From: Michael Mayer
Sent: Monday, October 09, 2006 10:33 PM
To: roy@nohoartsdistrict.com
Subject: Re: Question
 
Roy ,
I have several reality television synopsis. How do I go about getting the right connection?
Sincerely,
John Mayer
 
 
Dear John Mayer,
Have you read my other answers to this question. Please do. Remember, there is no easy answer to any question but one.
 
YOU must do the work to promote yourself. This is the first hard lesson you will learn about this business. You may not like this fact but it is the hard cold fact of this business. If you have money, hire someone to do it for you. If you don't have money get an agent. If you can't get an agent then you must take the steps I outline in previous answers to PRODUCTION, AGENTS, FINANCING and WRITING - TV in AskRoy
 
Read all of them. If you have any further questions to clarify anything then please email me again.
Good luck,
Roy
 
 
On 10/18/06, Michael Mayer wrote:
Roy,
Thank you for the continuing emails. I have been extremely busy, but have had some time to do a little writing in the past weeks, so your email came at the right time when my inspiration is heightened.
 
Once I get home I will read up on the information you have provided me.
 
Again, my sincere appreciation for the information.
John Michael Mayer
 
 
Dear John,
You’re welcome.
Roy
 
 
On 10/18/06, Michael Mayer wrote:
Roy,
It's me again... I use to do some unpaid work for Janna E. Gelfand Production Co. a few years back, reading scripts and writing brief synopsis' for her, in return for her experience, coaching and feedback on my own scripts.
 
She actually thought I was pretty good, given me all her contact information to reach her even on vacation. I figured I was scared of success and kind of cracked by all her praise and eventually lost contact. I figured later she just didn't have the time for me to decide if I were going to be a screenwriter or just dream of being one. 
    
I eventually sent my script to Crystal Lake Entertainment and a producer there read it and actually called me a few times and we discussed it. I believe his name was Geoff Garrett, if my memory serves me correctly. He was in partnership with a Production Company which at the time produced Blade II. They were already making a vampire movie, but was kind enough to read my script and told me that if I ever had another script he would love to read it.
 
My Question is: Do you provide such a service to where an unproduced screenwriter reads your scripts and in return gets feedback on his or her scripts? I would like to get back into writing and perhaps this might be my way.
Thank you again,
John Michael Mayer
 
 
Dear John Michael Mayer
The best way to get back into writing is to begin writing again. Realize that if you don't do it now, you will not accomplish what you can in your life. You only have one life, so, if you think what you have is important enough for others to read, then, get writing and write regularly. Carry a book around with you and take notes. It can't hurt you and it can help you get into the habit of thinking that your life has meaning worth writing about. Collect little phrase's people say like: Funny things that make everyone laugh at work. An insight that some one says in common everyday talk. Write them down.
 
The only difference between a wannabe writer and a true writer is that the wannabe spends their precious time thinking about writing whereas a writer spends their time writing what they're thinking.
 
I don't have anyone except my partners read anything new of mine. There is two much theft of ideas in Hollywood where carnivorous creatures eat up and spit out everything they get their hands on. Thus, I don't at this time have a script of mine that needs someone to read it. My agent would not approve. My partners would not approve. And as I have said, it is not wise to let a new script be read by many people. Only those who need to know, know.
 
You should only give your work out to those you can trust. And always copyright it first
by applying the copyright sign, the date, and your birth certificate name. You should also
register it with the copyright office in Washington DC.
 
One way to get your stuff read is to join a class or find a tutor.
 
Now, there is a chance for me to read it if you really think it is good. But if I reject it, I rarely read another one by the same author. I haven't the time unless you're one of my students. If you are in LA area, there is a possibility for me to give some personal attention and instruction but it will cost you money. Understand, I get paid for my work. Also, I can tutor by remote using email, but there will be a charge.
 
If you are low on cash, read all of my answers to writer questions. It's not the same as if you were my student but there are some great hints as to what you should do to improve your work and your chances of getting your writing produced.
 
But of course, the first thing you must continue to do is WRITE. Keep writing everyday and one day, if you write from your heart, and you write with skill, you will most likely find some degree of success in your lifetime.
 
