Jumat, 30 Mei 2008
Letter to Seller Explaining Your Lowball Offer
We've discussed the Rise of the Lowball Offer.Now, genius Ron Lieber of The New York Times actually gives you a letter to include with your Lowball Offer, gently, politely, firmly explaining your position to the seller.This letter has current national statistics, but you'll want to include Charlottesville's own--the thousands of properties available, the 17+ months worth of inventory, and so
1606 Grove Road - $380,000.00
MLS #4449913 Bedrooms, 2 BathsYear Built: 1953Sq. Ft.: 2,130Acre: .50Like 935 Belmont, this brick Cape Cod has had its MLS description, and price point, modified several times, as it has been on the market for months in the Meadowbrook Heights Neighborhood near C'ville High.The listing reads, "SELLER IS MOTIVATED!" We certainly hope so. The house has been in the same family for decades; any
606 Lexington Avenue - $329,000.00
MLS #4536063 Bedrooms, 2 BathYear Built: 1920Sq. Ft.: 1438Acre: .17We love the North Downtown area, always have, always will (it will never be the laughingstock that our old love, Belmont, has become), but come on: let's be realistic here, too, with the house prices.The listing reads, "Rare offering on Lexington Avenue in wonderful neighborhood of renovated homes. Charming home has been in the
Update: 708 Park Street
Just today, as we made our usual rounds of Our Fair City, we saw this:708 Park Street is Under Contract.We'll bring you news on Who, What, When, and, of course How Much as it's available.
Kamis, 29 Mei 2008
Is It Better to Buy or to Rent?
Use this handy-dandy calculator, created by David Leonhardt, to help determine whether buying a home is a prudent financial decision.And remember, we're still not at Bottom. Prices will continue to fall. Objectively, there's no way they can't: there's simply too much supply and not enough demand here in The Hook.
Where to Start?
Jill: I've recently decided to do something about being a scriptwriter instead of just dreaming about it. My problem is where to start. I have (I think) a good story and have started writing a script. What else should be I doing? I would love to study at university but can't afford it. I am applying to a part time english degree. Is this a good idea? Any suggestions greatly fully received.
You've already recognised the most important thing you should be doing: writing the script. When you're starting out, that's what matters the most. Writing. Not thinking about writing. Not doing research. Or courses. Or even reading blogs. Switch the internet off, plug out your phone and do some writing. That's all you need.
I know this may seem trite and obvious but that's all it comes down to. Naturally, I am well acquainted with 'doing anything other than writing' especially at the beginning of your career. All sorts of things pop into your head: what am I going to do? what am I going to write? how am I going to pay the bills? am I any good? should I do a course? a degree? or am I just kidding myself?
All valid questions but ultimately, they're just a way to dance around the fact that all you have to do is sit down and write something. A computer, a laptop, a pen and paper, whatever gets you going: it's that simple. The urge to write is not the same as actual writing, and this is what divides those who want to be a writer and those who talk or moan about it. Too many people come up with excuses. Yes, it can be tricky to find the time or energy, especially if you have a demanding day-job or five screaming kids but here's the secret: writers always find a way.
They get up earlier. They stay up later. They allocate Saturday as their writing day, or a morning, an afternoon or an entire weekend. They write during their lunch break. Scribble down ideas and paragraphs on the bus home. No matter what is going on in their stressed lives, they are compelled to sit down and write.
A university degree in English (or History) is certainly helpful but not essential (I didn't go to university, although I would have loved to have done an English degree when I was younger). It depends how old you are too, and whether a two or four year degree would be worth your time and effort. A degree in screenwriting is also useful in terms of learning craft and the discipline required to make it. Screenwriting courses/books/blogs are all great but they shouldn't become a prime source of procrastination. Take what you need, then discard and sit down and write.
My advice would be to get work in the industry, wherever you can. Learn about the business. See scripts at work, and the individual pressures that producers, directors, actors and crew face with the task at hand. Develop an appreciation about how and why things work the way they do. Read scripts: amateur and professional. Make sure screenwriting is where your passion and interests lie (I read somewhere, possibly on a blog, that an aspiring screenwriter has suddenly realised she wants to be a production designer: a great and timely revelation!). Network: you'll probably get work through the industry people you meet but your sample scripts are crucial to back up the fact that you really are talented. Which brings us back to what's most important: just do it. Write.
