​Writing is HARD. Breaking in is even HARDER.
Let's talk about that, shall we?

I'm going to cover some basics about writing/breaking in first. HANG with me, because these points are building blocks for the main point of this post. We will discuss your overall motivation for writing, the time and effort you in invest in this endeavor and the external factors that could effect your efforts at moving forward in your writing career.

1) MOTIVATION for Writing -
I think it's imperative that you take some time to understand what motivates and drives you to write. A few questions you could ask yourself are:
Do you write because you love it and it makes you feel good inside?
Do you write for external validation?
Do you write because you want to be famous?
Do you write because you want to make an impact on the world in the widest way possible and you believe that to be your route?

None of these reasons are bad, in and of themselves. BUT, I do think you need to know your motivation. It may take some soul searching, but it is important. Your motivation will affect your work and how your work gets out into the world.

2) TIME AND EFFORT for Writing -
Just like any other "activity," some people are more gifted/talented writers than others. Writing comes easier for others and talent certainly plays a part in their success. BUT, excellent writing ALSO takes time, practice and effort.

Writers must put time and effort into learning the craft. You must put time and effort into learning about your industry (whether you be a screenwriter or novelist). It is necessary for you to work at it. Any sort of success in any area requires you to work hard. And to have a really, really, really good product...screenplay or novel, depending....you must constantly work the system: learning, networking, etc.

3) REALITY of EXTERNAL FACTORS that IMPACT WRITING-
After you've figured out your motivation, put in your time and effort, you must deal with the reality of external factors in your current life that can positively or negatively affect your ability to break into the industry. Such as:

1) At what point in your life did you decide you wanted to write and potentially make a career of it? Did you go to school for it? If not, what will you do to learn now?
2) Where do you live? Is that location conducive to being a writer?
3) Do you know anyone in the respective industry?
4) If you don't have any warm connections, do you give up on your dream?

Because let's be honest, all of these external factors can impact where and how far your writing goes. And a lot of success in writing (whether it be novel or screen) can be based on WHO you know. Getting a referral or meeting someone, somewhere, who is willing to connect you to someone else. Warm connections are HUGELY helpful. Now, some people will say that good writing will eventually find it's way into the right hands, but you BETTER believe that those writers are doing everything they can to get as close to those gatekeepers as possible.

NOW. To my NEXT point.

I had this really interesting exchange on Twitter (with a quite famous person who I will not name) and I wanted to address it. It was on the topic of conferences with attached PITCH EVENTS.

I'm fully aware of the naysayers out there who say writers should not have to "pay to play," or "pay to pitch" their project. Other people came into the fray with him, calling these pitch events "predatory, sleazy, and sick," and even went so far as to say these events (with the option to pitch) take advantage of writers who aren't really that good. They claim these events are simply taking the writer's money,

BUT I WANT TO TALK ABOUT THIS! Now, in full disclosure, everyone is entitled to their opinions, but I wanted to put my 2 cents in. To address these skeptics/haters: I concede to your point that these events-where pitching occurs-do cost money. Plain and simple. And that's all I can say.

BUT! Here's my FIRST response as to why these pitch events aren't all that bad:

Most of the events (that include pitch portions) are CONFERENCES or EVENTS- they take place in hotels and/or conference centers and they have to cover their costs. That's just being responsible. The events also provide panel discussions, classes and networking opportunities. So, I would argue that writers are getting SOMETHING for their money. NOT NOTHING. I don't see how this is predatory.

NOW let's address these "pitch" events and put them in context with the external factors discussed above:

1) If a person didn't know that they wanted to be a writer until after schooling was over (plus not everyone can afford to get an MFA in writing or go to college for screenwriting) these events are way cheaper AND I consider them be an investment in furthering your writing education! There is nothing wrong with that. Since there are classes led by current people in the industry discussing craft, business and such, it is educational, if nothing else.

2) If you don't live in an area of the country with a lot of writers, these events allow you to NETWORK LIKE CRAZY! I have known people that have not just gotten signed with agents and/or managers at these events, but they have sold scripts or made connections that led to a job! If you don't live in an area of the country that is conducive to networking with other creatives, this type of event can change your course of existence. It really can. Ask me, I can give you plenty of examples. Now does this happen for everyone that attends? No, of course not. But that is just the way things go. If not one event, maybe another. Or the event leads to a coffee, which leads to a meeting...and you get my drift.

3) If you don't have warm contacts, you can find them at these events. You can meet people that know other people. Last time I checked that's what networking is. You really do meet other writers, executives, show runners at these things and you learn about the industry and you have a fun time!

SO BOTTOM LINE THESE THINGS ARE ABOUT SO MUCH MORE THAN PITCHING!!!! That is just a portion of the events.

Now, I will say I'm speaking at an event soon that has a pitch component included in the price of the event. Participants can pitch if they so choose, as it is INCLUDED with the classes, panels and networking. Heck, I'm giving a class and I'm talking about what writers need to do to prepare themselves for representation with a manager or agent. THIS IS EDUCATING WRITERS! And I love to do that. It's my jam. This is how people move on up. By educating themselves.

The point is, be nice. Stay humble. Work hard. Because you never know who you will encounter, even on Twitter.
​
There is great undiscovered talent out there- and I think it's perfectly acceptable for writers who are passionate about what they do to pay for an event if they feel it is worth it. Its a GOOD THING to attend, hang out with other writers, have a drink or two, listen to some panels and potentially get to pitch...especially when they wouldn't get an opportunity to otherwise. It could change their life.

Everyone is entitled to their own opinions on this topic. But as an optimist, I've witnessed to many great connections come out of these types of events to be a naysayer. As long as you know what you are getting/paying for, it's all good! I just had no clue people had such strong feelings about these things. So....

​Bottom Line: Check out the events. Research them. Ask around. Read reviews. That's just smart business anyways.

So, that's why these events aren't so bad, in my opinion any way. In my book, it's worth it!

I love you all, keep fighting the good fight.

Whitney

Most screenwriters have heard of story guru Robert McKee, but the reality is, writers (screenwriters and novelists alike) need to hear what Robert McKee has to say on the craft of story and take it to heart.

Robert McKee is a legend. Not only has he taught story structure to the Best of the Best in Hollywood, but his STORY book sits at the table of most TV writing rooms in Hollywood.  Some of his students include Paul Haggis (2 time Oscar Winning Writer/Director of Crash and Million Dollar Baby) and Lawrence Kasdan (Oscar Winning Writer/Director for movies such as The Big Chill, Raiders of the Lost Ark and The Empire Strikes Back). Even actors such as Russell Brand and Julia Roberts (to name a few) have taken his Story Seminar.  He is just THAT good.  

