Interview with Sheri Brummond

Director of Development at Rosemont Productions International Ltd.

Producers of the Emmy Award-Winning DOOR TO DOOR, as well as numerous other television and cable films such as PURGATORY, THE SECRET GARDEN, HIGH NOON, etc.

Written by Signe Olynyk

...Most writers are taught to write "from the heart", so the stories and characters they develop are very personal to them. When pitching a "buyer", a writer needs to understand a few important points -

First, a buyer wants to hear a story idea that is wonderfully compelling and as fresh as possible. Granted, there are many well-worn story ideas, but a good writer should be able to figure out a way to put a fresh spin on a well-worn idea. The more original your story, the better chance you'll have of impressing a buyer...think of THE SIXTH SENSE - think of that script on a buyer's desk along with several other thrillers...why did that script stand out? It was the one unlike any other - the protagonist was dead!

Also, remember, you will probably be pitching your script in the form of a logline and a logline should include a hook of why anyone would want to read your script...

For example, "a middle aged female has a nervous breakdown and tries to deal with her demons" ...This was an actual logline pitched to me last year by a female writer. When I did not request to read the script, the woman got angry...I told her that what I heard from her pitch didn't compel me to want to read it...So the woman has a nervous breakdown? Why should I care, I asked her. Lots of people have nervous breakdowns and we don't make movies about all of them...Furious, the writer took the rejection personally. "But that woman is me! It's my story!" she exclaimed. Again, I repeated, so what? What is it that happens in this story that is going to want to make me read 120 pages? I was trying to make the writer understand that she needed a specific "hook" of why her character's situation was exceptionally compelling. But the writer didn't "get it" - Instead, she cried out, "But you haven't read it!" Yes, that is true, I agreed, but I told her that it was her job to make me want to read it...Instead of trying to understand that I was trying to help her, the woman stormed off in the middle of the session, in a terrible rage...

If the writer had opted to insert an emotional hook into the heart of the story, she could have struck an emotional chord with me...For example, say she'd told me that the female protagonist had fallen asleep while driving and had had an accident which caused the death of her only child...now, in this case, I would understand why the protagonist was having a nervous breakdown and my heart would go out to her...Ok...that being said, let's make the logline even better...say then, that because of her depression, perhaps the woman ended up in a mental hospital and encountered a stranger who brought her a message - "the accident wasn't an accident"...

Now, the logline would read - Emotionally distraught after losing her only child in a car crash, a woman lands in a hospital where a stranger shares that her accident hadn't been an accident at all...This logline would have caught my attention...there is intrigue, the situation enlists my heart...I definitely would want to read this script. A story must enlist my heart to make me want to read it. Do you think the movie, TITANIC would have been as successful if it hadn't had the great love story in it which enlisted everyone in the audience's hearts? Probably, not - as is evidenced by the several prior TITANIC films that were not even half as successful...Let's examine the second logline again - in it, one gets a better picture of the overall parameters of the story. There is an element of suspense and wonderment - for instance, who is the stranger? Does the woman ever find out the truth behind what really caused the accident? At least there is some kind of "hook" and I have a definite reason to want to find out what happens...in the first logline, a character is presented, but nothing more. One has no idea as to why the story would be interesting enough to want to read.

Second, assuming now you've pitched a wonderfully compelling story idea with a very intriguing logline...(and hopefully you were emotionally involved when you were doing so)...you must understand that a buyer usually will respond to what mandates he or she's been given, meaning "what kind of stories are they looking for?". This has to do with the current climate of the industry, in regards to both television movies and features.

Third, you must remember that this is a business...we are in the "Entertainment Business"...You must not take rejection personally. But with such a huge personal investment in their script, how does a writer not take a rejection personally? What can writers do to make the most of their opportunities?