Not sure if this answers your question directly but hopefully some of it will be relevant to what you're thinking about...! Thanks for the other questions, too, as they're great for generating posts when I may be a bit busy or knackered or whatever. Will get to them one-by-one, ta.
You've already recognised the most important thing you should be doing: writing the script. When you're starting out, that's what matters the most. Writing. Not thinking about writing. Not doing research. Or courses. Or even reading blogs. Switch the internet off, plug out your phone and do some writing. That's all you need.
I know this may seem trite and obvious but that's all it comes down to. Naturally, I am well acquainted with 'doing anything other than writing' especially at the beginning of your career. All sorts of things pop into your head: what am I going to do? what am I going to write? how am I going to pay the bills? am I any good? should I do a course? a degree? or am I just kidding myself?
All valid questions but ultimately, they're just a way to dance around the fact that all you have to do is sit down and write something. A computer, a laptop, a pen and paper, whatever gets you going: it's that simple. The urge to write is not the same as actual writing, and this is what divides those who want to be a writer and those who talk or moan about it. Too many people come up with excuses. Yes, it can be tricky to find the time or energy, especially if you have a demanding day-job or five screaming kids but here's the secret: writers always find a way.
They get up earlier. They stay up later. They allocate Saturday as their writing day, or a morning, an afternoon or an entire weekend. They write during their lunch break. Scribble down ideas and paragraphs on the bus home. No matter what is going on in their stressed lives, they are compelled to sit down and write.
A university degree in English (or History) is certainly helpful but not essential (I didn't go to university, although I would have loved to have done an English degree when I was younger). It depends how old you are too, and whether a two or four year degree would be worth your time and effort. A degree in screenwriting is also useful in terms of learning craft and the discipline required to make it. Screenwriting courses/books/blogs are all great but they shouldn't become a prime source of procrastination. Take what you need, then discard and sit down and write.
My advice would be to get work in the industry, wherever you can. Learn about the business. See scripts at work, and the individual pressures that producers, directors, actors and crew face with the task at hand. Develop an appreciation about how and why things work the way they do. Read scripts: amateur and professional. Make sure screenwriting is where your passion and interests lie (I read somewhere, possibly on a blog, that an aspiring screenwriter has suddenly realised she wants to be a production designer: a great and timely revelation!). Network: you'll probably get work through the industry people you meet but your sample scripts are crucial to back up the fact that you really are talented. Which brings us back to what's most important: just do it. Write.
Not sure if this answers your question directly but hopefully some of it will be relevant to what you're thinking about...! Thanks for the other questions, too, as they're great for generating posts when I may be a bit busy or knackered or whatever. Will get to them one-by-one, ta.
Rabu, 28 Mei 2008
Drop in Home Prices Accelerates to 14.1%
"Putting Off the Bottom"No, we haven't suddenly become a naughty blog. Instead, this Wall Street Journal subheadline explains the behavior of American consumers: new data indicates that "Fewer Americans Plan to Buy Soon, Putting Off the Bottom."Prices for existing homes nationwide declined 14.1% from a year earlier.Home prices nationwide are now 16% below their peak in the second quarter of 2006
Housing Prices Continue to Fall
Unless you've been living under a rock, or really practicing too much yoga, you're well aware that housing prices everywhere are falling. But here's a concise explanation of why this trend will keep going:Video: Standard & Poor's David Blitzer explains why housing prices are expected to continue to fall.This is a recap of the latest numbers from the 20 City Case-Shiller Index, which analysts
Selasa, 27 Mei 2008
Upcoming Property Auctions
Local Foreclosures, auctioned on the courthouse steps.Courtesy of The Hook.
Paul Parkes
In the latest edition of UK Writer (the Writers' Guild magazine, currently hitting doormats nationwide) , I interview Paul Parkes, writer/creator of King Arthur's Disasters, about his writing career. For non-members of the Guild, you can find out all you need to know about Paul at his website, and, of course, like every self-respecting writer in the 21st century, he has a blog. Ya feel me?
