Last Chapter
With ten pages left to go on editing SOS United States, I’ve started to ponder the next steps in this project. First, I’ll start to research agents and publishers in the political thriller field for their submission/review process. Just like the world of film, each company has a different process—one that must be followed. I’ll also start to look for an editor for that necessary work. Although, if the manuscript is picked up by an agent/publisher, they would have their own editors to bring to the manuscript. Another step will be to review self-publishing companies. While this method was a bit taboo years ago, like the film industry, it’s been standardized to make it a worthwhile commercial option.
Regardless of how the book winds up in the market, it’s a project completed. There is a certain satisfaction in bringing an idea to life. Whether you are committing it to paper or screen, knowing that it will eventually be shared with an audience is a thrill like no other. I remember so many years ago, when my first book Frozen Assets arrived in my office. Opening the box from the printer and seeing months and years of work bound into hardcover was something I’ll always be immensely proud of.
Works like this don’t happen overnight. So many want to be an accomplished screenwriter or author. What they must understand is that it’s hard work. Work done the old-fashioned way. Research, outlines, writing, rewriting, etc. etc. I’m not a slow or fast writer, I’m more methodical – midrange if you will. I like to move along, but I’m also thinking of the story, the characters, and various arcs. For SOS United States, I found that while the end of the book is basically the same as the screenplay, there are differences that I think give the story more heft, or as I like to say gravitas.
That is what makes a writer a writer. We think of an idea, and we execute. We labor over writers’ block to come up with a way of presenting a story that’s new and fresh. One that we hope will entice the reader to turn a page or to sit through the next minute of a movie. When we consider the centuries of creative writing and the great works that have been created that continue to entertain audiences to this day, I think we all shudder at the thought that something may terminate those efforts of genius—I speak about artificial intelligence.
Unless you are living under a rock or perhaps the planet, artificial intelligence, better known as AI, has now permeated nearly every industry. The threat to creative writing is the AI may soon replace humans. I have no interest in a book, screenplay or other creative work that has been written by a computer program. Yes, AI is wonderful for customer service, research and the like, but even that takes away from the originality of the human process. By another example, we know AI is actively working in the legal profession, but the mind of a skilled lawyer who has a feel for the law that shapes our society, is something that should never be relegated to AI—less, AI begins to regulate us.
I don’t believe in living in the past. We know that developments in AI and a host of new technologies make our world a better place. But that being said, we must be sure that technology doesn’t replace the gifted thought, creativity and compassion that makes up the human being. For while we created this new technology, let’s not have it recreate us.
“Machine intelligence is the last invention that humanity will ever need to make.” – Nick Bostrom
Next thought.
The Submission
Addressing over three hundred people that attended the world premiere of Justice Is Mind in 2013.
“We are each the authors of our own lives, Emma. We live in what we have created. There is no way to shift the blame and no one else to accept the accolades.”
― Paul McGill in Barbara Taylor Bradford’s A Woman of Substance
There have been many times that I have referred to this one quote from my favorite book. I even used it as a dedication of sorts in my book Frozen Assets. We all have books that we love and in the case of A Woman of Substance it is the character Emma Harte. In essence she grew up with nothing, worked hard, achieved great success against family strife and bulldozed her enemies along the way. It’s Barbara Taylor Bradford’s vivid writing that brings her world building and characters to life. And if you want to see one of the greatest book to mini-series adaptions click this link at Amazon.
And that brings me to the entertainment industry. I have been part of the industry in one form or another for over twenty years. I have made over 300 TV appearances and co-starred on a network TV show. I founded and published the world’s largest figure skating magazine for over a decade and produced a feature film in 2013 (Justice Is Mind), that was the 8th highest rated independent feature film on IMDb that year. Equal to that success was the epic loss of my publishing company in a brutal hostile takeover. That was an experience that I will never forget as it focused me relentlessly on one thing – resolve.