Taking his class is considered to be a "write of passage," {pun intended} as the class consists of 3 VERY long days filled with intense lecture and script analysis. And at age 76, McKee still gives (or performs, honestly- he is so entertaining) these seminars three times a year: once in LA, once in NYC and once in London. I had the honor and privilege to attend his Story Seminar in LA and it was everything I'd hoped for and more.  If you are serious, committed writer of any sort, I highly encourage you to attend this seminar.  

If you haven't had the chance to attend the seminar, have no fear.  You can purchase his books "STORY" and "DIALOGUE," which contain the majority of the information he covers in his lecture.  But here's what you won't get from the books: the experience of learning from the master in person, the priceless stories and vignettes that he shares, and meeting all the other fantastic writers in attendance.  

Because I love you guys, I've looked over my notes from the seminar (multiple times, mind you) and compiled the TOP 5 TAKE-AWAYS from the seminar. This is the information that I found to be the MOST VALUABLE, especially based on the needs and concerns I discuss regularly with my clients.  I hope you find this helpful!

ENJOY!

TOP 5 TAKE AWAYS from Robert McKee's STORY SEMINAR

1. Maximize your Talent by Mastering the Craft of Writing.

Many wonder why it's necessary to study the CRAFT of writing (structure, genre, conflict, etc.) Well, here's why. Many people have literary talent {the ability to creatively convert ordinary language into a higher, more expressive form}, or to put more simply, the ability to write beautifully.  But pure STORY talent {the creative conversion of life itself into a clearer,  powerful, more meaningful experience} is far more rare.  But here is where things get interesting.  Mastering the CRAFT of writing can help bridge that gap between literary talent and story talent, thereby maximizing your talent.  Story talent occurs on a spectrum and craft can help push you to the higher end of that spectrum.  

So, when given the option of hearing trivial material told brilliantly or profound material told poorly, McKee suggests we would all choose to listen to the trivial material told brilliantly.

For example, you have that one friend who can give you a recap of how she put her children on the school bus {of all things},  and you're captivated.  It was funny and she structured it in such a way that she hooked you and you couldn't wait to hear the ending.  Trivial topic?  Yep.  But, her storytelling abilities? Brilliant.

Now, compare that to your friend who tells you about their family member having a profound spiritual experience  right before they died. This is certainly more profound than a mom putting her kids on the bus in the morning, but you were bored to tears.
 
What we want to aim for is a combination of these two things, ending up with a profound story told brilliantly. Hence, why studying the craft of writing (structure, genre elements, conflict, tension, etc) is important.  As McKee says, "For talent without Craft is like Fuel without an Engine." The fuel (talent) burns wildly but accomplishes nothing if it isn't put to use properly.  

2. 90% or more of your ideas are mediocre at best, full of cliches. 
Say what? At first, this statistic could be enough to make anyone stop writing, but, truth is {gasp!} McKee is right.  A lot of writing is mediocre.

So, how do we avoid mediocrity?  McKee's answer is this: when writing, never use the very first scene that comes to mind,  because that scene most likely came from the memory bank filled with every movie and TV show you've seen before.  

Okay, so then how do we arrive at the 10% of our writing that isn't mediocre,  and therefore write a profound story told brilliantly, as we mentioned earlier? 

McKee suggests writing 2 to 3 times more material than what is needed in order to destroy all the cliches and all the mediocrity.

When you create this extra material, you can look for the perfect scenario for that scene.  Your first idea may have been brilliant, but don't trust it until you've looked at every possible scenario for that scene in which you consider the setting, the characters involved, and the events occurring. Then you have the freedom to pick the choice that is most true for that character, most true in that world and is executed in a way that is fresh and original.

3. There should be no MYSTERY about your STORY or your CHARACTERS.
 
You must have a God-like knowledge of your story and everything it entails, including your characters. People often wonder how they can come up with all the "extra scenarios" mentioned above.  The answer is this God-like knowledge.  Do your research. Know your characters inside and out. This holds true for your setting as well.  Having a God-like knowledge of the setting will sharply define and limit the story you tell.  And oddly enough, creative limitations can be helpful. They force you to be creative when you know certain things can or can not happen within the world of your story.

4. Be Aware of the TWO Hardest Scenes to Write and Work on them Accordingly. 

McKee suggests that the CLIMAX of the central plot is the hardest scene to write. The climax of the central plot is truly everything as it is the final expression of the deepest meaning of your story.  I'm not talking about the RESOLUTION here, but the CLIMAX-- when everything comes to a head and the forces of your story collide.  Because of this, it is the most rewritten scene. Remember, if you don't have a great ending, you have nothing.

The second most difficult scene to write, according to McKee, is the INCITING INCIDENT, the scene that really kicks off the story.  It sets the tone and creates the new world your character must now navigate.  How do you deal with these difficult scenes?  Remember this: Anything {in the right context} can radically upset the balance of life for your character.  So, don't overthink it, just write it.

5.  And REMEMBER to HOOK, HOLD and REWARD.

When you get to the point where you're pitching your story, do NOT pitch an agent or producer first (if you have access to one). Pitch your friends {or anyone who will listen}. As you pitch them, watch their reactions and ask yourself these three things:  
HAVE I HOOKED THEM? 
DID I HOLD THEIR ATTENTION? {and if not, where did I lose them?}
DURING THE PAY-OFF, do I get one strong reaction of the kind I want from them? Was it rewarding?

If the answer is yes for 7 out of 10 people you pitch the story to, then you know you are onto something and that your story works.  If less than 7/10 respond favorably, there is still work to be done.

If you want to know more about Robert McKee and his Story Seminars, check out his website at www.mckeestory.com.  You'll be glad you did!  

And as always feel free to find me on Twitter at @wdavisliterary if you'd like to connect!

Until next time, 

Happy Writing!
Whitney

"Everyone has a Story. Write Yours."

In the weeks leading up to New Year's, people begin to make  their New Year's Resolutions. Firm decisions made--written down or spoken aloud--proclaiming that they will do OR not do something.  In my experiences, most people make these resolutions with little or no preparation, thereby setting themselves up for failure.  Then in the days, weeks, and months months (if they are lucky to last that long) that follow they lose focus and give up on said resolutions.  They are left with the bitter after-taste of regret, upset that they did not fulfill those firm decisions that they were once so passionate about when the calendar year clicked over.  Hey, we are only human.  And for some reason, it seems people think that if their New Year's Resolution Report Card or Sticker Chart isn't perfect, they should JUST GIVE UP.  There is no middle ground, or so it seems.

So, what is a person to do?

If New Year's Resolutions are generally unsuccessful, how about we change our narrative?  How about we choose to change the language and make the verbiage a little less intense?
 
Now, I'm not saying that these committments or goals should be less important, but maybe I would say these alternative declarations could be sprinkled with more grace, therefore allowing a person to not feel so disappointed if their goal is not acheived on a daily basis.  