Sabtu, 24 Mei 2008
1318 Oxford Place - $429,900.00
MLS #4518034 Bedrooms, 2 BathroomsYear Built: 1952Sq. Ft.: 2,000Acre: .31This house is on lovely Oxford Place, and is right next door to 1318 Oxford Place.1316, however, is priced considerably higher. How does the difference of $155K really account for 700 sq. ft.? Does 1316 Oxford Place have 18k bathroom fixtures? Or, our other favorite feature, robots?
1316 Oxford Place - $584,000.00
MLS #4536544 Bedrooms, 31/2 BathsYear Built: 1952Acre: .57This house is on pretty Oxford Place, the one-way horseshoe street that jogs off and back to lovely Oxford Road, in the Rugby area. Just by looking at the pic, and knowing the neighborhood, and realizing we've been in a Bubble, the price doesn't seem to be anything to blink at. Right?Except: What the hell is going on across the street?
611 Avon Street - $494,000.00
October 1 update: August price drop to $465K; went on CL to find a tenant mid-August; now rented.MLS #453656.3 Bedrooms, 2 BathroomsYear Built: 1912Sq Ft: 2,000Acreage: .19Say, does this rehabbed Victorian come with its own crack pipe? Because that's what you'll need to revive yourselves, folks, when you realize this is another example of what a Half Million Dollars can get ya here in Belmont.
Jumat, 23 Mei 2008
Revelations
Kevin asks: I’d like to hear about what revelations you've had since taking up your writing career?
Well, how long have you got? It’s such a deliciously simple question but difficult to answer without boring you to death with long anecdotes of rejections, surprises, refusals and disappointments. I suspect that a neat bullet-point list would be better, so indulge me while I try to combine the anecdotal and bullet-point approach.
When I took the decision to pursue writing full-time, back in 1999/2000, I was fairly relaxed about it. My girlfriend (soon to become my long-suffering wife) calmly advised me: “Danny, so many people are trying to do that. You have to be good”. I knew she was right but I also knew I WAS going to be good (don’t ask me how, at that stage I had written one script, and it was crap). I was determined NOT to be like most people trying to be writers. I had seen their efforts (and approach) languishing at the bottom of the spec pile in the C4 comedy department. I was going to be different. I was going to be polished and professional. I was going to get ahead with some useful contacts and inside knowledge of how the biz actually worked. I set to work, becoming a full-time script reader, partly to pay the bills but also to improve my own writing. So, while I read like a maniac, I also built up my writing portfolio.
Within 2 years, I had what I thought were pretty good scripts, one of them an adaptation of Andrew Davies’s children’s book, Conrad’s War, which I wrote with the mighty Sam Morrison. Andrew Davies himself gave the script his blessing (“perfectly capturing the spirit of the book” - rock!) and I thought this was my ticket to a screenwriting career. Hmm, not so much. People liked the script but didn’t want to do anything with it. Likewise with my other scripts. But I kept on reading. Kept on writing. Four years into my spell, and I won that BBC new writing award, not to mention a couple of commissions on Doctors. Now my career will kick off, surely? Hmm, not so much.
Eight years later, the present day, and things are beginning to turn more in my favour. The last few years haven’t been duds by any means (although, don’t mention 2006/2007, eugh) but I thought 2004 was when everything was coming together, and would set me on my way. So, what have I learned? What great revelations can I share?
- It doesn’t get easier. It gets more difficult. You always have to raise your game, dig deeper, work harder.
- The system doesn’t care about writers. It’s a bit like Mother Nature: it has the capacity to be beautiful and nurturing, and we couldn’t exist without it, but it will also cut you down without any reasoning or judgement.
- You have the capability of writing just as much shite as the stuff you mock on TV or at the cinema every day. It will help if you recognise this, otherwise you’re in trouble.
- Once you get a commission or option a script, it doesn’t mean that work will flow. In other words, don’t expect to make a regular living out of writing.