Those of us involved in the entertainment industry know it’s filled with rejections, hopes dashed and dreams that can turn into nightmares. But we also know that when an opportunity strikes it can shine light on your talent like you never thought possible. I’ve had both and, to be honest, it made me the person I am today. I will go to the ends of the Earth (and beyond!) to build a project and promote all associated to help further their own careers and goals. But cross me, take advantage of my work or try to claim it as your own and you will see a combined Emma Harte and Alexis Carrington Colby come out in full swing. It’s not pretty but always well documented. At this stage of my career I can be your best friend or your worse enemy. It’s your choice. Sadly someone this week chose the latter.
Justice Is Mind the 8th Highest Rated “Independent Film” released in 2013.
What I’m about to write is both a public statement and a warning to writers and creatives the world over. There are opportunists that look for shortcuts. People that don’t want to do the hard work but take advantage of yours. I promise you there are no shortcuts in this industry. Don’t let anybody kid you or tell you otherwise, everything starts with the written word. The writer is the foundation of all things in this industry. Without us actors, crew and the very machine that runs the industry comes to a grinding halt.
Like any independent filmmaker I am always pitching and presenting my work. Last weekend I sourced some agents and managers on Backstage.com. Unless they have a no unsolicited submissions policy, my pitch is pretty straight forward – brief intro of my experience, select loglines and links for more information. In essence a tight query.
Within hours I heard back from one manager that stated, “Thanks Mark. Can you send me a writing sample?” I responded in kind with a variety of links and my script for SOS United States. Now before someone says I shouldn’t have done that there are a few things to remember. First, the script is registered at the WGA (Writers Guild of America). Second, a professional doesn’t steal they review. Some, like an agency that reviewed First World last year, have you sign a submission agreement (fairly standard). Others, it’s just an email. Honestly, in all my experience and what I have seen, trying to get someone to sign a non-disclosure is a non-starter. It doesn’t work and just turns prospects off as it starts from a legal posture. However, in full disclosure, SOS United States has been sent to sales agents and industry representatives for review. Some are still reviewing, some have passed that’s just the way this process works. But what follows with this “agent” needs to be disclosed, because I really think I saw it all until this episode. So in the spirit of screenwriting, I will present it in three acts.
ACT 1 – SUBMISSION
THE AGENT
Thanks Mark. How did you hear about us? SOS United States sounds intriguing. I will try to give it a read this week.
MARK LUND
I heard about you from Backstage.com under agents and managers. Thank you for your comments on SOS United States. I call it a cross between Fail Safe and Seven Days in May (1964) meet Clear and Present Danger.
THE AGENT
Have the studios seen it?
MARK LUND
No they haven’t.
THE AGENT
Great, we’ll get back to you soon. Thanks again for sending. I am actually from Massachusetts as well. Always looking for stories set there.
MARK LUND
Sounds great. What a small world. Yes, we have great locations here in Massachusetts (and a great tax credit).
ACT II – PASSED
THE AGENT
While conceptually it is very interesting, I think there is too much going on, too much information and in general it’s not easy to follow. I think you need to streamline the information and simplify in order for this to be effective. A film like the first Wall Street, took something complex and made it easy for most people to understand. I think that should be the goal for you as well. If you decide to work on it, I’m happy to take a look again but right now it is unfortunately a pass for us. Thanks again and stay in touch.
MARK LUND
I appreciate the review.
We now pause in our story for the intermission. First, pay careful note to the film that this “agent” mentioned as it plays out when we return to our regular programming. Second, while having a project passed on is disappointing, no writer should immediately jump to their desk for a rewrite just because one person passed. You notice there are no notes with his comment. In all my communications with industry representatives this is where the conversation should have ended. Someone passes, you say thank you and everyone moves on. Brace yourselves as we now return to the program. I have XXXX out the name of the writer and the name of his father, but note again the film that this “agent” referenced and you can fill in the blanks.
ACT III – LAWYER
THE AGENT
If you are interested, I might be able to get XXXX (the son of XXXX and a very talented writer) to do a rewrite. It would probably cost around 10k. XXXX is really into shadow governments and has done a great amount of research for other projects that dealt with them. Check him out online. He’s pretty famous. Let me know what you think.