Good Luck,
Roy
 
PS:
If you or any other writers are serious to learn how to write dynamic stories and develop them into screenplays that sell, I teach private as well as group workshops on storytelling and screenplay writing. In these sessions you will be able to read some of my latest work. But more importantly, you will be able to get close contact with me and receive personal feedback on the things you write in the sessions.
 
My next session begins April.
Roy

-----Original Message-----
From: Hennriette Brand
Sent: Tuesday, December 13, 2005 3:48 PM
To: roy@nohoartsdistrict.com

Subject: help

I have finished my first script, and I wish to see it aired on television in the near future. I'm in the process of getting an agent. what tips do you have for me to have my show aired on television?
You can email me back at *************
 

Dear Hennriette Brand,

You have a wonderful name.

I hope you have read my other answers to similar questions. If not, please do. Some of my best friends say I keep repeating myself, too much. So, I want you to read all of my answers to other Writers. They will answer most of your questions.

Writing is a series of events. Conception, passion for it, notes, research, writing, rewriting, getting legitimate feedback, more rewrites, getting tired of rewrites, and then finally something that seems to work and so you submit it for copyright protection and then seek someone to produce your work.

Now, let’s assume you have a great subject, well written, copyright protected and packaged correctly. You submit it to a potential producer. Most likely they will not consider it seriously unless they know you. I am repeating myself, but this is the case in almost every situation facing talent in Hollywood. So, what do you do about it?

It is imperative that you must find someone who knows you. They must know your skill and talent and work ethics. Are you responsible? Are you a cooperative client? Are you easy or difficult to work with? Do you have other connections? Do you have people with money who may back you? Have you been published? Have you verifiable training from accredited Universities or other vocational schools or workshops? Have you won any awards? Do you know someone who knows the person you are submitting the work to who can recommend you?

In other words, nothing will be done for you until they know you are someone they want to spend their time, energy and money on. This is why the stars command a whopping high salary. It is because people know them. A producer or studio head can ask others what kind of person they are and how they work with others. If no one in a top position knows what you can do, then you will never have anything done for you. So, the secret is how to get them to know who and what you are. Let me give you some hints.

1. They must know you before they will read your script. Otherwise, they will not read your script. So, if you think they will know you by reading your script, it will most likely never happen. They must at least have someone they respect recommend you to them. Read my other answers to other writers and the reasons for this will become clear.

2. Attend a class with an accredited and known writer who will work with you and then recommend you to others, you may find it to be a viable avenue for receiving some kind of recognition. Major Universities, like the University of Iowa Writers Workshop, give wonderful training and have many professionals who teach at their schools. These professors can be of great help in recommending you to successful people in the business. Also, there are some professional workshops that have accredited writers who can help you when you prove to them you are worth the help. So, seek out these workshops and join them if they have a writing instructor you respect.

3. Enter contests. They may give you recognition if you win them. The only way to win is to submit your work. If you are afraid you won’t win, then, you are definitely approaching this business with the wrong attitude. You must always believe that your efforts will win something. If you don’t believe, then, how can you expect to compete in Hollywood where you are competing with professionals, major award winning writers, and previous winners of major student and professional contests throughout the world? So, let’s get real and submit some to contests. You may get lucky.

4. Get an agent. This is a tough one. Not only do they not take clients who have not previously proved themselves in some way or another, before they you’re your work most agents ask for you to surrender your rights of copyright protection by signing a written agreement. This I do not recommend. They do it for their protection as I have explained in previous answers, but it is not wise to surrender any of your work without being compensated. Otherwise, you may see your work on screen without any monetary reward and without credit to you and your work. But if you do #1, 2 & 3 recommendations above, professors and writing workshop teachers have connections and they may be able to help you get an agent. An agent can help you. They know people who know people and they can recommend and sell you to the producers. However, read my other answers to how to get an agent and you will learn what hurdles you face and how to jump over them.