Life choices and changes should not be about achieiving perfection, but about being PERSISTENT in the choices you do make.  If you mess up, you pick yourself up and try again.

So, as 2017 arrives tomorrow, I am choosing to make New Year's RESTORATIONS.  

You may be wondering exactly what I mean by that...a New Year's Restoration?
 
When you look up the word restoration, it TECHNICALLY means "to return something back to the original condition."  Well, that is all well and good.  

We can look at something in our life that we may not be 100% happy about and make a commitment to restore that area to what it once used to be.  But, did you know there is a more "spiritual" definition to restoration?  

I believe that creavity and writing are often times spiritual, whether or not we acknowledge it as that.  As we create, we pour out our souls, showing the world the essense of who we are.  In that regard, I feel like sharing this more spiritual definition of RESTORATION with you could be eye-opening.  

In the biblical sense, the meaning of restoration is defined as "receiving back more than has been lost, to the point where the final state is GREATER than the original condition."  

The main point is that someone or something is improved beyoned measure!!!  

Now that is what I am talking about!

So, as you approach this New Year, why not consider making some restorations in your creative life? You may feel like you've lost your passion for creativity or don't even know why you are doing it anymore.  So then, wouldn't it be nice to not just RESTORE your passion, but to have a GREATER passion than you once had?  To truly be renewed?

On that note, I challenge you to approach your writing/creative endeavors this year with a goal to RESTORE your "WHY" for creativity and to RENEW your passion for your craft.  Because remember, sleep will not help you if your soul is tired.  But self-reflection and efforts at  restoration can help you rediscover the passion you have for your creativity.

​Here are some other questions to ask yourself as you enter the new year:

1) Why do I create?  What are my motivations for engaging in this activity?

2) Why do I love creating? Or if I'm in a rut, what did I love about it when I first started?

3) If I'm not in an optimal place in my creative path right now, what can I do to reignite this passion?

If nothing else, I hope these questions help you to look at the New Year and your creative goals differently. It is not all or nothing.  If you fail at something, just try again.  Persistence {not perfection} is key.  And even better, if you work toward taking active steps to restore your passion, you {hopefully}  won't be left with that bittter after taste the regular resolutions can leave behind.

As always, if you have any suggestions for what you do when you find your passion waning, please feel free to comment and share your ideas!

Happy NEW YEAR and HAPPY WRITING!

Whitney
"Everyone Has a Story.  Write Yours."

I recently asked my followers what lies they tell themselves as writers.  And I was kind of amazed at the responses I received over Twitter, FaceBook and email. I wasn't amazed by the amount of responses but by the similarities of the responses.  It became clear we all struggle with similar things.  Thank goodness, though, for our creative TRIBE who can  set us straight when we need to hear truth.  So, this series is going to be called "THE LIES WE BELIEVE" and ways to counteract those lies. 
So...There you sit....WRITING.  
Maybe a novel.  Maybe a screenplay.  Maybe a short story. A speech, even.
And then THE VOICE hits your brain and whispers to you.

"​What are you doing?  You're not good enough for this.  You're not a talented writer. You're not smart, You're not even funny.  No one's even going to read this.  You think you're gonna get an agent with this? Or win a contest?"

And then you sigh.  And put down your pen. Or close your computer.  Or throw chunks and chunks of paper away.  And stomp off to contemplate even bigger questions like, "WHY AM I EVEN HERE?"  
You're spiraling.  

But stop.  Don't do it.  Trust me!  And here's why.

What you're experiencing is NORMAL.  Especially if you're a person with creative tendencies.

What you're experiencing even has a name.   And let me warn you!  This gets worse before it gets better. (But isn't that true for anything worth doing?)

SO WHAT IS THIS?

It is IMPOSTER SYNDROME (also known as imposter phenomenon or fraud syndrome)! This syndrome came to light in 1978 when two clinical psychologists created the phrase after noticing that many people had a persistent fear of being exposed as a "fraud" or a "fake" at their job, despite them having achieved some level of external success.  This fear of being exposed, of people "figuring them out," was enough to cause them to be unable to internalize their accomplishments.   Their doubts would literally paralyze them.

If they only knew the "real me," they'd never let me write this speech...
OR
Even though I won this writing contest, it was a fluke...
OR
This book/short story/script may have gotten good reviews but they'll figure me out the next time for sure...

It's tough, right?  And to make it worse, I think the IMPOSTER syndrome has 2 distinct parts:

• the first being, "I'm never going to be good enough ever to achieve anything," and then,
• once we do experience a "win" (be it big or small), we tell ourselves that was a fluke as well. 

So, as creatives, how do we battle against this negativity in our head, against THE VOICE that tells us that our work isn't valid unless we've achieved a TANGIBLE measure of success (i.e. gotten representation, gotten published, etc.) and even IF/WHEN we do, we still feel like we're a fake?  Or even worse, that we don't believe we deserve the success we've experienced?

I struggle with this quite a bit, and I could bet you do too..  So, here are six TANGIBLE WAYS TO COMBAT Imposter syndrome as a creative type, using COMBAT as a mnemonic device. You will Confront, Orient, Monitor, Borrow, Avoid, and Test your way out of the Imposter Syndrome. LET's GO!

1. CONFRONT reality.

The reality is this: CREATIVITY IS SUBJECTIVE!  Simply, this means you can't please everyone.  And that should be a huge relief because it allows for a lot of options!!!!  SO, when it comes to that voice in your head telling you that you aren't good enough, or that no one will read your work, remember the words of the great William Goldman: "In Hollywood, no one knows anything. No one...in the entire field knows for certainty what's going to work.  Every time out, it's a guess." 
And I think this truth is awesome. It's the first step to combatting Imposter Syndrome.  

TIP- Since NO ONE KNOWS what necessarily works, you're in great company!  I love it. We could technically all be on the same playing field (more or less) and that is refreshing.

2. ORIENT your perspective.

Once you know that you are in good company and that no one knows much in terms of what REALLY works every time {creatively speaking}, you can allow yourself to feel some relief.  Yes, some people may have more experience than you, but there is only ONE you!

So when that voice tells you to stop, tells you that your work isn't valid, ORIENT your perspective.  No one else is you, or has lived your life, or has had your personal experiences.  USE THAT.  

TIP- If you haven't checked out Jen Grisanti's work, she has an awesome book entitled  Story Line: Finding Gold in your Life Story that is truly empowering for creatives attempting to fictionalize their own truth. This empowering activity is an actionable item which can help combat Imposter Syndrome (in that your individuality is unique) and leads us to our next point.

3. MONITOR your activities.

When you feel like giving in to the these lies of "you're a fake" or "you're not good enough," counteract them by monitoring/keeping track of the things YOU ARE doing to work towards your goal of getting better/practicing your craft/etc.  I'm lucky to be a part of an awesome accountability  group made up of writers, actors and directors, and every week, we email out what our goals are, what we did in the past week, and what we will do in the following week to work toward achieving those specific goals {whether it be to sell a screenplay, book a role, go on x amount of auditions, etc.}.