MARK LUND
That would be a pass for me. I’m not interested in having my screenplay rewritten by someone else, give them credit and pay for it in the process. That’s nuts! Also, fame in this industry doesn’t impress me. I’ve done enough TV myself.
THE AGENT
XXXX has a brand name in film which helps open a lot of doors. I think a draft by XXXX would help it for sure. It would give the project some momentum and strengthen the script. He also produces and directs but he’s not a big enough name to direct something this big. He can also be helpful as a producer. If the script was in shape, we could take it straight to Warner Brothers where we are producing two movies with. But the script needs work.
MARK LUND
I’m copying my attorney on this entire trail. This is lunacy. I see approaching you through your listing on Backstage.com was a mistake. You first pass on the project and then come back with a studio name. Like I’m supposed to be all excited. To add insult to injury you name a writer who, by your own admission, can’t get a project like this off the ground. Jesus, you must really think I’m desperate. You are ordered to delete SOS United States from your files. If you feel it is necessary to contact me again, contact Mr. Barry Bachrach.
THE AGENT
(who included Barry in the cc)
Whatever dude, calm down. I was just making a suggestion on how I could make your project better. Please don’t contact me again.
Now let’s do some fact checking. First, let IMDb be your best friend. This “agent” has not produced a feature film. That doesn’t matter in the great context of things, but if you are producing something it shows up on IMDb if it’s in production (especially studio productions). Does he have projects in development at a studio? It’s possible, but nothing is listed and it’s the oldest trick in the book to throw a studio name out. I’ve been in studio pitch meetings I know how the process works.
SOS United States will sail under my direction.
Second, yes, this “writer” is the son of a “famous filmmaker” but is not represented by the “big” agency stated on his IMDb profile (I called the agency and checked) or nominated for any awards in screenwriting (I have been). This “writer” has three representatives listed. After learning that the second representative agency is out of business, I finally did reach his representative by phone with the third listing. The purpose of my call was to let this person know that their client was being represented by other parties, perhaps fraudulently, and to advise them of the situation. After a very pleasant phone call, I forwarded the entire email trail that included Barry’s information. Now, everyone has been notified.
Now let’s also make something else perfectly clear, I don’t know what this “agents” game was, but he lost. This is an industry where opportunists run rampant. They look for people desperate to be part of the industry. I am not one of them and that was this “agents” fatal error.
Let’s, for a moment, look at just how ridiculous this scenario was. It was proposed that I pay $10,000 to an unqualified writer with a famous father to take my idea and screenplay and turn it into something for them. And what’s in it for me? Oh, yes, the wonderful opportunity to be out $10,000 while someone else takes all the glory and credit for my work. You can only imagine the flurry of four letter words that I want to type here.
The one thing you never do in this industry is pay for access. It doesn’t work. This industry is built on relationships. If this “agent” was truly an industry professional the scenario would have been more along these lines, “I like SOS United States and feel it has some promise. What I’d like to do is show it to “so and so” at Warner’s. Just know that they may want to bring in another writer.” But that wasn’t the case. This “agent” was just looking for their own opportunity at my expense creatively and financially.
Should I have vetted this “agent” a bit better? Perhaps. Hindsight is always 20/20. But one never knows what opportunities exist unless you present. That is the risk we all take as creatives.
In the end SOS United States is out there. Did this “agent” delete it? I don’t know. Did they forward it? I don’t know. But what I do know is that with this post and my actions to protect myself legally and through notification to the “writers” representatives, I have documented this action. The one thing this “agent” should know is that I track this industry. Remember, I’m also a journalist. I also have my sources and contacts in the industry and if I get wind of anything, I will turn a quote from Taken.
“I don’t know what you want. But what I do have is a particular set of skills. Skills I have acquired over many years. Skills that make me a nightmare for people like you.”
Public Relations.
The concept poster for SOS United States.
Trivia note: Liam Neeson starred in A Woman of Substance and Taken.
If you want to know the name of this agent, you can private message me on Facebook or Twitter.
The Ashton Times 