!"
"You see this?! THIS... is my BOOMSTICK!!"


Wednesday, December 31, 2014

Thursday, December 04, 2014

GET REPPED NOW! SCRIPT SELLS TO DISNEY FOR 6 FIGURES

This is the little secret we could not divulge for all of the most recent Get Repped Now! promotion, and it was killing us! While we *could* announce that Coverage Ink's Get Repped Now! landed writer Brandon Barker at Benderspink and then subsequently got him signed at UTA -- we couldn't announce the freaking SPEC SALE until now!

www.coverageink.com

So there it is. Brandon Barker's script NOTTINGHAM + HOOD has sold to Disney for an undisclosed 6-figure amount. Read all about it at Deadline.

The script concerns The Sheriff of Nottingham's capture of Robin Hood and subsequent tumultuous road trip to bring his man to justice. It's Midnight Run in Sherwood Forest. 

"Coverage Ink is what started it all!," enthuses Barker. "I cannot thank you guys enough. Major dream come true!" 

 Special thanks to Jake Wagner from Benderspink for making it all happen.

We're still working our way through the big pile of Get Repped Now! submissions from November, looking for the next Brandon Barker. If you missed it, don't worry -- Coverage Ink's Get Repped Now! returns in the spring. In the meantime, get to work, writers! 

www.coverageink.com



Tuesday, December 02, 2014

CI Senior Story Analyst Kevin O'Hare Sells Pilot to ABC

O'Hare
Coverage Ink senior story analyst Kevin O'Hare, an accomplished writer/producer with numerous TV sales under his belt, put another notch in his gunbelt with the sale of ASCENSION to ABC, The Hollywood reporter recently announced.

O'Hare, who has been a consultant to Coverage Ink since 2005, describes the pilot as an FBI procedural with a female lead. 

"I literally just found out about the sale on Thursday -- I did network pitches and left the spec pilot and series outline behind the week before. Had Brillstein attached, and they took it into ABC Studios -- then the studio focused on the network, and they bit. Additionally, I have a blind script deal with Universal I'm going to be commencing in the next few weeks as well, so things are going to be awesome but crazy (feels like it's always feast or famine, doesn't it?) I'm thrilled."

As well he should be.  Brillstein Entertainment is attached to executive produce. O'Hare is repped by Verve and Underground. KICK ASS, KEVIN!

www.coverageink.com