In Hollywood, it has been said that the odds of getting a screenplay produced are about one in a million; probably much more if you don't already live there. Andrea Leigh Wolf is someone with the talent to buck those odds. She talks to us about her new book and other developments. 

In only a few weeks (September 15, 16, and 17, 2000), you'll be Opening Night Speaker at "Hollywood Comes to Chicago 2000." How much fun are conventions and writer's conferences? What are people missing by not attending? 

I think they are invaluable to the writer who wants to network. From the day I began writing, I've attended as many as I could. And later, when I began speaking at those conferences, they were equally as enjoyable and eye-opening. This is because as I speak to new and not so new writers, I continue to learn what new writers need to know. This is the reason that I wrote SELL YOUR SCREENPLAY - YOUR GUIDE TO THE INDEPENDENT FILM & TELEVISION PRODUCER. In the book, I explain in detail the importance of such conferences. One of the best ways to meet and get to know other screenwriters and authors. To know you're not alone. 

You are already getting some great buzz about your new book which is on back order at Amazon.com and hasn't even been released yet! How does the Independent film producer differ from an established Hollywood heavyweight?

They are light years apart. The Independent film producer still has the excitement -- the vision, the art. They are not plagued by big studio politics. They can hire a new, unknown writer, or buy a script from a non- WGA member. Big studio producers don't have that luxury. The big studio executives don't have the freedom that the independent film producer has. 

You are proof that you don't have to be part of the Hollywood insider's club to get a spec script sold, having sold one feature spec, NOWHERE TO HIDE (currently in development with Dorolena Films), optioned four other spec scripts, hired by Blix Entertainment to write the script for their project, JUST ENUFF (the life story of NBA star, Chris Jackson), and you're currently working with an independent producer on your 34th screenplay. How afraid do you think the old establishment is of the new breed of talent? 

Oh, I don't think they fear them at all, but rather they are watching...waiting. In the past few years, the films coming out of the independent market are causing Hollywood to open their own smaller independent companies in search of new talent. A back door? If you know where to look. 

What is a typical year for you? How many activities do you pack into one year as a successful writer? 

I write all the time...12-15 hours a day. I contract to speak at writer's conferences, and expect to be busy with the upcoming release of my book. Since I work as my own agent, I must wear many hats. I am always ready to pitch my latest project and I keep my networking alive. I am currently polishing my first fiction novel, based on a true crime that my family and I survived several years ago. And, I'm working on another screenplay - I think it's my best work, "FACTIONS" (an action/adventure for a female lead with a new twist). 

How do you format and structure your screenplays? About how many scenes per screenplay do you use? 

Hmm, that's a hard one. I prefer to use the 3-Act structure. I write by feel. By that I mean, as I write my script, I see it, feel it, and I just give my reader a ride. By doing this, I find my writing moves smoothly. The number of scenes in each script I write varies. I should say that I don't believe in mechanicalizing (is this a word?) my writing by worrying about story points, etc. By watching my 3-Act structure, I find this works very well for my writing style. 

What is the single most important thing that new screenwriters are doing wrong today? 

Another good question. I am averaging 4-5 new screenwriter questions every day from my web site. They are sending out scripts that aren't ready. They write a first or second draft and then send it out. Those scripts can't be ready. Screenwriting is rewriting. New writers are in too much of a hurry. New writers don't spend enough time learning the 'business' of screenwriting. They send unsolicited material (I get several a month to my email address). 

What are they doing right? 

New writers are realizing the importance of writers conferences in the scheme of things. These conferences are networking Heavens. A great place to pitch their latest script. 

What type of script, treatment, or logline, is most likely to catch the attention of the Independent Producer? 

Something fresh and new. Not the same old thing. A well written script. The treatment should be short, tight and knock the independent off his feet. The logline should be so full of your story that they ask for the treatment. Once they are hooked by the treatment, they will ask for the script. Your first line of defense is that logline. One or two lines that tells your story in a nutshell. 

Do you think that the trend is moving away from the WGA or towards it? 