- Contacts, leads and positive meetings are all very nice but after a while, they don’t mean a thing unless the script actually goes into production or the money’s in the bank (preferably both).
- If you can get through the toughest of times - when it’s really not working out/you want to give up/you need to get a job - and still want to be a writer, you might just make it…
Er… that’s about it. Actually, I wouldn’t mind seeing this as meme, to see how what other working writers have learned from their experiences. So, if they’re up for it, how about James, James H and David spilling the beans?
I’ll leave you with some Bank Holiday linkery to keep you occupied:
Filmmaker Magazine’s article on development: The Write Stuff (thanks to Dan Clifton for the link)
Phillip Baron’s Starving Artist article, a great reality check.
John Malkovich’s Snow Angel. The result of his unique scriptwriting project.
Well, how long have you got? It’s such a deliciously simple question but difficult to answer without boring you to death with long anecdotes of rejections, surprises, refusals and disappointments. I suspect that a neat bullet-point list would be better, so indulge me while I try to combine the anecdotal and bullet-point approach.
When I took the decision to pursue writing full-time, back in 1999/2000, I was fairly relaxed about it. My girlfriend (soon to become my long-suffering wife) calmly advised me: “Danny, so many people are trying to do that. You have to be good”. I knew she was right but I also knew I WAS going to be good (don’t ask me how, at that stage I had written one script, and it was crap). I was determined NOT to be like most people trying to be writers. I had seen their efforts (and approach) languishing at the bottom of the spec pile in the C4 comedy department. I was going to be different. I was going to be polished and professional. I was going to get ahead with some useful contacts and inside knowledge of how the biz actually worked. I set to work, becoming a full-time script reader, partly to pay the bills but also to improve my own writing. So, while I read like a maniac, I also built up my writing portfolio.
Within 2 years, I had what I thought were pretty good scripts, one of them an adaptation of Andrew Davies’s children’s book, Conrad’s War, which I wrote with the mighty Sam Morrison. Andrew Davies himself gave the script his blessing (“perfectly capturing the spirit of the book” - rock!) and I thought this was my ticket to a screenwriting career. Hmm, not so much. People liked the script but didn’t want to do anything with it. Likewise with my other scripts. But I kept on reading. Kept on writing. Four years into my spell, and I won that BBC new writing award, not to mention a couple of commissions on Doctors. Now my career will kick off, surely? Hmm, not so much.
Eight years later, the present day, and things are beginning to turn more in my favour. The last few years haven’t been duds by any means (although, don’t mention 2006/2007, eugh) but I thought 2004 was when everything was coming together, and would set me on my way. So, what have I learned? What great revelations can I share?
- It doesn’t get easier. It gets more difficult. You always have to raise your game, dig deeper, work harder.
- The system doesn’t care about writers. It’s a bit like Mother Nature: it has the capacity to be beautiful and nurturing, and we couldn’t exist without it, but it will also cut you down without any reasoning or judgement.
- You have the capability of writing just as much shite as the stuff you mock on TV or at the cinema every day. It will help if you recognise this, otherwise you’re in trouble.
- Once you get a commission or option a script, it doesn’t mean that work will flow. In other words, don’t expect to make a regular living out of writing.
- Contacts, leads and positive meetings are all very nice but after a while, they don’t mean a thing unless the script actually goes into production or the money’s in the bank (preferably both).
- If you can get through the toughest of times - when it’s really not working out/you want to give up/you need to get a job - and still want to be a writer, you might just make it…
Er… that’s about it. Actually, I wouldn’t mind seeing this as meme, to see how what other working writers have learned from their experiences. So, if they’re up for it, how about James, James H and David spilling the beans?
I’ll leave you with some Bank Holiday linkery to keep you occupied:
Filmmaker Magazine’s article on development: The Write Stuff (thanks to Dan Clifton for the link)
Phillip Baron’s Starving Artist article, a great reality check.
John Malkovich’s Snow Angel. The result of his unique scriptwriting project.