5. Write a short story or novel and get it published. This is the best way to get noticed. Turn your screenplay or teleplay into a short story or novel. Do it as quickly as you can. If it is good, submit it to a publisher. They love to find some new writer on the edge of stardom. If you think your screenplay will not translate into a good short story or novel, then you will most likely not have any luck with anyone in Hollywood even if you do succeed in getting someone to read your script. The best Hollywood screenplays have good stories. And all good stories have a chance in Hollywood. Remember, a screenplay is just a medium for telling the story. Story is first, so help me god! So, get used to the fact that Hollywood demands a good story. If you get something published, your publisher can help you get an agent and a producer.

6. Talk to someone you know who has power and influence and will recommend you to others. Let’s say your father or mother or sister or brother or aunt or uncle or nephew or school buddy or friend knows someone who knows someone who is powerful and will take their recommendation. If you have one of the six degrees of separation covered, then, by all means use it. This is the quickest way to being lucky. That’s one reason show business is nepotistic. Nepotism works… for a while.

Hollywood is not the end all. But if you make it in Hollywood you can make it anywhere. Unfortunately, good ideas are an easy give away but a hard sell in Hollywood; unless, you find a way to protect your work. The best way is to be known. The 6 methods above may seem to be a long route to success, but that is just the way it is. So, get started today and good luck.

One step at a time…

Roy      (TOP) 

Copyright 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the expressed written permission of the copyright owner.

-----Original Message-----
Sent: Sunday, November 20, 2005 10:37 PM
To: roy@nohoartsdistrict.com
Subject: Television Treatments

Roy,

Over the past week or two I've spent time surfing the web for more information about treatments for TV. I have plenty of books on writing scripts. They would probably do more good if they weren't in storage but, until I have someone that can do some heavy lifting along with time.. that's where they stay.

I just came across a page where you answer questions about the industry and such. I can definitely say that what I've read is helpful already. However, I have a question(s) that might be a tad different from the rest. I can honestly say that writing is something that I didn't think would ever be something I would be doing or even interested in. Until recently, if you would have told me it might be a career for me one day I would laugh. I'm laughing now. Mostly because I can't understand why I failed to realize that in my own way I have been writing for a long time. Whether it's journals, short ideas in my head or on paper or different scenarios for personal enjoyment.

The reason being is this. I realize that the entertainment industry is broken up in many ways. You have the big screen, the small screen and behind the curtain rentals. So, for all of these you will need "writers". Now, I know for sure there is a tremendous lack of respect. That being said, here is my dilemma. I've worked in the adult industry for about 7 yrs or more. I've been talent. So, yes people can rent my movie from behind that little red curtain and enjoy them at home. During this time I have written scripts for the industry (yes we do use scripts at times, feel free to laugh now). I've sold 4 to one of the major companies. It might not be much but, it's something.

Having been in this industry it's helped me in other ways. I've watched lighting crews, I've watched the director, I've asked questions and tried to understand things when they were done. I've paid attention. I started to try and come up with ideas that I thought could be "adapted" to the industry I was in. This lead to ideas and eventually scripts. The first one I sold was the one I wrote the quickest. The ones I took the longest on.. are still sitting. That's fine. I understand some of it now due to what I've just read here.

Big question: This hits on points that you mentioned on this page I just read.

First. I have an idea for a television series that I am desperately trying to work into treatment form. How writers exist today is a miracle. Stabbing my eyes out with forks seems less troubling than trying to figure out all the minute details and still fall into what's "it" when you present something.

One of the points you mentioned had to do with experience. Well, .... I've never taken a writing course. I don't have any background in writing. Unless you count the numerous volumes of journals that have a play by play of my personal life lining my shelves. (or hiding in dark boxes in my storage unit). My experience is adult related. 

Yes I have written a script. I have used Final Draft to do so. I have been "published" per say. But, that's where it ends.  

Ok Ok, I tried to write a movie when I was in elementary school but, somehow I feel it will all be a bit "dated" at this point.

Second. I have a very good friend who is "connected".
I've known this person for at least 7 yrs. They've always been a good friend and they're definitely encouraging me now. They like my idea and have asked me to go forward with it. Once I get this idea of mine in treatment form they are planning on helping me submit it to several different companies.

