Log In
Or create an account -> 
Imperial Library
  • Home
  • About
  • News
  • Upload
  • Forum
  • Help
  • Login/SignUp

Index
COVER PAGE TITLE PAGE TABLE OF CONTENTS DEDICATION ACKNOWLEDGMENTS FOREWORD INTRODUCTION PART ONE
CHAPTER 1
OVERVIEW OF HOLLYWOOD WHAT DOES HOLLYWOOD WANT? “WHAT JUST HAPPENED?” EFFORT, ACCESS, TIMING PASSION VS. PA$$ION
CHAPTER 2
ADVICE ON REJECTION FROM A SEASONED, ... HOW TO HANDLE REJECTION REVISING YOUR WORK IN THE FACE OF REJECTION
CHAPTER 3
WHAT ARE YOUR CRITERIA FOR COMING TO L.A.? HOW DO YOU KNOW WHEN YOU ARE READY TO MOVE TO L.A.? THE PROS AND CONS OF LIVING IN L.A. THE THOMAS GUIDE WHERE TO LIVE WHAT IS A WRITER’S “VOICE,” AND ... LEARNING PATIENCE ONCE YOU GET TO L.A. BUILDING YOUR SUPPORT COMMUNITY THE MOST IMPORTANT VIRTUE: COMMITMENT FINAL NOTE
PART TWO
CHAPTER 4
A SNAPSHOT OF THE ACQUISITION PROCESS WHY EVERYONE WRITES AND YOU SHOULD, TOO WHAT YOU SHOULD BE WRITING WHERE DO PROJECTS COME FROM? LOW-BUDGET FILMMAKING AS ANOTHER WAY IN THE PITFALLS OF TRYING TO WRITE FOR THE MARKET WHO OWNS WHAT YOU WRITE?
CHAPTER 5
WHAT IS A SPEC? SPECS VS. ASSIGNMENTS HOW TO TURN SPECS INTO ASSIGNMENTS WHAT KINDS OF ASSIGNMENTS SHOULD YOU TAKE? THE WEEKEND READ POST-WEEKEND-READ NOTES FINAL THOUGHTS
CHAPTER 6
WHAT IS A PITCH? THE MEET-AND-GREET THE ACCORDION PITCH HOW NOT TO TAKE A BEATING AT THE MEETING WHY YOU SHOULD HAVE YOUR OWN AGENDA AT ANY MEETING HOW NOT TO MISTAKE THE SIZZLE FOR THE STEAK TYPICAL RESPONSES YOU WILL RECEIVE FROM THE STUDIO WHY SOME DEADLINES CAN BE APPARITIONS
CHAPTER 7
HOW TO REGISTER WITH THE WGA TO PROTECT YOUR WORK WHAT IS THE MINIMUM BASIC AGREEMENT? UNDERSTANDING THE SPEC-SALE CONTRACT FINAL THOUGHTS
PART THREE
CHAPTER 8
A CRASH COURSE IN THE STUDIO ... THE FIRST-LOOK DEAL WHAT KINDS OF PROJECTS DO STUDIOS LIKE? STUDIO DEVELOPMENT BUZZWORDS STUDIO NOTES: WHAT THEY ARE ...
CHAPTER 9
WHO ARE STUDIO EXECUTIVES? WHAT DOES IT TAKE TO ... HOW TO THINK LIKE AN EXECUTIVE
CHAPTER 10
WHO ARE PRODUCERS? WHAT ARE THE DIFFERENT KINDS OF PRODUCERS? HOW PRODUCERS STAY IN BUSINESS PRODUCERS AND CRITICISM OF YOUR WORK PRODUCERS AND THEIR RELATIONSHIP TO STUDIOS A FINAL WORD
CHAPTER 11
WHO ARE DIRECTORS? THE RELATIONSHIP BETWEEN DIRECTORS AND WRITERS DEALING WITH DIRECTOR’S NOTES A FINAL WORD
CHAPTER 12
HOW ACTORS FIND WORK ATTACHING ACTORS TO YOUR SCRIPT MOVIE STARS AND ACTORS QUERYING AN ACTOR