Rabu, 21 Mei 2008
Charlottesville #14 Most Overpriced Market: Moody's Economy
Moody's Economy has declared Charlottesville to be #14 on the list of Most Overpriced Real Estate Markets in the nation.But you already knew that, didn't you?The company determines an “equilibrium price” for the market based on its analysis of long-term supply and demand trends. The ranking “highly overpriced” indicates that the current market house price is more than two standard deviations
Selasa, 20 Mei 2008
You May Still Be Able to Sell, If You Realize It's Really 2004
Wanna Buy A Home?By Floyd Norris, Chief Financial Correspondent, NYTimesBack in Econ 101, I learned that if you cut the price of anything, the supply will shrink and demand will grow.It isn’t working in the home market these days.The report on existing home sales today shows that — for the first time since they started keeping the data in the early 1970’s — the median price of existing home sales
Music Q
Thanks for leaving questions in the last post, much appreciated. I'll get to them one-by-one (there were a couple handled directly in the comments section, if anyone wants to check it out) but I thought I'd start with the music question, from JJ: "What about using music in scripts? Generally, we're advised against it but I've seen plenty who do it, so what's the good & bad ways...?"
Some would say that it’s best to avoid having musical references in a spec script. This is because of clearance issues (from the music publisher and the author) and whether or not they’ll allow their song or clip to be used. This is more to do with the film’s actual soundtrack than it is about using songs for a specific scene. A lot of scripts will try to impose their own soundtrack into the narrative where they will namecheck and reference twelve to fifteen songs throughout the story. Some writers/producers even go as far as to submit a CD with the accompanying songs with a ‘note to the reader’ to press ‘play’ at certain points in the story. Hate that. Hate it. The CD is never played, I can assure you.
However, it’s perfectly acceptable to reference a song for a particular scene, as long as it’s relevant to the character or the story. For example, say if your character had to sing a karaoke song in a key scene, you'd want to mention the song, right? And the song would no doubt be relevant to whatever the character is going through (e.g. he gets to sing 'I Can't Live if Living is Without You' after he's just been dumped). It's all about context, and for a specific reference like this in the story, you'll probably get away with it. However, if the script goes into production but you can’t get clearance to use the song, then you have to use a different number.
Occasionally, writers will ‘set the mood’ by referring to a certain type of music, usually in a bar scene, something like: “John Smith enters the bar. It’s a dingy place. Metallica, or someone similar, pounds out from the jukebox.” It gives the reader a general vibe about the scene without giving the production manager and music supervisor a headache about what track to lay down.
Music selection is generally someone else’s department (especially for TV) but it’s fine for scenes to mention which song is blasting from the car stereo, but remember only if the lyrics/mood are important to the character/story. If you don’t need to be specific about a song or band, then just mention what type of music is blasting from the stereo: “Cheesy pop music blares from the radio”. “The deep bass of a cool R&B number pulses through the car”. Whatever.
So, yes, it’s okay to reference songs and lyrics, but don’t go overboard. Once or twice is usually enough and/or acceptable. Anything more and you’re suggesting a soundtrack, which may not be appropriate or feasible for the script's production.
Next up... personal writing revelations! Oo-er.
Some would say that it’s best to avoid having musical references in a spec script. This is because of clearance issues (from the music publisher and the author) and whether or not they’ll allow their song or clip to be used. This is more to do with the film’s actual soundtrack than it is about using songs for a specific scene. A lot of scripts will try to impose their own soundtrack into the narrative where they will namecheck and reference twelve to fifteen songs throughout the story. Some writers/producers even go as far as to submit a CD with the accompanying songs with a ‘note to the reader’ to press ‘play’ at certain points in the story. Hate that. Hate it. The CD is never played, I can assure you.
However, it’s perfectly acceptable to reference a song for a particular scene, as long as it’s relevant to the character or the story. For example, say if your character had to sing a karaoke song in a key scene, you'd want to mention the song, right? And the song would no doubt be relevant to whatever the character is going through (e.g. he gets to sing 'I Can't Live if Living is Without You' after he's just been dumped). It's all about context, and for a specific reference like this in the story, you'll probably get away with it. However, if the script goes into production but you can’t get clearance to use the song, then you have to use a different number.