They are also planning on submitting it to an agency. Actually it was him that led me to your link.  He did mention it would be a good idea to try and come up with other ideas and/or treatments so that I would  have something that would interest an agency in actually representing me.

Third. I've spoken to a couple of people about my idea. Not a lot. I have tried to keep it a bit tight lipped. But, I get over excited and sometimes must find a way to shut off the lead pipe. Not an easy thing to do for me. I am a very descriptive person. I know I need to work on this. How do I protect my idea in any way at all? How do I come up with names
for characters, that I know for a fact will be different and quite original, and still protect them if they are to be used in a treatment? If my idea is based on fantasy how do I describe my world setting and still retain enough information to be safe? Or how much is enough?

Fourth. Yes, I was in the adult industry. Yes I'm well enough known that there is no mistaking it. Oddly enough I feel that this industry did teach me a lot. I know what it's like to deal with being turned down. I know what it's like to show scripts and not sell them. However, part of the reason is that it didn't fit my industry. I need to try breaking out of this box.
I am working toward that now. Do you feel that my past is going to wreak havoc with my future? Or might I get "lucky" God willing?

I'm not sure if I covered everything in this letter. I am hoping if I missed anything perhaps you will spot it and cover it for me.

This is something I would really like to do. I am more interested in being the idea person rather than the script writer. However, I do like my idea and know it will take several good people to follow through with it if it's to be done. If I write the treatment, and still live, I'm hoping that it will sell it's self. That being said How much more do I need to do or be
worried about? Obviously, I must keep out plenty enough detail to keep
them wanting more. So, it all seems a tad confusing.

I can imagine you have answers. I look forward to hearing them.

Thank you for your time.

Take care

W. J.
Orlando, Fl

Well, W.J., 

By your letter, I can see you have no trouble writing. And you’ve sold a few scripts. Great! Even if they seem to be exploitative, you’ve done more than most who only think about writing. 

As for your life experiences in the adult entertainment arena, I’ll have to take a look behind the curtain one day, but right now I’m in Pakistan where the only thing behind a curtain is a family of nine freezing in the Kashmir mountains. 

Our life experiences are a wealth of information. Never shy away from who you were or who you are now. Only by confronting our real self are we able to find happiness in life. 

Our experiences can be valuable research already completed.

TREATMENTS:
Treatments are usually used for homework unless someone pays you to write one. If not, then write one only for yourself to help you put your ideas down in some logical well thought out form. But treatments are rarely ever read unless, as I said before, someone pays you to write one. 

PROTECT YOURSELF:
There is no use in dieing for your art. LIVE FOR YOUR ART. So, if you are afraid of naming names, change the names you name. And don’t give them the same occupation. For instance, if you had a producer who was a nasty person in real life, be inventive and make him an agent or lawyer or industrialist or writer or builder or politician, real estate agent, etc. who flirts with the industry. Change their name or gender so dramatically that there is no way a person can say for sure who that person is in real life. Be inventive and if you do a good job, the curiosity that will build up in your readers and film fans minds will grow just trying to figure out who those people really are or were, depending on if you kill some of them off, as is the case with many nasty characters. 

I write about people all of the time and most people never know exactly who I’m writing about in real life. But they always recognize the characters and can identify the qualities of these characters in people they know in real life. 

You can also use a pseudonym. 

PROTECT YOUR WORK:
If you want to protect yourself, the best thing to do before you tell anyone the details – WRITE IT in a SHORT STORY or NOVEL form even if you have never written one before. The reason for doing this is that you develop your story and characterize it on paper. As you do it, it is your way of getting it out without telling everyone about it. Putting it on paper (or PC), releases that desire to tell it to others. Put that great desire to tell others into your writing, knowing that your written work will be solid evidence of your story telling abilities. You will be making history in one form or another, whether you do it verbally or in writing. The difference is that the writing is a solid record of your own personal creative work, whereas, a verbal record evaporates, quickly. 

Sometimes, you need a confidant who you trust and who can help give you feedback. Talking a story out can be helpful in this instance, only. But keep it to one person who knows a lot about storytelling and someone who you can trust emphatically. 

