Working in showbiz, attention writers, producers, agents, or executives-- some tips from an insider


Navigating Life in the Fast Lane


by Ken Atchity

Reprinted from Fade In Magazine

While most of the world conjures up images of showbiz types lounging poolside with cellphones all day and schmoozing at star-studded premieres throughout the night, those of us who actually work in the industry know all too well the enormous challenge of simply keeping your head above water while swimming with sharks. In this business, where everything goes by messenger warrant your full attention, have him meet with someone else and being "swamped" is the norm, free time is a luxury few can afford - not to mention a good night's sleep.

So how does the agent return those 123 calls from last week (including the one from his mother)? How does the creative exec complete her notes on that script being rushed into production at month's end? How does the writer have time for pitch meetings, development meetings, phone calls, treatments, page-one rewrites and that new spec? In short, how does any Hollywood player have time to even enjoy the wonderful life the rest of the world assumes we have?

The key to success (and sanity) is to remain flexible while simultaneously being relentlessly organized. And this doesn't just mean organizing your workload because, as any assistant will tell you, that work is infinite. Manage your time and you can manage your life. Knowledge may be power in Hollywood, but time is the lifeblood of the most successful players.

Here are a few suggestions to make your life a little easier, whether you're a writer, producer, agent, or executive.

HAVE AN AGENDA
Once a week, in an inspiring place far away from the daily grind, schedule thirty minutes to examine and reschedule your goals. Write out a list of priorities and give each a deadline. Every week, revisit this agenda and revise it as necessary to keep your priorities current. This will keep you in greater control of your time and make the decision process easier.

THE FINE ART OF DELEGATION Know your limits and maintain them. Of course you can do it. But are you the only one who can do it? If not, whatever it is, delegate it and pass it along to someone else- Let that be the first thought with every task that crosses your path. Otherwise you'll soon be trapped under an avalanche of self-generated work. The psychologist Carl Jung had a sign over his desk that read Yes No Maybe to remind him that every maybe will turn into a yes if you don't immediately recognize it as a no. The maybes swallow up most of our time.

PHONES, PHONES, PHONES
Be a call-maker. not a call-taker. Call when you feel like it, and when you need to. It's a simple matter of being proactive versus reactive. When you've swapped calls more than three times - assuming you're not just avoiding the caller - schedule that phone conversation. With interminable ramblers, tolerate the rambling for five minutes, then beg off the call. They'll get the picture and get to the point the next time they catch you. Turn your phone off during meetings. If your visitor isn't important enough to warrant your full attention, have him meet with someone else - or meet by phone.

MAIL AND E-MAIL
Take care of correspondence immediately - with a note, letter or phone call - and discard junkmail before it even reaches your desk. Redirect eighty percent of your e-mail to others. Answer e-mall immediately only if it's shorter than four lines. If it's longer, print it out and add it to your reading pile, instead of reading it on the screen and becoming further enslaved to the reactive mode.

MEETINGS Have no meeting until you're clear on what you want to accomplish. Avoid unnecessary business lunches. Not only do they eat up hours, they also make the rest of the day less productive. Instead, meet for drinks, breakfast, or reschedule half of your meetings each week to take place by telephone instead of in person. If you're the traveller, you'll likely save almost two hours per meeting in commute lime.

UNPLAN YOUR LIFE Don't let your personal life slip by. As John Lennon said, "Life is what happens when you're busy making other plans-" Remind yourself to relax. Take time away from it all. Turn the phone off for a day. Scheduling time to do nothing, or learning a new hobby, is like taking out life insurance payable, in advance, to yourself.

MANAGING YOUR MIND Time management for the Type C personality (C for creative and/or crazy) begins with a practical everyday expression of mind-management. Continually remind yourself that you are privileged to be playing on the most exciting gameboard in the world - the one that everyone back home would give precious body parts to play on.

Winning an Academy Award is a dream. The only way to make dreams come true (excluding blind luck) is to manage goals (getting the movie out of development and into pre- production), and focus on objectives (getting the story straight, finding a director), By reminding yourself of what you've accomplished, you can keep your head together and succeed in managing your time.

Tip for the day: Associate with positive people, and stop associating with negative people. Nothing is more helpful than a positive support group, and nothing more damaging than constant negative reinforcement from "friends" and family. Make whatever adjustments are necessary to reduce or eliminate your contact with the naysayers.

Click here to Amazon for How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Transforming Your Career


Once upon a time I resigned my position as tenured professor of comparative literature at Occidental College in Los Angeles to pursue a new, full-time career as freelance writer, independent producer, literary manager, and entrepreneurial "story merchant."