When you sit down and force yourself to take into account all that you're doing, you can see what you are or are not doing to work towards your goal, therefore combatting imposter syndrome.  It gives you a reality check for sure, but also gives you assurance that you can't be a fake if you are actively moving towards your goal.  Here are some ideas of things you can keep track of:

• how many hours you wrote or edited your work in progress.
• how much social media or in-person networking you did.
• how many email you sent to colleagues/industry professionals.
• how much research/prep you did for upcoming projects.
• and the list could be endless.

4, BORROW from others.  

When you feel like you've run out of things to keep track of, or you're truly at a loss for knowledge, don't be afraid to BORROW information from friends or colleagues, {with their permission of course}.  I remember recently I was headed into a meeting with HBO and was definitely nervous.  I called several other writers/development execs that I knew, and asked how to prepare and what to expect during the meeting. It helped greatly. And, no matter where you are in your career, you most likely have SOMEONE to reach out to.  

TIP- If you truly know no one, social media is a great resource for crowdsourcing. Ask a question and tag a few people and you may be pleasantly surprised when they answer you! 

5. AVOID comparison.

An easy way to combat Imposter Syndrome.  Simply don't compare yourself to others.  You aren't them.  I remember when I first started, I looked at my colleagues who either had different experiences from mine, or had simply been in the business longer, and truly wondered why any person would choose to work with me!  But the truth is, we all have differing abilities and gifts, and you need to remember that.  Play to your strengths.  

TIP-  This may seem cheesy, but save those voice mails, texts, emails or handwritten cards from your friends or colleagues in which they thank you, congratulate you on an achievement, or acknowledge some milestone you have passed.  On those days when you feel like you shouldn't be doing your job for whatever reason, pull them out to remind yourself that SOMEONE took the time to acknowledge your achievements. 

6. TEST yourself.
​
And lastly, in the spirit of adventure, when you feel like you aren't good enough, or shouldn't be doing what you're doing, or that  people will realize you're as bad as you think you are (which you aren't, by the way), shake things up and try something new!  Often times, when you engage in an activity you aren't used to, it reminds you that you actually ARE decent at what you've been doing all along!  OR maybe you try something and find out you're actually  even better at the new task.   Either way, it's a win/win.  You learn something new, or confirm to yourself that you are doing just fine where you are.

TIP:  If you're a novelist, give a short story or screenplay a try (or vice versa). It'll be interesting to see how the differing formats play to your strengths and weaknesses. These types of exercises can give your brain the reset it needs to gain a fresh perspective.

Seriously, we all doubt ourselves at times, but Imposter Syndrome never helped anyone {unless you truly are a fraud- then we need to talk!}

I hope this helps you see your creativity in a new light!  Because hear this:

You don't have to attain perfection or mastery to be worthy of the success you have achieved.  We are all works in progress!

I hope you'll join me for part 2 of this series,  The Lies we Tell Ourselves: UnMet Goals.  
​And as always, please feel free to share in the comments about how you combat Imposter Syndrome if there was something I missed!  Till next time...

Happy Writing!

Whitney
"Everyone has a story.  Write yours."

Welcome back for the final installment of Representation 101!

So far we have covered the basics of what having literary representation can do for you, what kind of representation you need and when you'd be ready for it, and where to meet literary representation.

And today, I'm not gonna lie to you. This is a hard post to write. Instead of giving a lot of hard facts and knowledge, consider it a "therapy session for Writers" blog, if you will. Because today we are going to tackle 2 tough questions I get asked frequently, and they are some of the most painful to answer.  They are:

1) How long does it take to secure representation?
2) What do I do if I've been seeking representation for a long time, and have yet to secure it?

I wish these questions had easy answers, but alas, they do not! So, I will do my best to give you some basic parameters concerning the length of acquiring representation and then give you a healthy context in which to think about representation if you've been waiting to secure it for a long time.

SO, let's tackle the first question.

How long DOES it take to secure representation? I mean really? HOW LONG?

As you all know, unfortunately there are no hard and fast answesr to this.

For some people, securing representation happens quite quickly-- a scenario of being in the right place, at the right time, with the right person. And this can and does happen.

But let's be honest. When you hear about this? You hate that person {a little bit...don't lie, you know you do!} but it also gives you hope that it could happen to you!  But please remember, this is rare.

For most writers (and this is the more realistic scenario) it can take months to years to secure an agent or a manager. But don't be disheartened.  Let's talk about some tips that can help situate you in a good position to get the ball rolling faster.

1. Write an amazing script that is sellable in the current market.
Easier said than done, right? Sure. But you need to look at your writing like a business. Do your homework. Read the industry trades (whether literary or screenwriting). See what is selling. And go in that direction, with your own spin. Write it. Have other industry professionals read it. And then rewrite it. And rewrite it again. And again.

2. Network like hell.
In the last blog post, I told you where to find and MEET these representation types. Go there. Find them. Talk to them. Offer to buy them a drink. Build relationships. Get to know them WITHOUT trying to push a script or novel into their hands. Find out what they want, what they are looking for. And then be patient.

3. Do not be afraid of rewrites.
If I've said it before, I've said it a million times, writing is nothing if not collaborative. If you have an agent or manager who is interested in your script {with a few caveats} ask them what they'd like to see different and if can stomach their suggestions, don't be afraid to rewrite it. They know what the market is looking for and they are in the business of getting stuff sold and developed. Jump in and rewrite it if necessary.

4. Do NOT compare your success to others. You have to stay in a good mental space.
​Lastly, on this road to securing representation, do NOT let others steal your joy. Do not compare yourself to other writers. It is your own individual journey. And it is a journey of tenacity. If you stay in, your chances of success increase. Just be sure you don't get burnt out.

So, once you have an awesome script and it's done WELL {i.e. placed well in competitions or the like}, securing interest could take 6 months to a year if you keep working all your avenues. Most people simply give up. You'll want to quit. But DON'T DO IT! Your brain will give out long before your script will. Stay focused.

What if I've been trying to secure representation for YEARS and haven't been able to?

Again, not an easy question to answer, but here are some ways to think about this scenario.

1. You don't have to have representation to be a working writer.
It's true. You don't. Does it help? And is it nice? Sure. But I know plenty of writers who are "working" with just an entertainment lawyer to help negotiate and seal the contracts. So, remember, don't think once you have an agent or manager that everything will be smooth sailing...because you WILL still have to work and representation does NOT guarantee you success. And don't let NOT having an agent hold you back. Keep on keeping on. That's the truth.