Once you have written your story in any form (screenplay, novel, short story, poem, song), copyright it, immediately. It’s easy to do and costs very little to do it. Copyright gives you a recorded date in the library of congress and it lasts your entire lifetime. It’s the surest form of protecting yourself. I do not recommend submitting it to the Writer’s Guild. But if you feel you must submit it to the WGA; before you do, copyright it with the library of congress, first.  

Once you have a detailed short story, screenplay or novel completed, copyright it. This will protect you, legally. Nothing much else will do it. But remember, IDEAS ARE NOT COPYRIGHTABLE. So, each time you tell someone your idea, you are jeopardizing your project. 

NAMING CHARACTERS?

Carry a sketch book around with you. They are very helpful for many reasons I explain in my classes. A sketch book gives you freedom to write, draw, design, take notes or addresses or phone numbers or recipes. They also help when you hear a name that seems to fit your characters. WRITE THE NAME DOWN. And write a description of the person who holds the name. Describe them with your senses – sight, sound, smell and touch how they feel. Soon you will have a bunch of names. Unique ones like Shabana (a sexy young thing who had tats and flirted with her eyes), Ujji (wearing a smile from ear to ear and always meets you with the phrase, Well, look how’s here…”), and Moon (with skin as smooth as silk but slightly grey and cold), Amerist (with eyes that sparkle like her white teeth and a playful tone of voice almost like she’s flirting), Hira (with the softest hands and a smile that says I love you and a frown that says I’m disappointed in you and a walk that wants to be noticed), Asif (with eyes open inquisitively, immaculately dressed, and a soothing mellow voice that seems to understand me), Camel (tall and eats very little food and has a voice that either laughs or frowns with agitation and when he’s happy and confident speaks with out a hitch; but in moments of danger, when he’s questioning things, he stutters to the point of stopping), Action (intelligence personified with inquisitive eyes and a soft voice), Dart (athletic, actor, singer, writer dancer, explorer, and a ladies man who is afraid of women), Lori White (smells like flowers, gracefully beautiful, suntanned smooth skin and a bright smile that attracts a zoo of men following her, but her voice is friendly without being flirtatious) and I have many more names, which I have found useful, especially when you also write down where you got the name (like at a girls Sierra mountain camp when I was a young camp counselor) and it reminds you of the person, how they looked, what they wore, their occupation, what they liked to eat, sports they liked or hated, religious or not, nationality, race, gender, age and animal, mineral or vegetable etc. Names can be a goldmine of remembrance if you put down the details in the real people you meet when you hear their names. LEARN TO TAKE NOTES EVERYDAY. 

Good luck, I’m anxious to see your work. 

Roy      (TOP) 

Copyright 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the expressed written permission of the copyright owner.

-----Original Message-----

Sent: Monday, June 06, 2005 10:25 AM

To: Roy@nohoartsdistrict.com

Subject: looking for someone to help me write to the right person

To whom it may concern,

I have written to many different people looking for someone to give me a address or e-mail to share my idea on a t.v. show I have. I know how I would like to start and end the show, I even have a excellent idea for a sensitive and powerful song to start the show, and for the ending a even better idea...... I am writing to you in hopes you can get me in the right direction as to who I can write or call to make  a appointment to share my idea for my t.v. show. This is a show that can help Americans who have lost loved ones in the Iraq war, and help America to have hope, healing and acceptance. Thanking you for your time. I hope to hear from you in the near future. I am ready to put in the long hard hours to make this project a success.

                 Sharon Megil

                 Eatontown, N.J.

Dear Sharon,

I wish I had a simple answer. You may have a wonderful idea and may even have thought of a good and practical way of presenting it. However, if you have read my answers to other writers, it is not so simple to present your idea and at the same time protect it.

Ideas are not protected by copyright laws. This is why people say “ideas are a dime a dozen.” Presenting anything without protection may end up not be worth even a dime. It will be taken and used without your permission since ideas can not be copyrighted. Anything that is not copyrighted is considered to be in the public domain. In other words - a freebee.