For the Type C, or creative, personalities who want their work to "fill" their deepest creative urges, this is the frontline guide to making the transition from a secure and soulless job to a life built around a creative dream. Individuals learn how to follow the mind's eye to construct a life that conforms to personal vision, steal time to make creative dreams come true, use as assets the resources around them, and turn creative goals and objectives into an effective life plan.


12 Hints for Rekindling Your Creative Spark

by Dr. Ken Atchity
Reprinted from Writer's Digest

Sometimes the struggle to publish can drain even the strongest creative dynamo. Here's how to recharge your creativity, to keep your career going...and going...and going...

When you began your struggle to establish a writing career, you were no doubt highly motivated. The joy of challenge, the lure of creativity, lured you into your dream.

But now you've struggled for so long that you may not be feeling that same joy. You may not be feeling it at all. What once seemed so promising now seems like folly at best, madness at worst.

What's happened? You've allowed the struggle to overpower the hope and positive energy you began with. You've forgotten that the creative process follows a natural cycle, from concentration to abandonment. The cycle begins when motivation leads to work; which, when not punctuated with appropriate rest periods, leads naturally to exhaustion; which leads to frustration; then to depression; then, ideally to reassessment and renewal. If you're pursuing a "creative" career, the process of keeping yourself motivated, like the challenge, is endless.

So what do you do when you're not feeling motivated?

Continue reading…




A Writer's Road to Publication


From Signing with An Agent to the Book Deal

By Jennifer Minar

From Writer’sBreak.com

It happened. Finally. I landed an agent*!! And not just from any agency, but the perfect one for my book. It took 20 grueling months of cold querying, networking, and sprouting unsightly gray hairs, but it happened!

What's more, I have two agents, not one--a literary agent and a film agent--since the New York City/Beverly Hills-based agency that represents me primarily only signs clients whose projects they consider to be marketable for New York and also for film adaptation in Hollywood.

Continue reading….

Inside Hollywood: The Reel Path to Success in the Motion Picture Industry

Ken Atchity’s “Inside Hollywood: The Reel Path to Success in the Motion Picture Industry,” [with Richard Warren Rappaport and Emilia Patricia Graham] appeared as the lead article in Entertainment and Media Law Contract Strategies: Leading Lawyers on Assessing Financial Implications, identifying Potential Risks, and Successfully Negotiating the Right Terms (Inside the Minds) Aspatore Books, 2007, pp. 7-35.

Continue reading….

I Made the Career Change to Full-time Creativity

Excerpt from my book about making a career change to full-time creativity.

"What makes you an authority?"

Einstein: “The punishment fate has given me for my hatred of authority is making me one.”


Atchity: Authority comes from describing the clear pattern things reveal in retrospect.


Once upon a time I resigned my position as tenured professor of comparative literature at Occidental College in Los Angeles to pursue a new full-time career as free-lance writer, independent producer, and literary manager. I exchanged a thirty-year "comfort horizon" (how much of the future you can envision as being covered by income-generating contracts presently in hand) for one that has ranged from a mere 24 hours to nine months at the very best--normally hovering precariously between 45 and 90 days. When people told me that my mid-life career change was insane, I reminded them (and myself) of Salvador Dali's taunt:
"The only difference between myself and a madman is that I am not mad." Regardless of how that struck my interrogator, it made me feel better.

My decision to resign from my tenured position became final in the middle of a December snowstorm in Montreal, where I was taking a leave of absence from Occidental College to supervise the production of the Shades of Love series of romantic comedies, which I had conceived and was producing, for Lorimar and Astral-Bellevue-Pathe. The decision followed on the heels of an event that brought the familiar sensation that everything happens for a reason: I was scheduled to play the Aextra part of a professor in Mort Ransen's
Sincerely, Violet, but had been delayed by a snowstorm. By the time I finally arrived on the set the scene had already been shot. I decided right then and there that I simply wasn’t meant to play a professor even in fiction--that it was high time to resign my tenure. My extra appearance was rescheduled for the next day: I ended up playing a graphologist.

Although the incident in Montreal provoked immediate action, the decision had been a long time in the making, first conceived 12 years earlier while I was serving as Fulbright Professor at the University of Bologna. On Valentine's Day of that year, I received a telegram from the Occidental Dean of the Faculty informing me that I'd been granted tenure. My immediate reaction to this news surprised me: I became depressed.

That depression continued for at least a year, compounded by a difficulty in finding colleagues who could relate to such a bizarre reaction to what everyone else considered good news. I should have been ecstatic.