2. Take a minute to really consider WHY you write.
Do you write because it makes you happy? Is it a release? Is it fun? OR do you write for some other reason...such as validation or because it's hipster or to gain fame and fortune?

If your reason for writing is any of the latter options, you may need to reconsider writing as a career. Sorry for the tough love, but it's true. I find that most writers who end up doing it for a living would be writing even if they NEVER got paid. And they also are surprised they get to do it and make money for it. So, make sure your heart and intentions are in the right place. Having wrong intentions can stifle your creativity, you know.

3. Reconsider what you are writing and make sure that it fits the market.
Again, if you are wanting representation, its most likely because you want to try to earn money doing something you love. If you aren't gaining any attention from representation, you may need to reevaluate what kind of material you are putting out there. Make sure that it is something that the industry is wanting and looking for. Because obviously, if it can't make money for them, it won't make money for you. View your screenwriting as a business. And be savvy about it! And lastly...

4. JUST KEEP WRITING!
For all of you who are still going at it, listen to this story: I have a colleague who has been writing for 20 years. Yes, twenty. He won a few contests back around 10 years ago, and then nothing. But he kept writing. After his father passed away, his writing changed. Something happened. He felt it. He submitted again with new scripts. And they went gangbusters in the competitions. And this week, he got an e-mail from an agent at one of the big companies in Hollywood. Yes, you read that correctly.

HE... GOT AN E-MAIL... from an AGENT... he had NEVER MET... at one of the big representation firms... asking if HE was interested in representation! HOLY COW!!!!! I kid you not, I freaked out.  I am still not jaded by this business and refuse to ever be that way because stories like this make my heart burst open with joy.

And so it goes.

So be encouraged. Keep going. Keep writing. Do it because you love it. And representation will come along if it's meant to be. But you can do it without representation. Bust on through. Take charge of your own destiny and write.

I hope you have found this series to be helpful!

Happy Writing.

Thanks for coming back for Part 3 of the Representation 101 series!  

If you are just now joining me, let me review where we've been!

In Part 1, we covered the basics and discussed the similarities and differences between Literary Agents and Literary Managers!

In Part 2, we discussed scenarios where you would need an agent, a manager or potentially both.  We also discussed how you know WHEN you are ready for representation and more importantly, how to know when you are NOT quite ready for representation. We covered a LOT.


And now, in Part 3, we will discuss the myriad places (and ways) in which you can actually meet these elusive representation types, no matter what kind of writer you happen to be. We will also cover the certain rules of etiquette for when you DO meet representation.  And trust me on this, it can make or break a potential professional relationship if you don't use your brain and follow some common etiquette.  I don't think these "rules of etiquette" are a SECRET by any means, but I am more than happy to remind you of them, just in case! You may find them helpful.  So let's get started!

1.CONFERENCES- 

The number #1 place for writers  (both fiction, non-fiction and screenwriters) to meet agents is at writing conferences or workshops.  The number of these events is truly astounding, so be sure you choose wisely (i.e. make sure it is for your genre of writing, or have an obvious reason for why you are attending).

While attending a conference or workshop may seem obvious, many writers don't think about the fact that they may meet an agent UNLESS they have actively signed up for a  pitch.  But this isn't always the case.
 
TIP #1:  Literary Agents usually stick around both before and after their specific portion of the conference, wether it be a breakout session, panel or pitch session.  They too may attend a class or grab a drink at the venue bar or for the networking hours built into the conference schedule.  BUT, sometimes they take their name tags off! So, unless you researched ahead of time and know what they look like, you may not even know you are talking with an agent (this happened to me once, so it does happen).

TIP #2 -Always be prepared for the fact that you may run into an agent and not even know it!  In this case, have your elevator pitch ready.  Be confident enough and prepared enough to explain your idea or concept at a moment's notice.  A simple hello could lead to a million things. 

TIP #3: If you don't happen to run into/get a chance to talk to an agent at the event, what do you do?  Get upset?  NO!  Most likely, you will run into someone (a fellow conference attendee) who already has found representation.  Use that opportunity to ask about their agent/manager.  

And if their agent sounds like someone who could REALISTICALLY help you, ask your new conference friend if they would be willing to make an introduction via e-mail. 

This is the two-step process I was talking about, and it doesn't always work, but even if you can get an introduction from an established client of theirs, an agent may be willing to answer some questions and point you in a good direction.  You simply never know.

2. FESTIVALS (BOOK AND FILM) -

This is another great place to meet Literary Agents and Managers. Festivals tend to be much less structured than conferences, so, in that same vein, keep your interactions with potential representation low-key.  Always be professional of course, but don't expect to pitch them!  Don't do it!   

For Literary Writers- Agents will sometimes accompany their writers to book festivals, so always be on the look out to say hello!

For Screenwriters- Film Festivals are also a great place to meet directors and producers (along with managers and agents)!  Again, these things are way more low key, so play it cool when meeting potentially awesome contacts. It will serve you well in the future.

3.INDUSTRY WORKSHOPS, PANELS & CLASSES:
For the Literary World​:
​
For writers of all kinds, workshops and master classes are the way to go when it comes to developing a true relationship with a potential literary agent.  Often times, groups like Writer's Digest or the Greater Los Angeles Writer's Society, invite agents or managers to lead Q&A's, talk on panels or conduct master classes for aspiring writers.  Writer's Digest offers many resources and you should check their website often!  Their master classes, on-line webinars and online classes are often taught by agents actively seeking new clients!  This is a great way to meet/find agents to talk to!  Not only do they impart their priceless wisdom, you often get the chance to really develop a relationship with the agents leading the workshop/class!  This is truly an invaluable experience.

For the Screenwriting World:  
 
In the same vein, industry mixers abound and are a great place to make industry contacts!  I seriously feel like there are panels, mixers, and events every night in LA and NYC offered by groups such as the International Screenwriter's Association, Stage 32, New York Film Loft and independently run events through groups such as MixKnowledgy and others. Another place to check is through specific guilds (like the WGA West and East, the Director's Guild, SAG, etc).

​These events allow you to mix and mingle in a more intimate environment than a large conference setting, but the biggest take away is don't be afraid to say hello!

It would mean the world to them if you take the initiative to thank the agent or manager for their time (often times they aren't being paid for the event), mention something they said that really impacted you, and offer them your card.  Then be sure to follow up!  Play it cool and be sure to FOLLOW UP with them.  Take them out for coffee!

ONE FINAL NOTE on ETIQUETTE-
DO: Use your brain.  
DON'T:  Attempt to pitch an agent or manager if they are preoccupied, surrounding by lots of people, trying to "use the facilities" {trust me, this has happened} or they are in a hurry to get somewhere.
DO: Hand them your awesome business card and follow up at a better time.  They will appreciate your ability to read the situation, plus they will actually remember your pitch when you give it to them at a better time. 
DON'T: Email them once a week after sending the initial email {unless they ask you to}. 
DO: Email them once, and then follow up in a month. And if they asked you to send them a log-line or synopsis or one-sheet, don't forget to include it, both times!  Emails get lost, too. Especially if you get 500 emails a day. 
 
