Hollywood loves book adaptations. And Hollywood loves unique storylines.
Do you have a story that would translate well to the screen?
Myth #1: You have to be a screenwriter to pitch to film people. Not true!
Producers are open to authors pitching books. They know screenwriters who can adapt your amazing book to a screenplay if you haven't already. You do need to have a story that speaks to the producer as the wheels turn in their heads imagining if they could make a blockbuster movie with your concept.
This year Connecting Writers With Hollywood is partnering with the prestigious Pacific Northwest Writers Association in hopes of inspiring writers and producers in the creative community of the Pacific Northwest.
This conference is usually held at the Historic Davenport Hotel in Spokane Washington where producers, script doctors and film people fly in to get a slice of that Pacific Northwest Storytelling Factor we are famous for. Yes, Seattle is famous for turning out excellent authors, writers, storytellers. Maybe it's the rain but in Hollywood, the PNW is known as a region of creativity and that includes novels, music and films. The two big movies advertised on my TV this month are The Art of Racing in the Rain and Where'd You Go Bernadette. Both great books written by Seattle authors, set in Seattle.
Let's talk about Connecting Writers with Hollywood:
Who comes to events like this to hear these people speak?
Anyone jazzed on having their story made for the big screen.
Why pay all the money to hear Hollywood people talk?
You might learn something valuable, you might meet someone valuable, you might get so inspired that you go home and write something valuable.
Aristotle said: There is only one way to avoid criticism. Do nothing, say nothing, be nothing. I believe the same is true for anyone wanting to do something special. You will not achieve that dream without some jumping off cliffs and hoping to fly.
Note: I borrowed my son's pizza delivery paycheck 4 years ago to afford a trip to Hollywood to pitch at Universal Studios. I didn't get a film deal for my novels that weekend, but many baby steps later, I have a literary manager, am a sold screenwriter with a film in development, and have had an optioned book series. Also, my TV pilot was pitched at both Fox Studios and the CW last week and as my agent said, "That's not something you see every day!"
They are producers, script doctors, screenwriting teachers, movie people who are connected in Hollywood. In the film industry connections are as important as typing skills are to a writer. Gotta have connections. It's a business of who you know and building connections starts exactly this way. Listen to someone speak, get inspired, tell them, ask if you can give them a one sheet of your project.
Why Seattle?
In Los Angeles these conferences where you listen to producers speak, happen all the time. Hollywood heavy weights are inundated at these events with ideas from the thousands of waiters, shop workers, crossing guards, everyone in Southern California who is a secret screenwriter. What makes this opportunity in Seattle different is that things are bound to be less desperate that day, fresh, and possibly more unique to them. In a smaller crowd of writers, your idea might get more attention. You still need to have an awesome story but you won't be competing with the back biters of Hollywood to hand over a one page. Last week there was a pitch fest in Hollywood with hundreds of producers and thousands of writers. Think about how confusing that must've been for a minute.Myth #2: You need to be an extrovert to get something looked at.
Not true. If you bring your one sheet to leave with a producer or producers, that should speak for itself.
Memorize your succinct log line just in case someone asks what your story is about. Know your genre, your audience. eg) I was told to stop pitching once, when I started my log line by saying "It's about a guy who enters dreams to solve a murder." There was so much more I wanted to say but the producer cut me off and took my one page.
That leads me to my next point: Do some research ahead of time if you're coming to CWWH. Read the bios of everyone, see who might be producing a story like yours or might be in a position to pass your one sheet to someone who is producing movies. Everyone on that page but me, because I am only the Emcee, is producing or in a position to pass along your one sheet.
Then, make an awesome one sheet for your project, or projects.
What's a ONE SHEET, you say? A ONE PAGER?
Here's some links!
http://www.nobullscript.net/creating-the-perfect-one-sheet/
https://www.scriptmag.com/features/career-features/how-to-create-loglines-queries-one-sheets
https://www.scriptmag.com/features/career-features/fearless-feature-film-writers-creating-one-pager
So, yes, CWWH costs money and yes, it takes a day of listening and absorbing. Don't come if you don't believe in your story. Don't come if you simply want in out of the rain or sun.
Come to CWWH if you are one of those people who go for the gusto, get things done, work hard for your successes and believe that someone is going to get a movie deal - Why not me? Come because the idea excites you!
Here's the link to register
See you there...
KIM HORNSBY is the bestselling Amazon Author of The Dream Jumper's Promise, Book 1 in a Supernatural Suspense series. An awarded author and screenwriter, Kim lives in the Seattle area and writes stories for women about overcoming tragedy, adversity and coming out the other end. Some are funny, scary, romantic, suspensey but all are hopeful.
Find her on Amazon Books.