I finally figured it out for myself: I felt trapped, suffocated. My oldest recurrent nightmare as a child was of being suffocated by an enormous blanket not of my own weaving. Yes, the box I now found myself in was a comfortable one; but it was still a box—a golden cage. As much as I loved teaching, as much as I had succeeded at it, I was having trouble with the thought that for the next 39 years I'd be able to predict my schedule 12 months in advance. I felt that my life was spinning out of control, coming to an end, and that without knowing how, I had prematurely become a zombie.

I knew I had to escape.



Click here to Amazon for your copy of How to Escape Lifetime Security and Pursue Your Impossible Dream on Amazon.




Why you? Why this idea? Why now?”—Janet Goldstein

Interview with Dr. Ken Atchity


Interview by Jennifer Minar-Jaynes


Dr. Ken Atchity is a self-defined "story merchant"-- writer, producer, teacher, and literary manager-- responsible for launching dozens of books and films.
With more than forty years' experience in the publishing world, and more than fifteen years in entertainment, Atchity has been highly prolific, producing 26 films, including "Joe Somebody" (Tim Allen; Fox) and "Life or Something Like It" (Angelina Jolie; Fox).

As if that isn't enough, he's also authored 14 highly-praised books on writing, including
How to Publish Your Novel and A Writer's Time: Making the Time to Write.

What's more, as a literary manager, Atchity has successfully built bestselling careers for novelists, nonfiction writers, and screenwriters. Clients include bestsellers Steve Alten, Jamise Dames, Noire, Dr. Dre, and Governor Jesse Ventura.

As chairman and CEO of Atchity Entertainment International, Inc., Ken's Story Merchant companies, www.AEIOnline.com and www.TheWritersLifeline.com, provide services for commercial and literary writers who wish to launch their storytelling in all media, including publishing, film, and television production.

Describe your ideal client.

My ideal client is someone who's focused on his work, not on himself, and who will do anything to improve both its quality and marketability. Who's cautious, but not paranoid. Who's obsessed by making his own time productive, and equally respecting of ours. Who doesn't call and say 'what's going on.' Who doesn't have a lazy bone in his body, and who 'considers the source' when he hears something different from what we've been telling them. Who understands that before he can have the market follow his stories, first he must tell stories the market WANTS to hear.

At AEI, are you more likely to sign an author whose work can be easily adapted to the screen? Also, what are some ways of recognizing whether a book has film potential?

Yes, our favorite client is someone whose writing works for both publishing and the screen. A book has film potential if it's written following the laws of drama-- which will also make it a better, more readable book.

You've mentioned that AEI receives roughly 15,000 submissions a year and accepts about 50 of them. What specifically about your selections stand out to you?

What stands out is a clearly marketable concept-- 'high concept' if possible-- that is as well executed as it is well conceived.

Some writers whom I've interviewed claim that even with multiple book sales, it's difficult to make a decent living. Others tell me that they've landed extremely lucrative deals-- and I know this to be true of many of your clients. What are some of the main factors that play into whether a writer is offered a lucrative deal?

The most lucrative deals go to writers whose work (a) 'stands out from the pack,' usually because of its 'high concept.' And (b) whose forceful and compelling writing serves the reader, not itself.

As a writer and a manager who works with many writers, what advice would you give about dealing with the rejection every writer will inevitably face during their career?

Ignore rejection, other than to compile as many as you're going to get as quickly as you can compile them. I always say there's a big blackboard in the sky with a list of all the no's you're going to get on a given project-- and the final yes. The only problem is that the blackboard is invisible. Since that's the case, obviously the only way to stay sane is to get through all those no's as quickly as you can-- never wasting time trying to change a no to a yes. A yes from the wrong person is much worse than a no.

What are some characteristics of a writer who will have "staying power" in the industry?

A writer with staying power is always trying to make sure his craft and skill stays at the level of his ambition and vision. For that reason he values criticism more than praise, because only through criticism can an artist learn. We always point out that even the smallest remark was, after all, a reaction to something you wrote.

I always recommend that writers read A Writer's Time from cover to cover if they want to learn how to "harness" their time and become more productive. For the purpose of this interview, can you give us one tidbit from the book?

A huge one: Never sit down to write without knowing what you're going to write before you sit down.

Does this mean that you shouldn't outline first? Or, take notes?

Many writers ask, 'How can you outline without having written?' I think an outline is most useful when you've written at least a third of your book or script, then need to make sure you 'have the rest of it' before you risk writing off in a wrong direction. The more professional you become, however, the more you'll follow the advice in Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture and TV Industry, writing a treatment of your book or script before you commit the time and emotional energy to the work itself.