Final Tip:  If you don't have the budget to attend these conferences/film festivals/events, call the organizers and offer to VOLUNTEER!!!! Don't think it's beneath you to volunteer either.  IT truly is a win-win for everyone involved! YAY!!!!

That is it for today!  In the final Representation 101 installment, we will discuss how long it generally takes to secure representation and what to do if you have been trying for a long time to secure an agent or manager and still have had no success.  They will be really informative, so be sure to come back. And remember, a simple hello could lead to a MILLION things.  So, don't give up.😊

Happy Writing!

Whitney
"Everyone has a story. Write Yours."

So we continue our series, Representation 101. In the first installment of this series, we defined the roles of literary agents and literary managers (mostly for the screenwriting world) and compared and contrasted those roles.  You can read that post here.  If you remember, this series was originally inspired by you...the reader...and the questions that I most often get!  So this post is dedicated to answering the following questions:

• DO I NEED AN AGENT, A MANAGER OR BOTH?
  • Note: in upcoming posts we will discuss how you can get noticed by representation and where you can MEET these elusive people!
• AT WHAT POINT IN MY WRITING CAREER AM I  READY FOR REPRESENTATION?
• HOW DO I KNOW IF I'M AT THAT POINT?

Now you may be thinking forget these questions, I just want to know how to FIND one, but remember, you need to be knowledgeable of what you want before you go out and get it!
So there is your overview of what we will be discussing.  Let's get started!

1) First and foremost, let's answer the MAIN QUESTION:  AS I THINK INTO THE FUTURE, WOULD I NEED AN AGENT, A MANAGER OR BOTH?

Here is my opinion, short and sweet:

If you are at the beginning of your writing career, a manager may suit you best at first.  And here is why:

• Managers will give you more attention in the day to day progression of your career by helping you network and by helping you to develop your brand as a writer.  They will be thinking long term and not just in terms of a sale.
• If you DO get an option or a an offer on a project, you can ALWAYS find an entertainment lawyer to negotiate on your behalf (as opposed to an agent) AT THE BEGINNING!

Now, if you keep pushing yourself, and establish yourself as a dependable writer ( either by climbing the TV writer ladder, by selling several screenplays or getting "hired" to be a studio writer)  the agents will generally find you.  I am being serious on this point.  {and we will discuss this more in question number 2}

So, once you have established yourself as a dependable writer, it is great to have both an AGENT and a MANAGER who can work in tandem to help you advance your career and move things along.​

• The agent will field offers and negotiate contracts on your behalf, with your best interest in mind. 
• The agent and manager will work in tandem to bring you awesome projects and continue to develop your network of creative professionals.

There are a few caveats to mention here, though, that I need to mention!  I know many working writers who have no representation or are in between representation and do just fine on their own for awhile, and inversely, I know writers that HAVE representation and they are not getting as much work as they would like.  All that to say, having representation is not a magic bullet: you must still produce good work and you must always be your own best advocate.  So the next question, I get (after should I look for an agent or a manger) is this:
 
2) AT WHAT POINT in my WRITING CAREER would I be READY FOR REPRESENTATION and...

3) HOW DO I KNOW IF I'M THERE OR NOT?

Here's the deal- many aspiring writers meet an agent or manager and ask them to manage them and the representation turns them down because there simply isn't anything to manage or represent yet.  So, how do you get started?  How do you get yourself into that position?

You are MOST LIKELY ready for representation (usually with a manager if they are willing to take you) when any of the following occurs:

• You have entered your screenplays into multiple contests (such as Nicholl, Page, Script Pipeline, Screencraft, Final Draft's Big Break) and have placed MULTIPLE TIMES!  If you consistently place year after, you WILL get noticed as the lists of the winners go out to agents, producers and what not.  You could potentially be ready. I know many people who have been signed from winning screenwriting competitions....this is a viable way to break in or get "discovered."
• You have been accepted into a TV Fellowship (such as NBC's Writers on the Verge, Nick Writing Program, the WB Writer's Workshop, etc) and you end up getting staffed.
• You have cold queried a production company or garnered interest at a Pitch Event and have many entities offering you options or sale agreements.
• You've  written a screenplay and then believed in it enough to make your film a reality on your own.  I know people who have made their screenplays a reality by writing and producing the film themselves, entering it into film festivals and winning awards.  This certainly will get you attention.

There are more options than this, but at any of these points, you are ready.

And while it's always hard to know if you're really ready (many people feel they are never ready for representation) here is something for certain.  It is easy to know when you are DEFINITELY NOT ready...and you need to be realistic about this. Otherwise, you are wasting your time trying to get represented if you simply aren't there yet.

So, you most likely aren't ready for representation under the following circumstances:  

• You have written a few screenplays but said screenplays have never left your computer.
• You have entered screenplays into competitions but have never placed.
• You have queried or pitched agencies or production companies and have heard nothing but crickets.
• You have never received an option or garnered any interest. 

Unfortunately a great idea is only just that.  It has to be executed well in order to equal dollar signs.  So, at this point, do you give up?

ABSOLUTELY NOT!

You simply need to continue to practice your craft, go to classes, get a mentor,  get your screenplay looked at by professionals in the industry who can give you valuable feedback and keep on writing, And working.  And re-writing. Make friends with other writers.  Go to industry events.  MEET PEOPLE!  If I've said it once, I've said it a bajillion times. This business is just as much about who you know and the connections you have as it is about the content you write.

A final word to the wise: Many writers put so much emphasis on "getting repped" but hear this:

Having representation is NOT everything.  Yes, it is validating and yes it is nice to feel like you have a team.  But even with representation, your work as a writer is not over. You still have to network like crazy, you still have to churn out great work. And honestly, I believe you can get quite far on your own IF  you educate yourself on the business of writing in Hollywood (through reading blogs like this one, or others such as ScriptMag).

Keep plugging away, and keep on keeping on.  But remember, don't write for the money.  Write because you can't not write.  Only then will you be happy!  Just speaking truth!

So, in our next installment, we will talk about where you meet these elusive agent/manager types (for both screenwriters and novelists) so please come back!

Until then

Happy Writing!

Whitney
"Everyone has a story. Write yours."

HELLO!

This new blog series, REPS 101, was inspired by you, the reader. So, over the next few weeks we will be discussing "literary representation."  I get questions about representation ALL THE TIME, so I figured we should discuss it.

​"Hollywood," and the business behind the industry, can be very confusing, and I want to help demystify the realm of representation for you. So, today we will discuss Literary Agents and Literary Managers and how they do similar, yet totally different, things for their clients.
​But let's start with the basics by defining the role of each. Shall we?