Occasionally, writers will ‘set the mood’ by referring to a certain type of music, usually in a bar scene, something like: “John Smith enters the bar. It’s a dingy place. Metallica, or someone similar, pounds out from the jukebox.” It gives the reader a general vibe about the scene without giving the production manager and music supervisor a headache about what track to lay down.
Music selection is generally someone else’s department (especially for TV) but it’s fine for scenes to mention which song is blasting from the car stereo, but remember only if the lyrics/mood are important to the character/story. If you don’t need to be specific about a song or band, then just mention what type of music is blasting from the stereo: “Cheesy pop music blares from the radio”. “The deep bass of a cool R&B number pulses through the car”. Whatever.
So, yes, it’s okay to reference songs and lyrics, but don’t go overboard. Once or twice is usually enough and/or acceptable. Anything more and you’re suggesting a soundtrack, which may not be appropriate or feasible for the script's production.
Next up... personal writing revelations! Oo-er.
Rabu, 14 Mei 2008
708 Park Street - $529,000.00
MLS #4387934 Bedrooms, 31/2 BathsSq. Ft.: 2,930Year Built: 1965The above photo is shot from the side view on Lyons Court, not the front on Park Street.The house is a nice one, full of renovations, lots of room, and fine touches--as the listing tells us, it's a light, airy space, has a huge gourmet kitchen opened to living room and fireplace, and a first floor Master. Plus, it's "walking distance
Selasa, 13 Mei 2008
Lowball Offers On the Rise
Have you heard about what's going on over in Greene County?Apparently there's a buyer making offers as much as $90K below Seller's Asking.We all know that Sellers are the last to adjust to the Current Market, which is a Busting Bubble.But how many buyers have caught on that it's time to Lowball?For more information, read this article. Buyers, start makin' yer lowball offers. What can it hurt?
Record your message at the beep
A couple of commissions have rolled my way recently, which is always exciting. Sometimes, when things are going well, I expect the phone to ring and for the producer/exec to say: "Sorry Danny, we were getting you mixed up with Denny Stark, that amazingly gifted Irish writer, not you, obviously". Denny Stark, my writing doppelganger. If you see him, he's got all my commissions but at least I've got his...!
Anyway, am a bit tied up at the moment so now's probably a good time to open it up to the floor: maybe you'd like to ask a question or would like something new covered on the blog, or something old given an update. Whatever you fancy, really, if anything... BEEP!
Anyway, am a bit tied up at the moment so now's probably a good time to open it up to the floor: maybe you'd like to ask a question or would like something new covered on the blog, or something old given an update. Whatever you fancy, really, if anything... BEEP!
Rabu, 07 Mei 2008
Whatever it Takes: Redux
I was going to expand on the last post by talking about what it takes to be a professional writer, and what kind of approach you might need but then I realised I had done it already in a post of June last year called 'Whatever it Takes'. So, this entry is a semi-story vault really as that post is retreaded in full, below. However, I thought I'd add a few more comments and thoughts to the mix.
The kind of advice on this blog isn't meant to be directly 'inspiring' or 'reassuring'. I look at it more as discussing the practical necessities required if you're going to get ahead. It may sound positive or inspiring but it still takes a heck of a lot of commitment and effort to get some results. It's true that I'm not one for the gloom and doom merchants who say 'don't bother'. You get nothing done by accepting defeat and it's too easy to be dismissive of the system or talk down someone's chances of being a writer. The way I see it, we're all in this together and the more we can share our experiences and strengthen our positions as writers, then the better it is for us and the industry. It may be idealistic and naive but in this cynical world of the 21st century, surely there's room for a bit of fresh thinking.
It should be obvious that anything I write about here is usually a direct relation to my own style and approach. I'm not doing too badly and this year is going quite well but there's been a lot of doubt, frustration and anxiety along the way. That's all part of the process. The only way to earn success is to work extremely hard, and knock back all the crap (as much as possible) that comes your way. One of the things I'm particularly proud about is the Red Planet Prize. This came about from a simple email and a genuine desire to create a decent screenwriting initiative that opens doors for writers rather than paying lip service to their efforts. That's called 'making a difference'. Anyone can do it: why can't it be you?