Ways to get past the difficulties:

1. PRODUCE IT YOURSELF: Of course if you don't have the means or knowledge then, I don't recommend it.

2. GET AN AGENT: This can be a tough job. Most agents want you to have a track record.

3. GET A JOB with a production company, distribution company or studio and meet people, work your way into a position where you can present your ideas to them. Of course this takes time and you may feel it takes too much effort.

4. NETWORK: Go to clubs, parties, hangouts, wrap parties, coffee houses, and any other place where movers and shakers in the entertainment business socialize. Meet people and with a lot of luck you may get a meeting. Of course, if you tell them your idea, they don't have to pay you unless they have previously signed some agreement, like a non-disclosure agreement (NDA), which most may not be willing to sign.

5. GIVE YOUR IDEA AWAY to anyone who will talk with you. Eventually, if it is good, you will see it on TV. You may not get credit or paid; but you will have some war stories to tell your friends about your experiences in Hollywood.

These are probably not the answers you want. But they are the cold truth.

Like anything in the world, to reach the top of any large mountain you must either be born on top of it or you must take the long hard climb. You may not feel this is fair; but then, life doesn't always seem to be fair; but it is life and the sooner we learn how to live the sooner we begin to climb or find something else to pursue.

I am at this time working on a project in Pakistan, so I am unavailable for a meeting with you. But even when I return, I would not look at your work until I knew a lot more about you. To be frank, there are people who sue other people over things like property rights. So, it is not likely that anyone will be willing to listen to you without first having some kind of written contract that protects them. Plus, when you send your work to a person who does not know your previous work, then they may not be willing to spend their valuable time on you when they have a thousand others with credentials who are trying to meet them.

Let’s take for example, writing a simple letter or email. Your writing is a credential. And you have to learn to use spell check when you write to people in the biz. Before spell check was created I would probably forgive you a few errors, but at this time in history, we all must be smart and use spell check. Otherwise it appears to be sloppy work.

Remember, when you try out for Hollywood, you are not trying to enter a local theatre, Karaoke contest, high school, college, university or gorilla film making project. It’s like the Olympics. In Hollywood and New York you are trying to work at the top professional level and it’s important to prepare, carefully.

Teachers can help. This somewhat explains why, at the Academy and Emmy Awards, the winners thank so many people who have helped them. They know they would never have gotten where they are without help and they know they will need help again if they want to do more work in Hollywood.

When you are prepared, by all means be courageous, no matter what your age.

Good luck,

Roy      (TOP)

Please read all of my previous answers to other writers on this subject. They will explain the reasons in detail. And I don’t have time to explain them again.

Roy is available for seminars and featured lectures. Interested colleges, universities, arts institutes and private business entities may contact Roy by email at: roy@nohoartsdistrict.com

Copyright July 2, 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the written permission of the copyright owner.

Sent: Wednesday, February 09, 2005 5:07 PM
To: roy@nohoartsdistrict.com
Subject: RE: TV shows

Dear Roy,

I have such a great idea for a TV show and I know it will be a hit. Is there any place I can call or e-mail my original idea for production? I have always had this idea, but I do not know where to go from there.

Please let me know if you know. Thanks.

Sincerely,
Mariam Anna Barska


Dear Mariam,

There is always some place to go. The problem is how to get there, safely.

Hollywood eats up ideas. IDEAS ARE NOT PROTECTED IN COPYRIGHT LAWS.

Therefore, I would not tell anyone your idea lest you feel ok about it being used by someone else.

My first question is what kind of show is it for T.V.? Is it a situation comedy, soap, crime show, a movie, documentary, game show, hosted variety show like Oprah, news, celebrity feast, magazine type, reality and so on?

If it is not story oriented, then, it is difficult to protect it under copyright laws. So, you will have to be in an entrenched situation in Hollywood and use NDA, Non Disclosure Agreements, in order to protect you.

If it is a story oriented show, then do the following:

Write all of your ideas in detail. Turn them into short stories. Copyright them. Send them to a book or magazine publisher. If they get published, tell your publisher to represent you to the T.V. stations. If and when you get one published, write me and I will read it. I like good stories. Perhaps, I can help you further at that time.

If all of this seems to be too difficult, then forget it.