The similarities of Agents and Managers:
So both Agents and Managers "represent" their clients, and here are the roles that can overlap between both types of representation:

• Both Agents and Managers will read your scripts.
• Both Agents and Managers will pass your work along to producers and studios.
• Both Agents and Managers can make introductions/get meetings.
• Package your script with other talent within their agencies.
• Offer expertise and knowledge about the industry.

So there you have it: now you know specifically what an agent can and can't do, and what a manager can and can't do.  This was a very basic explanation and I intended it to be as such.  But I hope you found it helpful! And remember, over the next few weeks, we will get in much deeper and cover the following questions asked by you, the loyal reader: 

1. Do you need an agent, a manager or both?
2. When are you ready for representation?
3. Where do you meet these elusive representatives?
4. How long does it take to get representation?
5. I've tried to get representation for a long time with no luck.  What now?

I know that seeking representation can be tiresome and exhausting.  But listen, as cheesy as it sounds, don't give up!  Keep writing, keep learning, keep networking.   It takes a lot of effort, a lot of patience and a lot perseverance!  And that's the truth.  You have to have a drive.  You have to keep going when you think you can't.  And you need to possess the maturity and grace to know when you may need to go a different direction.  But, it is possible.  It can happen.  It does happen.  And it CAN happen for you!

So come back to continue furthering your education on the world of representation and what it can mean for you and your career. We will set goals!  Make a plan!  Talk about the intense stuff.  Don't miss out.  Until next time!

Happy Writing!

Whitney
"Everyone has a story.  Write Yours."

Summer is upon us!  If you take your writing seriously {or would like to anyway} and have the budget available,  you've hopefully carved out some time to attend a conference or pitch event (such as the Writers Digest Conference in NYC or The Fade In Hollywood Pitch Festival  in Los Angeles, both held in August) this summer!  It is also a great time to work on your marketing materials for your creative projects.

This is going to be a super detailed, and hopefully useful, post (aka RANT) about the piece of paper known as "the one-sheet." It has other aliases as well: one-page, leave-behind, etc, and we will discuss it in depth today.  I think this information is DEFINITELY useful for  screenwriters and novelists alike, because listen up novelists: you never know if you might want to pitch your book as a movie or TV series one day.  It could happen.  And honestly, I've seen novelists create one sheets for their books!  So, you need to know this stuff.  It's always good to be educated! ☺️

If you're pitching your work this summer in hopes of finding representation (an agent, manager, et. al.) or creating buzz for your project, you might have some questions:

• I hear about this thing called a "one-sheet"...what is it?
• If I decide to make a one-sheet, what should it look like?
• What information should be on my one-sheet?
• When I pitch, should I bring the literary agent, producer, or manager my one-sheet?  
• If I bring it, should I actually LEAVE it with them?

So many questions...

So, let's get to the basics: 

1. What IS a One-Sheet?  

A one-sheet is just that: it's one sheet of paper (sometimes double-sided) that serves as marketing material used to pitch your feature film, TV series or book.  It's kind of like a query letter on steroids, but it's not actually a letter. A one-sheet is so much MORE, often times because it's visual, like a mini-movie poster.

2. What SHOULD it look like?

A one-sheet can actually come in any size, but in my opinion, a one-sheet works best as a standard 8 1/2 by 11 sheet of paper;   you'll most likely need the room for your information anyways.  {And let me tell you, as a manager/consultant, it's much easier to lose a half-sheet of paper than it is a full one!} People create all sorts of one-sheets (in terms of creativity) but here is the bottom line: Make it easy to read and visually appealing.  

"Well, that's a subjective statement," you say. "Everyone has differing opinions on what's visually appealing."

And yes, that is true. And unfortunately, a lot of what happens in the entertainment industry/literary world is subjective because that is the nature of creativity. But again, here is another bottom line: Less is more when it comes to the one-sheet, but don't leave out the basics (listed below).  Keep it simple, concise and easy on the eyes.  

3. What INFORMATION should be on a One-Sheet?

The basics:

◻️ YOUR NAME, NUMBER, & E-MAIL (usually in one of the bottom corners.) If it's double-sided, I would put it on both sides in the same location on the page.  That way, no matter where a person looks, they'll see your name.

◻️ TITLE OF YOUR SCREENPLAY - This should be bigger than everything else.  And never underestimate a catchy title.  

◻️  LOGLINE- if you need help with a log-line, there are plenty of resources.

◻️ GENRE of your project

These are the basics and I feel all of this should be on the "front" of the sheet.  I'm actually a big proponent of the double-sided one sheet, because it doesn't crowd everything out.

If you want, please include the following, BUT make sure it is really well done.

◻️ A very brief synopsis of your project (usually 8-12 lines max). But remember,  do NOT give the ending.  Leave them wanting more.

◻️ If the work has garnered any awards or attention, MENTION THAT!  Tell them if you're a Scriptapalooza Semi-Finalist or a Writer's Digest Short Story Award winner or whatever.  It will add some credibility. 

SO, now that you know what a one-sheet is, what it should look like, and what should be on there, let me give you the skinny on these suckers.  And I'm gonna be really honest here. THERE ARE NO RIGHT ANSWERS!  You will search on the interwebs about "One-Sheet Etiquette" and you will hear a BILLION different things.  Before here is my two cents.

4. Should you have a ONE-SHEET for your project?  The answer is YES. YES. YES. YES.  

• If nothing else (and even IF you never showed it to anyone), it's an excellent exercise and can't hurt.  It will certainly help to hone your pitch.  And, if it helps you boil your script down to one page, why not? As Albert Einstein once said, "If you can't explain it [being your story or concept] simply, you don't know it well enough." So, it's essential to have your story honed to a few simple statements...and...
• You will be ASKED for the one-sheet eventually. Most likely, anyways.  And as a manger, I certainly appreciate them.  But,  did you pay attention to that?  You will be ASKED for it!  So, let's dive into the choppy waters of one-sheet etiquette.

Disclaimer: These are just my opinions and personal preferences, but I would still say 'tis decent advice and as close to the truth as you're gonna get.  So, take it or leave it, but I speak the TRUTH! {in a balanced way}

5. When you pitch (at a pitch event, or to a manager, or to a producer at a studio) should you bring your one- sheet AND should you leave it with them?
The quick answer to this 2 part question is YES, but with a few obvious caveats.  It truly depends on the situation, the person, and your relationship with them, but let's go over a few tips. FYI: there is nothing wrong with bringing your one-sheet to a pitch. {It shows you have prepared and you care}. BUT HEAR THIS:  If the person you are pitching does not take it, do NOT despair. Keep reading to find out why!