---
“I've finally decided to take the plunge and give writing a go full-time. But the sheer enormity of the task ahead is making my head hurt and, writing aside, I just don't know what are the very first steps I should take - aside from the writing, of course. Any sage advice for a writing toddler would be very welcome.”
Three Ps. Practical. Proactive. Professional.
Practical
A writing career doesn’t happen overnight. If you’ve decided to take the plunge and live the dream, then that’s great, it’s very exciting. It’s also horrendously daunting, especially if you’ve severed normal job ties, and have nothing lined up to pay the bills.
So, look at your practical options. How am I going to make money while I build my writing portfolio to such a standard that I earn money from writing itself? Do I take a part-time job (likely) or can I get an industry related part-time job like script reading or script editing (preferable, but harder to achieve)?
Domestic issues will vary from person to person (married, kids, illness, disability etc) but you should ask yourself “what is the very basic income I need to survive? How am I going to achieve that?” Once these essential concerns are dealt with, then all effort can be focused on writing. But make sure you’re applying your energy in the right areas, like: new writing opportunities, Doctors, short films, and using all relevant contacts to nab potential writing gigs (corporate, commercial, internet).
Proactive
A lot of writing opportunities will emerge not because of what you know and the quality of your writing, but who you know and the broad appeal of your personality. Get out there. Attend industry events. Make contacts. Start a blog or a MySpace page, or get a Facebook profile. Be friendly, supportive and positive. Don’t expect opportunities to come to your door. Go out and find them yourself.
Professional
Take responsibility for your writing. It’s not ‘them’, it’s ‘you’. The system doesn’t suck. The system exists for itself. In the process, professional courtesies may fall between the cracks. Sometimes, it may be understandable, occasionally it will be rude while other times it may be plain unforgivable. Get on with it. Let off steam with friends and fellow writers, but don’t burn bridges. Don’t take rejections personally. Take criticism on board but keep it in perspective. Stick to your conviction. Be assured about what you want to say. Develop your original voice. Realise the strengths of your writing and try to understand the weaker areas so that you can develop a balanced critique of your own material. Keep writing. Get your work out there. You never know what’s going to stick - where and with whom. Now, how much do you want it? Really? What are you prepared to do? Then do it.
And now, a fourth ‘P’. Patience. It’s going to take time. There’s going to be a lot of rejection and frustration that, hopefully, will be worth it for one or two moments of elation or validation, which will kickstart a writing career. But it doesn’t get easier. It gets harder. Competition is fierce. Opportunities are few and far between. Don’t get complacent or bitter. Stay focused. Keep writing. Take inspiration from your favourite films & TV shows, and the success stories of your peers. Be wary of writer envy. Everyone finds their own way to success; they don’t imitate others. There is no right way to go about it except by writing consistently good material. That’s what it’s all about. Your unique talent. Hopefully that will be enough to earn you a living, and, Disney time, give you the foothold to make all your dreams come true.
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The kind of advice on this blog isn't meant to be directly 'inspiring' or 'reassuring'. I look at it more as discussing the practical necessities required if you're going to get ahead. It may sound positive or inspiring but it still takes a heck of a lot of commitment and effort to get some results. It's true that I'm not one for the gloom and doom merchants who say 'don't bother'. You get nothing done by accepting defeat and it's too easy to be dismissive of the system or talk down someone's chances of being a writer. The way I see it, we're all in this together and the more we can share our experiences and strengthen our positions as writers, then the better it is for us and the industry. It may be idealistic and naive but in this cynical world of the 21st century, surely there's room for a bit of fresh thinking.
It should be obvious that anything I write about here is usually a direct relation to my own style and approach. I'm not doing too badly and this year is going quite well but there's been a lot of doubt, frustration and anxiety along the way. That's all part of the process. The only way to earn success is to work extremely hard, and knock back all the crap (as much as possible) that comes your way. One of the things I'm particularly proud about is the Red Planet Prize. This came about from a simple email and a genuine desire to create a decent screenwriting initiative that opens doors for writers rather than paying lip service to their efforts. That's called 'making a difference'. Anyone can do it: why can't it be you?