To be rich, famous and happy takes effort. The more you want the more effort it takes.

Good luck,
Roy         (TOP)

Copyright February 21, 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the permission of the copyright owner.

Roy
When a producer is interested in my work, how do I protect myself from being ripped off?
Stuart – Van Nuys, California

Roy      (TOP)

Roy,

This email's kind of a shot in the dark, in that I don't know if your Web entry Life Goes On  is current. I really enjoyed your story. It sounds as if we may be kindred spirits, except that you can write and I can't!

My daughter is thinking about Occidental College. She'll probably major in one of the life sciences. I'm encouraging her to minor in English. She has some writing ability and I'd like to see that explored.

Do you still have Writer's Labs? Would a college student fit in?

Thanks.

Ivan
Haddam, CT
(Five years living in San Francisco, and you're exactly right about
Yosemite Valley.)

Ivan,

Yes, I still have a writer’s Lab and a college student is welcome.

Communication, recording and storing information are the two things that separate us from common animals. Through this process, we pass down knowledge. Some good some bad.

The use of language as a form of communication and writing as a form of recording and storing that information is probably the most significant training we can have for achieving success in life. Even a simple letter telling about our travels, our thoughts, our dreams or feelings can be powerful moments in our life. I just received one from a friend of mine in Moscow. She is learning English and she is writing to me in friendship and for exercising her English. She wrote……..

“Your Karachi photos came out very funny. It's strange for me, that their woman think it’s proper to cover their faces, though many among them have beautiful appearance. But I can't dispute with their religion. European woman haven't conception about limitations and complexes, which Asian women experience. I'm glad I live in free country, where people haven't such prejudice!

Your description ‘warm night on the coast of Arabia Sea’ reminded me of my vacation on the Black Sea. Last summer it was very nice. Near the town of Anapa, I stayed in a place called Utreash. This is really paradise, please: big mountains, subtropical nature and civilization absent absolutely. We were there where Rostomans labor over forest and rock's in this out-of-the-way place on the coast of Sea. They live like the hippy. They refuse all welfare and convenience living in hut's and eat the food they find in the forest. Their children they give birth in water. It is like groups of people have in another country probably, but I not meet such strange and care free society. They live in all harmony with nature; but this life for us is not possible in regret. We are children city junglease.”

Then, before she closes, in one simple sentence she tells me how Moscow weather is…

“In Moscow tall winter… all are in show”.

Anna

I like to store every letter I receive in the mail. When I reread these letters and cards I am touched mentally reminded of my first feelings when I first read them and then I experience an even greater depth of feeling when I also know that the person who sent me the letter is now a successful artist or doctor or lawyer or politician or humanitarian. Each of my stored letters have a history. So much time and experience has transpired since they sent me the letter and I last read it. The letter may be from a friend who is now no longer on earth and I feel the powerful influence of life that is so fleeting and yet lingers as if it does not want to go away.

Ivan, at this time I am in Karachi. However, if your daughter wants to learn, ask her if she has any specific questions she would like to ask me. Then tell her to send them to AskRoy. Also, tell her to send me some of her writing and I will review it and give her some pointers. She could read AskRoy and Shoot From The Hip. They may help her in the writing process.

Roy          (TOP)

Roy,
I have great ideas but when I show people my work, they don't get what I'm trying to do. Is it them or is it me? I've read all the books. What's up? Everyone says it's interesting and my dialogue is good, but they still don't get it. Why? Am I ahead of my time?
Chris - Van Nuys, California

Chris,
Everyone wants positive feedback. It feels good for someone to tell you how great you are. Positive feedback means you are successful. When we don't get positive feedback we are confused and we begin to doubt ourselves, or worst, we doubt our critics. I know this is true, otherwise you would never have written me about this issue. So, let's move ahead to give you what you need by suggesting some helpful feedback.

Listen carefully to your critic. They are always right.

You can never convince them differently. So, when they say they don't like something, they don't like it.

A person convinced against their will is of the same mind still.

Think about it. If you don't like broccoli, no matter how healthy it is for you, you still don't like it. The same is true with art. Instead of trying to change their mind, ask them more specific questions about why they have such feelings. Never argue with them. Remember, they are always right. Just as you are right to your opinion.  