Writers need to understand that though their script is their "baby", it is representative of their story telling techniques...not their personal worth. If you're not getting bites on your script, then re-evaluate your script - if it was up on the big screen, would you pay $10 to watch it. (Try a little test...try telling your story to a total stranger, can you keep his attention?) Is your script well-crafted with great structure? Does the action further the plot? Are there delicious subplots? Are the characters well-developed and so real they jump off the page? Do we care about what happens to them? Is the plot irresistible and does it build? Is there an element of unpredictability? Is the tension taut? I could go on and on...but if these comments do not "ring a bell" for the writer...then perhaps the writer needs to go back to page one and start over...

I cannot emphasize enough how important it is for writers to do their "homework"...a writer should be in the constant pursuit of trying to master their craft...I must assume that someone who wants to write and sell their scripts would dedicate themselves to learning all they can about writing and storytelling...Have you read all the great classic books? Have you watched all the great classic movies? Have you read award-winning scripts and studied their structure and elements? Do you have possess a personal library of scripts and study them whenever possible? If not, then why are you writing? Many writers dedicate themselves to writing, without ever learning what a great story consists of and how one is structured. You also have to remember that the medium you're writing for is cinema - that means "pictures" - whatever you can say and whenever you can say it - do it with pictures, not dialogue.

I hear hundreds of pitches each year and have read thousands of scripts during the past eight years. I always tell writers - it's not about you...it's always about the story... I am always on the lookout for a great story. If I like a certain script, but it's not what I am looking for right now, I keep it for when I will be looking for it. Though the story is everything...a bad attitude or inflated ego can totally turn me off.

Over the years, I have worked with many writers and consulted with them on how to improve their scripts. My advice is...Be as easy to work with as possible. Understand that every chance to improve your script is a chance for you to get one step closer to making a sale, or at the least, impressing someone. Take advantage of every opportunity for growth, even if it means listening to grueling critiques. Certainly, a writer can get overwhelmed by listening to many varied comments which can often be confusing, but if he or she starts hearing the same comment over and over - THIS IS A HINT --THERE'S SOMETHING WRONG WITH YOUR SCRIPT! A writer should always be open to learn and extremely malleable. You must want to learn all you can. If your attitude is excellent, at least that's one less obstacle you have to worry about. It will pay off when you least expect it.

Ego can destroy a career before it's even begun. I know of one aspiring writer who won a prestigious screenwriting competition and was then hired to write a project for a well-known company. Suddenly this person was making demands and whining about whether or not he felt motivated to do the work. He totally humiliated his manager and alienated the network and production company. This person destroyed a huge opportunity by their own arrogance and hurt others in the process...this is NOT OK. The sad footnote is that he had talent...I now know of many who won't ever work with this person again."

Every pitch meeting is an exciting opportunity for both the "pitcher" and the "pitchee". For the pitcher, it's a chance to sell your work, to secure a writing job or an agent, to gain insight into what that any given company is looking for, or to make connections. For the Pitchee, it's a chance to discover your next great project. The writer should remember that they're not being evaluated, their script is --- Again, writers remember -- is your script an irresistibly compelling and emotional story? Is it well written? Is it what the market is looking for? Is it a story that merits being told?

Learning to pitch well is a crucial part in the journey of becoming a working writer. Exceptional pitching techniques can open doors towards reaching career goals. What many fail to realize is that "pitching" doesn't end at the end of a pitch session... It continues with every meeting, phone call, luncheon, and encounter that you have with every other person. It can help jumpstart your career or toss you right out of one. It's a very valuable skill.

Finally, though the "story is everything", I would hope that the writers writing them would also strive to be kind, malleable, and humble human being that others want to work with. I know of two writers who were recently up for a job and the one that got it has the nicer reputation. Writers shouldn't forget - their word should be gold - you don't hurt others to get ahead. You should treat others like you'd want to be treated. I've seen many people get hurt and discouraged...you get one chance in this life...this is not a dress rehearsal...you will reap what you sow...

In conclusion, If writing is your passion, give it all you've got and follow your dreams...I have the utmost respect and empathy for writers -There would be no film industry without you - BEST OF LUCK!