Okay, I'll answer this, but it is strictly my opinion. I recently was told that 3/4 of the members of WGA writers are unemployed. I believe that the reason for this is once you are a member of the WGA, it limits who you can write for. They can no longer work for the independent film producer who is not WGA signatory. I myself, prefer to remain on my own. The reason being, that I love working with the independent film producer. I want the freedom of working for whomever I want. Of course, this is up to the individual writer...maybe the fact that they can only write for a signatory producer is what they have worked for. But I write for the love of writing, and putting myself in a position that could hinder my chance to write, just isn't want I want for my career. 

What traps or situations exist out there that you know of that you would warn other writers to stay away from or avoid? 

Know who they are dealing with. Not to be so afraid of sending out their work. Some new writers who've posted on some of the message boards sound ridiculous sometimes. They say things like, "I heard from a producer today and he wants to read my script, but I've never heard of him." Trust me, the top producers and directors aren't likely to call up a new, unproven writer and say, "hey, send me your script." They have to understand, most of the independent producers out there are looking for THEIR FIRST PROJECT. No one will have heard of them yet, right? The new writer has to face reality. All the sharks that swim in the ocean don't bite. I've only ran into a couple of rogue independent producers (or so they called themselves) and if they read this, they will know who I'm talking about, and yes, I fell for their line hook, line and sinker...all it cost me was a copy of my script. They'd promised me $50,000.00 for my spec script, "I won't pay more for a first script." Said they'd cut me a check the first thing Monday morning. HELLO! I admit, I was green...it was my first time out of the chute. But I learned fast. I began reading everything I could get my hands on about the film industry. I began attending writers conferences. I became a professional writer. 

If, within the next 20 years, the technology improves to the point where movies can be instantly downloaded over the Internet like we do MP3's today, how will this shake up Hollywood?  Do you think anyone in Hollywood is paying attention to rate and speed that technology is moving? As it is now, a person with a fairly average computer setup and Adobe Premiere can whip up some great looking footage, and in terms of animation, we are now starting to see independents popping up everywhere with shorts, cgi cartoons, etc. How will this movement grow? 

I really can't speak to this. I know of the technology, but I believe that there will always be a market for the Hollywood Films...the blockbusters...the talent that is the Hollywood Studio. Don't get me wrong, someday I hope to be lucky enough to have earned my way to have a Hollywood Studio want to by one of my scripts. The key word there is "EARN" my way. And the way to do this is by finding a way to sell my scripts and hopefully see them made. I think the computer technology is a completely different medium, not to be confused with the thrill of seeing your script come alive in a theater. I think there is room for it all. And all of these different venues only opens more doors for the new writer. 

When you sell a spec script do you get to sit in with the stars or do they usually hire another writer to cut up your script to make a shooting script and leave you on the sidelines? What happens after the sale? 

When you sell a spec script, once your deal is cut, you're paid and then you're out of the loop. Wham, bam, thank you ma'am. No, you do not sit in the with stars. And EVERY spec script that is bought is then rewritten, at least once, most many times by a studio writer. When I sold NOWHERE TO HIDE, at first, I spoke to my producer several times as he kept me informed on who was reading the script, etc., but as time went on, the calls became less frequent. You move on and hope that your film eventually gets made. It's been five years since I sold NOWHERE TO HIDE and I'm still told it's going to happen. The best thing a writer can do when they sell a spec script is to move on to their next project and stop worrying about the production of their last sale. I've also acted in several films and I was shocked to find that NO ONE on the set knew who the writer was, and he wasn't on location. I think this best answers your question. 

Anything else that you would like to add? 

Only that a new writer should never give up. They should know that there are more disappointments than successes, but oh those successes. If you want to write  to make a lot of money -- don't. It will show in your writing if you aren't writing for the sheer passion of the art. Oh, don't get me wrong. I hope to make a lot of money with my writing, but that isn't the reason that I write. I love writing down to my very soul. I've never wanted to do anything else. A new writer must be tenacious and relentless. If they aren't...they can't succeed. 

Send Andrea e-mail at: awolf@pacbell.net. 

Ken D. Webber is a professional illustrator and screenwriter whose scripts can be found at his web site: http://www.scriptedminds.com. If you have press for his newsletter, you may contact him through scriptedminds.