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“I've finally decided to take the plunge and give writing a go full-time. But the sheer enormity of the task ahead is making my head hurt and, writing aside, I just don't know what are the very first steps I should take - aside from the writing, of course. Any sage advice for a writing toddler would be very welcome.”
Three Ps. Practical. Proactive. Professional.
Practical
A writing career doesn’t happen overnight. If you’ve decided to take the plunge and live the dream, then that’s great, it’s very exciting. It’s also horrendously daunting, especially if you’ve severed normal job ties, and have nothing lined up to pay the bills.
So, look at your practical options. How am I going to make money while I build my writing portfolio to such a standard that I earn money from writing itself? Do I take a part-time job (likely) or can I get an industry related part-time job like script reading or script editing (preferable, but harder to achieve)?
Domestic issues will vary from person to person (married, kids, illness, disability etc) but you should ask yourself “what is the very basic income I need to survive? How am I going to achieve that?” Once these essential concerns are dealt with, then all effort can be focused on writing. But make sure you’re applying your energy in the right areas, like: new writing opportunities, Doctors, short films, and using all relevant contacts to nab potential writing gigs (corporate, commercial, internet).
Proactive
A lot of writing opportunities will emerge not because of what you know and the quality of your writing, but who you know and the broad appeal of your personality. Get out there. Attend industry events. Make contacts. Start a blog or a MySpace page, or get a Facebook profile. Be friendly, supportive and positive. Don’t expect opportunities to come to your door. Go out and find them yourself.
Professional
Take responsibility for your writing. It’s not ‘them’, it’s ‘you’. The system doesn’t suck. The system exists for itself. In the process, professional courtesies may fall between the cracks. Sometimes, it may be understandable, occasionally it will be rude while other times it may be plain unforgivable. Get on with it. Let off steam with friends and fellow writers, but don’t burn bridges. Don’t take rejections personally. Take criticism on board but keep it in perspective. Stick to your conviction. Be assured about what you want to say. Develop your original voice. Realise the strengths of your writing and try to understand the weaker areas so that you can develop a balanced critique of your own material. Keep writing. Get your work out there. You never know what’s going to stick - where and with whom. Now, how much do you want it? Really? What are you prepared to do? Then do it.
And now, a fourth ‘P’. Patience. It’s going to take time. There’s going to be a lot of rejection and frustration that, hopefully, will be worth it for one or two moments of elation or validation, which will kickstart a writing career. But it doesn’t get easier. It gets harder. Competition is fierce. Opportunities are few and far between. Don’t get complacent or bitter. Stay focused. Keep writing. Take inspiration from your favourite films & TV shows, and the success stories of your peers. Be wary of writer envy. Everyone finds their own way to success; they don’t imitate others. There is no right way to go about it except by writing consistently good material. That’s what it’s all about. Your unique talent. Hopefully that will be enough to earn you a living, and, Disney time, give you the foothold to make all your dreams come true.
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Senin, 05 Mei 2008
APRIL NUMBERS
April, 2008The C'ville/Albermarle "Area" Real Estate Figures look something like this:149 SalesAverage of 114 Days On the Market2599 Properties Available17.44 Months SupplyThe numbers speak for themselves.
935 Belmont Ave - $375,000.00
MLS #4530873 Bedrooms, 1 Bath1,332 Sq. Ft.Year Built: 1925Acre: .09Jackpot! This is a terrific example of the Charlottesville Real Estate Bubble and The Belmont Bubble.This is not a $375K house.The price is laughable, yes, but it's also insulting to Common Sense:This property has been on the market and on our radar at least since last November, 2007. It's been for sale in various permutations as
Sabtu, 03 Mei 2008
REAL C'VILLE: About Us
Greetings. Welcome to one of Charlottesville, Virginia's newer blogs, concerned with the local and national Real Estate Bubble.As our blog description tells you, we're"A marketwatch for the "big" season of May-August 2008, compiled by C'villians who aren't attempting to sell you anything. For bemusement purposes only, it's a small contribution to the zeitgeist. We welcome your input, especially
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