You've also said that having too much time to write is much more dangerous to getting the story out in an exciting way than having too little time to write. Please explain.

The most dramatic writing comes from pressure, and there's no better pressure than the pressure of self-imposed discipline focused on time. Limiting the time you're actually at the computer produces the strongest results. While you're NOT there writing, 'the back of your mind' will be working overtime to make that writing time more productive when it comes around again.

I've heard many writers rave about your book, How to Publish Your Novel. After reading it myself, I now understand what an amazing resource it is for those who are looking to have their novels published. What inspired you to write it?

I was inspired by answering the same questions over and over again, and hearing my partner and staff do the same. Since nothing annoys me more than wasted time, I figured it was time to put all we know into the book-- for the same reason, I wrote A Writer's Time, Writing Treatments That Sell and How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Transforming Your Career.

You've worn many hats. What have you most enjoyed doing and why?

I most enjoy reading a fabulous new manuscript that I KNOW I can develop into a successful book and film.

What, in your opinion, are some of the best ways for a writer to hone his skills?

Almost nothing is better than reading successful books or scripts in the same genre as you are writing in. Next is getting professional editorial guidance from a company that knows what it's doing like the Writer's Lifeline, Inc.

What are some misconceptions you think those who aspire to write fiction full-time have about the writer's life?

That it's easy. That it's sexy. That all you do is lounge around most of the time doing nothing.

Do you have a favorite quote, or words to live by?

Go for it!

Don’t have a heart attack!

I heard a noted New York publicist the other day advising writers that if an agent doesn’t hear back from the publishers he’s sent your manuscript to within 2-3 weeks, it’s probably not going to sell.

What he failed to add to this statement is “NON FICTION.” This timetable isn’t true for fiction at all, because it takes time to read novels and it’s the reading experience that matters with fiction, not just the concept. So if you hear this advice and you’re a novelist, don’t have a heart attack!

Inspiration

You have to leave the city of your comfort and go into the wilderness of your intuition. What you’ll discover will be wonderful. What you’ll discover will be yourself.—Alan Alda [via M.J. Ryan, The Power of Patience]

I am extraordinarily patient, provided I get my own way in the end.—Margaret Thatcher [via M.J. Ryan, The Power of Patience]

Have patience with all things, but chiefly have patience with yourself…every day begin the task anew.—St. Francis de Sales [via M.J. Ryan, The Power of Patience]

George Lucas put up his own money to make Star Wars because no one believed in his vision. By the time the movie came out, he was completely broke. But he ended up becoming phenomenally wealthy precisely because he had been unable to sell any of the rights to the film or sequels. --M.J. Ryan, The Power of Patience

Is Screenwriting Your Dream?

More from my book How to Escape Lifetime Security and Pursue Your Impossible Dream.

Excerpt from Chapter 3 "What's the Plan?"

Dreams come first. With the help of an operating plan, those dreams can become realities.

Making them come true requires two things: commitment and the plan itself. Commitment marries your dream to your mission in life; you are going to make your dream your mission. The German poet philosopher Johann Wolfgang Goethe made the most powerful statement about commitment I've ever run across:

Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative (and creation) there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that moment one definitely commits oneself, then Providence moves, too. All sorts of things occur to help one that would never have otherwise occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents, meetings and material assistance which no man would have dreamed could have come his way.

Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it. Begin it now.

Decisiveness, according to Lee Iacocca, is the primary quality of a good manager. But without planning decisiveness is hamstrung. Now that we've begun, we need a campaign plan, consisting of general goals (strategy) and specific objectives (tactics). Like dreams, plans should contain deadlines but should not be governed by them.

Let's say your dream is to be a produced screenwriter. As long as you're moving generally in that direction, nothing can take the dream away. But the plan recognizes that dreams come true step by step, and it focuses on the first step: learning about, conceiving, writing, rewriting, and marketing the first novel.

A plan consists of goals reached by objectives to be accomplished within a specific time frame laid out on an agenda. Objectives and goals have deadlines. Dreams don't.

Click here to Amazon for your copy of
How to Escape Lifetime Security and Pursue Your Impossible Dream on Amazon.



Inspiration

…He is a man who always has need of emptying himself, of completely emptying himself, it is necessary that he should be greatly stimulated so that he could be active enough to empty himself completely.—Gertrude Stein, Picasso
Every character should have an outer goal (external goal) and an inner need (what their emotional journey is about: what are they dealing with? Overcoming fear, guilt, abandonment, grief, abuse, needing to forgive, what is it that is propelling their inner world and making them do what they do?).—Claire Hutchinson