Here are some examples of what to do in several pitching situations:

• At a Pitch Event?  Lay your one-sheet down on the table {as you start the pitch} to show you have it, but don't necessarily hand it to them. But what if the person listening to your pitch picks it up off the table?  No problem. But let the person hearing the pitch make that decision.  The word on the street is that you shouldn't hand out your one-sheet at the beginning of the pitch, for fear that they will be distracted by the sheet and not listen to you. BUT HEAR THIS!  YOUR VERBAL PITCH SHOULD BE SO PASSIONATE AND CAPTIVATING that THEY CAN'T HELP BUT LISTEN!  So, as I said, leave it on the table.  If they pick up, so be it.  No big deal. At the end of the pitch, offer to leave it with them OR to send it to them via email.  And let them decide.
  • This is the only situation I would OFFER to leave a one sheet.  And if they don't take it with them? That could be a good thing because you've saved a little money. Additionally, if they request that you e-mail them a copy, you have a much greater chance of cultivating a relationship with them.  Which is a good thing.
• If your pitching a manager or agent and it's an informal coffee mtg where you are getting to know one another?  Go ahead and show them your one sheet!  I love to look at one sheets with my people but I have usually already established a relationship with them at this point so it is much more informal. So, I see no problem handing it to them from the beginning. But, don't offer to give them your one-sheet.  Most likely, they'll take it with them or make it known if they are interested in the work.  If they hand it back, play it cool and just follow up with a nice e-mail.
• If you are pitching a producer at a studio or company?  This is a tough one, honestly. It is truly up to you and how you feel based on your relationship with this producer. My advice is bring the one-sheet with you, but keep it in your bag or briefcase  and bring it out ONLY if they ask for it.  If they ask for it, give it to them.  But, if you decide not to bring it, just offer to e-mail it them and do so quickly, within the week. 

BOTTOM LINE:  The person you are pitching will let you know if they want to keep the physical copy or how they want to receive it.  Don't be bummed if they don't take anything.  It doesn't mean they hated your pitch.  It means they are drowning in papers already.  And never forget to send a nice follow up letter or e-mail after you have pitched someone.  That in itself can go a long way. 

Finally, some major no-no's:  

• Never push your one-sheet on any one.  Wait until they ask for it.
• Never have a one-sheet be more than one page.  Double-sided is fine, but anything beyond one piece of paper is considered to be a treatment.  Don't do it.  Additionally....
• Never hand them more than one pitch, a.k.a. do NOT hand them 5 one-sheets at once, or give them a one-sheet with 5 different projects on it.  It is overwhelming and it will kill your pitch.  Pick one project and pitch it.  If the agent/manager/producer doesn't like the project you pitch but they happen to like you, they most likely will ask if you have anything else (and you should have a back pocket project, by the way) and you can politely say you would be happy to send them information on what else you have.
• Never put a picture of a famous person on your one-sheet or give casting suggestions in your pitch.  It screams amateur.  That is what a casting director is for.  And if they were to ask you who you see in the role, flip the script and politely respond, "You know, I've thought about it a little bit, but now that you've heard the pitch, I would love to hear your suggestions."  TRUST ME ON THIS.  They want to see that you're collaborative.

And finally, let me leave you with this.  Use your one-sheet to go beyond simply telling people about the dreams you have for your movie, TV show or book...use it to show them the dreams you have for your concept.  Be creative.  You've got this.

If you have any questions, please feel free to contact me.  OR if you would like an example of a one-sheet, I'd be more than happy to share that with you. One-sheets can be very daunting, I know, but it is a very essential skill to learn.  Until next time...

Happy Writing!

Whitney
"Everyone has a story.  Write Yours."

Dear Creative-

Let's just say what everyone already knows.

Being a creative person- an author, a screenwriter, an actor, a singer, a painter, a dancer- is HARD.

There is no other way to say it: plain and simple. Yet, this HARD thing that your soul yearns to partake in is also what makes you so, so HAPPY and provides so much JOY. Oh the torture of being a creative soul!

Like anything in life, nothing comes for "free." There is always a risk involved, always some sort of sacrifice. But, in the creative world, I think there comes a point where you reach a breaking point. You love this thing that feeds your soul and gives you fulfillment...but you also yearn to have recognition for it. You want others to recognize how much it means to you. You want to make an impact. You ask the question...DOES THIS CREATIVE ENDEAVOR MATTER? WILL IT EVER MAKE AN IMPACT?

Well, let me ask you this: Is your creativity POSITIVELY impacting YOU ?

If it is {and I hope it is}, and if it makes YOU happy...then to be honest, you HAVE achieved your goal.

"But, that's lame," you say.

I get it. You want others to participate with you- to laugh, cry, to experience - this "thing" you have created. And they will, even if it's your best friend. But here is the thing. Creativity is subjective. And you've heard it before. You will and can not make everyone happy. So, you need to worry about yourself and how it impacts YOU.

You've heard the cliche phrase, "Dance like no one's watching." And as cliche as it is, I totally agree with this.

When you participate in this kind of activity, of creating when no one's watching, you are uninhibited, you are free, your creativity knows no bounds, you aren't doing it for anyone but yourself. This is when the magic truly happens.

So, if you are wanting to give up because you haven't achieved a self imposed HIGH ENOUGH level of success, stop it. Stop thinking that way and listen to me: I don't care if you haven't gotten a book deal, or an option on your screenplay or had your art displayed in a prominent art gallery.

Hear this: Your voice, your dance, your words, your art, your everything MATTERS. And if it makes you happy and brings you joy {when you aren't filling your brain with the junk and muck of where you think you should be, or comparing yourself to to others} then keep on doing it.

Don't dance for the fame, don't write for the money, don't paint for the recognition. Do it because you love it. Push yourself to be better than you were the day before.

But don't let the lack of public recognition drag you down and here is why:

Putting unrealistic expectations on yourself (i.e. wanting to be the next J.K Rowling or whatnot) can seriously kill your creativity. It can stifle you. It can paralyze you before you even take a step. It can create a block that is very, very hard to move. So many people don't even begin things because of this.

Think of what you could achieve if you truly threw what everyone else thought out of the window? Umm...wow.

So, do not give up. Be creative because you love it. Keep your aspirations, keep your goals, and go for them. But, keep your perspective to. Develop a thick skin for when others tell you to quit. Know in your gut that your perspective is solid - that if it's a creative outlet that fills your soul, then that's enough. And forget the rest. You may be surprised by what happens when you drop the layers of expectations you (unknowingly) put on yourself to succeed...You may just break through and shine. But even if you receive acknowledgement and fame...creativity will always be a struggle and it will always a bit messy. Just be sure to enjoy the mess you're in. The price {or sacrifice} of being a creative is worth it if it truly makes you happy. Remember that.

Happy Writing!

Whitney
"Everyone has a story. Write yours."