CHAPTER 13
WHO ARE AGENTS? THE AGENT ROSTER MEETING AN AGENT FIVE WAYS TO IMPRESS YOUR AGENT HOW TO BECOME A CLIENT BEING A POCKET CLIENT AND RISING ABOVE THAT STATUS THE ROLE OF QUERY LETTERS AND QUERY CALLS FORM FOR ALL QUERIES KEEPING AN AGENT HOW TO AVOID STICKING WITH A BAD AGENT DECIDING WHETHER TO LEAVE YOUR AGENT MARKETING YOUR SCRIPT WITHOUT AN AGENT THE BENEFITS OF A GOOD AGENT
CHAPTER 14
WHAT IS A MANAGER? THE DIFFERENCE BETWEEN MANAGERS AND AGENTS HOW DO YOU KNOW IF YOU NEED A MANAGER? AVOIDING BAD MANAGERS AND FINDING GOOD ONES DOUBLE-DIPPING
CHAPTER 15
SCRIPT READERS SCRIPT CONSULTANTS ASSISTANTS
PART FOUR
CHAPTER 16
THE POWER OF NETWORKING WHERE TO GO TO SEE AND BE SEEN WRITING GROUPS COLLABORATING WITH WRITING PARTNERS SCREENINGS JOIE DE VIVRE
CHAPTER 17
WRITER’S BLOCK AGEISM “PEOPLE WHO NEED PAPER” BY SONIA LENT THE JOURNEY OF A THOUSAND MILES ... 9 TO 5 . . . A.M. CALL FOR BACKUP
CHAPTER 18
WRITERS AND THE INDEPENDENT ... CREATIVE CONTROL IN THE INDIE SCENE MY OWN EXPERIENCE AS AN ... BUSINESS CONTROL IN THE INDIE SCENE MARKETING YOUR INDEPENDENT FILM
PART FIVE
CHAPTER 19
HOW TO MEET WITH AN EXECUTIVE OR PRODUCER SETTING UP THE MEETING AT THE BEST ... HOW TO PREP FOR A KNOCKOUT MEETING THE MEETING ITSELF USING MEETINGS TO LAND ASSIGNMENTS
CHAPTER 20
WHAT ARE SCREENWRITING COMPETITIONS? WHAT YOU NEED TO KNOW TO DO WELL ...
CHAPTER 21
YOUR FIVE-YEAR PLAN FOR SUCCESS ... POTENTIAL JOBS TO SUSTAIN YOU ... OUTSIDE THE INDUSTRY ...
PART SIX
CHAPTER 22
AGENTS ATTACHING TALENT TO YOUR PROJECT SHORT FILMS ANSWERING TOUGH QUESTIONS COLLABORATION FILM SCHOOL PRODUCERS PROTECTING MATERIAL QUESTIONS ABOUT THE CRAFT BUSINESS QUESTIONS THE INTERNET FOREIGN MARKETS LIFESTYLE ISSUES AUXILIARY MATERIALS
CHAPTER 23
TOP TEN FILM FESTIVALS TEN MAJOR SCREENWRITING COMPETITIONS TEN ESSENTIAL BOOKS ON THE CRAFT OF SCREENWRITING TEN KEY PERIODICALS FOR SCREENWRITERS TEN VALUABLE ORGANIZATIONS, UNIONS, AND GROUPS ELEVEN IMPORTANT INTERNET RESOURCES FIVE VALUABLE INDUSTRY DIRECTORIES AMERICAN FILM INSTITUTE LIST OF THE ...
CHAPTER 24
ABOUT THE AUTHOR COPYRIGHT PAGE
  • ← Prev
  • Back
  • Next →
  • ← Prev
  • Back
  • Next →

Chief Librarian: Las Zenow <zenow@riseup.net>
Fork the source code from gitlab.

This is a mirror of the Tor onion service:
http://kx5thpx2olielkihfyo4jgjqfb7zx7wxr3sd4xzt26ochei4m6f7tayd.onion