Your critic may be polite. They may not want to hurt your feelings and so, they begin to agree with you. This is exactly what you don't want. If you have to explain your work, it is a confirmation that your critic is probably correct and there is something wrong, somewhere. Instead of trying to explain how you wrote something great, shut-up and listen to them carefully and take notes. After you return home and have time to review your notes, you can begin to think about their comments and how you can improve your work and answer their questions. 

Ask these few important questions:
1.       Over all, did you like my work? Yea or nay?
2.       On a scale of 1 - 10 with anything above 5 being above average and anything above 8 being a classic, where would you place my work?
3.       Did it seem too long? Where?
4.       Did it seem too short? Why?
5.       Did it bore you at any place? Where?
6.       Did it slow down at any place? Where?
7.       Was there anything you didn't understand? What? (Do not ask why.)
8.       Was there anything that didn't make sense? What? Where?
9.       Did you like the ending?
10.   What did you like about it?
11.   What didn't you like about it?
12.   Did you like the beginning?
13.   What did you like about it?
14.   What didn't you like about it?
15.   If you had a choice, would you see it in a cinema, on CD or TV? (If a novel or short story, ask "How much would you pay to own a copy?)
16.   Would you buy the CD for your permanent collection?

Ask them in the above order. I have tested it thousands of times and it works. 

HINT: Most problems, no matter where they are in the manuscript, begin in the beginning and end in the ending. Therefore, it is important for your critic to give you feed back on the other questions first. In doing this, they will be reminding themselves of the details of the story. By the time you come to the questions on the beginning and ending, they will have a clearer understanding of what is missing or misleading in the two sections. Therefore, they will give you a more insightful answer to the questions. The answers to questions 15 & 16 will give you a practical answer to how important and commercially viable your work is. Remember, they are the ones who will buy your work or pass it by, so, they are always right. 

Let them talk. If they ask you a question, don't answer it. 

When they ask you questions, it is usually due to the fact that they fear they may hurt your feelings or they may not understand everything you tried to do. Ask them what they didn't understand and let them answer without any comment or explanation from you. You need their candid and honest feedback. So, don't try to explain it for them, by doing that you will be giving information that they did not grasp while reviewing your work. And this new information will taint their perceptions and corrupt their critique of your work. You need their unadulterated opinion of your work without any interference from you. You already know what you are trying to do. What you need to find out is HOW successful are you at doing it? The only way you will ever know is for you to allow your critic to freely express their opinion, confusions and feelings about your work. So, to ease their mind, tell them that you are more interested in their answers and that you would prefer not to talk. Tell them, "This is your opportunity to help me." Then ask them the same question again and they will most likely open up the floodgates and tell you what you need to know. Listen to them carefully and take notes. 

Never disagree with anything they say. Never try to explain what they missed or they didn't understand. They will tell you if they missed something. Do not argue with them at all. If they missed something, they missed it. If you put it into you work, in truth they still missed it. Just listen and take note of it. If you correct them, you insult them and they will stop being candid and stop giving you honest answers to your questions. Never put words into their mouths. Just listen carefully and take notes. If they ask you a question about your work, respond by reversing the question back to them. "What do you think I meant or what do you think I was trying to do or why do you think it meant that? Do not judge their comments or correct them no matter how wrong you think they are. Just takes notes.  

Never ask them for suggestions. They do not know what you are trying to do. They don't know why you wrote what you wrote and they do not know what you are trying to really say. Never tell them what you are trying to say. Leave that for your rewrite. In it you will work harder to communicate your ideas and they can get your answer when they see it in your work. If you tell them what you mean, they won't be able to help you in the future. They will know too much and their review will be compromised by what you told them. It's best not to tell them anything if you want real progress. After they have answered the questions, do not chit chat about your work. Just thank them profusely for their time and effort and valuable feedback. Then, leave as quickly as you can without being rude. If for any reason you must stay for a short time, avoid any further conversations about your work. The best way to do this is to redirect the question back to them and ask them what they are doing. 

Roy         (TOP)