2013 Goals (and a look back at 2012)

2012 was probably one of my most productive years in recent memories. There was some good movement forward on both sides of the career, both the writing and the producing and there is tons more to be proud of than to look down upon. So I guess it was win-win in the end.

At the end of 2011, Wave Goodbye was nothing but a dream. I had an idea with Adam Morris and Eric Goodwin to create a webseries of epic proportions on a small budget. We set out to raise a total of $10k on IndieGogo to produce a total of 40 episodes of content for the web. We only raise a little over half that (and about half the goal once they took their cut). With the wonderful cast and crew that you can find listed in my post “It Takes a Village”, we were able to produce twenty episodes. Sure it was half the intended goal, but we only raised half the money, and since we’re all starving artists, we couldn’t throw the rest of the money into the kitty to make the other twenty episodes happen. Plus the size of the production, along with the cast and crew working for pizza, we couldn’t ask for more than we got. In the end, I’m happy with the final product. Is there a couple episodes that could have been better, sure, but as the whole it is amazing, especially at the price tag. On top of it all, it was a feature film in length, so we all did an amazing job. I’ll get more to season 2 in a bit.

I also had a great time writing and rewriting some projects that have been gestating for too long.

IAMW has been something I’ve been working on and off on for over five years. It’s had countless rewrites and starts and stops over that time. My writer partners (Trevor Smith & Tai Logsdon) were able to finally find the right direction in which to take the project and I’m pretty happy with the final product. It needs a little bit of a polish, but the notes we received (solely from females readers) was encouraging that we might have a good writing sample and spec to finally take to market.

AOM (formerly TACOM) has been another project that has been in development just as long. D. Jordan Knight and I have been through hurdles with that script, and most of it is due to her relentless passion for the project. After we went down the wrong rabbit hole with a previous Producer, we finally put it in the right direction and it is a solid Family Comedy with some Rom Com aspects. While IAMW is a Hard-R comedy, this is family friendly and one of the best things to mix up my writing. In 2011 we ended up in the top 10 percent of Nicholl, we rewrote it based on some ideas, and then ended up in the top 15% in 2012. Sure it may not have been as high, but we both feel the project is a million times better. We even had another Producer fall in love with it, but they weren’t the right fit in the long run, plus it was out of their budget range. To hear him say “It’s in one of top 1% of scripts I’ve ever read” means more to us than you could ever imagine.

But enough about old projects, there was also time for a couple new ones on the horizon that were brought to fruition.

MCICTT was written during ScriptFrenzy. It’s been an idea that has peculated for many years and an awesome 4Q comedy that covers a mythic creature that has never been seen in this light before. DJK gave me some amazing notes and we’re eventually going to rewrite it, even if someone else did something similar this year, considering their take and product wasn’t as top notch as it could be. It’s an interesting premise that is hard to pull off, considering it is an adult story that is aimed at kids. 2013 will hopefully see a good rewrite on it to finally take it to market.

BWOML was my attempt at a John Hughes-esque coming of age teen comedy. There’s a bit of me in the story, but I hate saying that. The main character is so far removed from me, but his passion and his change is something I went through leaving a career to pursue a passion. The script was completed in the first week of 2013, but I’ll still count it as an accomplishment of the previous year. I’ve submitted it to my writing group and am currently awaiting notes to rewrite it… just hopefully I didn’t make it too dramatic.

I also produced a music video with the amazing Michael and Marisa and hope to see it posted online soon, once they’re done shopping it to record companies and other entities. It was a tough one day shoot that could have used one more, but in the end, you take what budget and limitations you have and try to make the best product possible. I’m happy and proud to have this as another accomplishment in 2012, considering I also was one of the main editors on the project so it added another new skill to me repertoire.

So I guess I should finally get to 2013 and my goals, since that is really what this post was supposed to be about. I figure putting my goals out here in the open will help make me more accountable, not to any of you, but having them in writing will show me how much I was able to accomplish in the end.

So as many of you know, my weight has been something I’ve struggled with since I was a young nine year old lad. I love food. I hate exercising, but I’ve made some huge strides. People that haven’t seen me for a while already see the changes that have already taken shape, but I still have a long way to go. I started out when I finally tipped the scales at 266. Yes, you read that right, 266. On a 5’7″ frame and in the town where image is everything, it was time to make a change. I lost fifty pounds from my high, but put a couple back on during the holidays.As of this writing, I’m still forty pounds down and back on the right track. It’s all about making little changes. Moving more and eating less. Making the better choices, but I’m still allowed to partake in vices every now and then.

Not like it’s a really big thing, but I’m also trying my best to become a single-spaced typer. In my day of learning how to touch-type I learned on typewriters which were monospaced, so you learned to hit the space bar twice at the end of each sentence. With the advent of computers and non-monospaced fonts, it is now an older art form, but I’m really trying. Plus that extra space can make the difference in the end when page count really matters in a script. Nine days in and I think I’m making progress, but you might catch a couple double spaced sentences here and there.

On the writing front my biggest goal of all isn’t the amount of projects or completed (but I will list those in a bit), but to become the writer who sits and writes EVERY DAY. Yeah, life gets in the way. From the social, to the paycheck, to everything else in between. Nine days in and I’ve hit at least an hour every day. Those who are accomplished writers make sure they’re writing and growing their craft every day, so why not be like the pros.

On the project side this is what I want to accomplish:

I want to rewrite the two projects I finished in 2012 and get them ready for the marketplace. I’ve grown enough and see in feedback that I’m ready to take that leap. Will their be passes and people that don’t like it, sure. With how much I read and have done in the past in a producing capacity, less than five percent of the scripts rise to the top. Once I’ve got the three writing samples, it’ll be time to look for representation or try to set them up through my own contacts I’ve made on my own.

New stuff includes the follow-up to Wave Goodbye. No longer are we aiming to make it a second season of a webseries, but as a feature. We’ve got an eye on some investment capital, and I hope to have a first draft before the end of the month. I’ll be writing this with Trevor Smith, and producing along with the director of the webseries. The outline is solid and the draft is coming along smoothly at this juncture. I also want to finally develop a dramatic TV series with Jamie Livingston-Dierks and maybe another comedy project on my own or with Trevor. There may be other stuff as the muse hits me, but those three new projects, along with the rewrites, are my main focus for the year.

So will I be able to do it? I know I can. I just have to put my head in the game and make sure I’m working every day towards these goals and accomplishments. If you’ve read this far, I can’t believe it, but thanks for being part of my ride as I try to get to the next step in crazy Hollywood.

Here’s hoping your 2013 is productive and you’re able to make strides in your goals and accomplishments.

Riding the Self-Doubt Roller Coaster

Whoever said roller coasters are fun must be full of shit. Okay, they are. But I’m talking in the metaphorical sense here, not the ones that are full of screams, adrenaline and an overpriced picture of said enjoyment as you exit the ride. Instead I’m referring to that fickle beast we call Hollywood.

For those who know me personally, they know what a ride I’ve been on for the past 18 months. There’s been highs, lows and a lot of middle ground. I really can’t go into specifics here based on an NDA that I have, but every day I find a couple new grey hairs mixed in with my beard. The stress is turning my wonderful brown beard into a mix of brown and grey… which really don’t go well together. I don’t have that wonderful salt and pepper look, plus I’m too damn young to be going through this at my age. Or so I think. And don’t even get me started on the ever-receeding hairline. I think it moves back an inch or two every single week. It has to be the stress, right?

I’ve always looked at my time here and have never really second-guessed my decision to move to LA, giving up a home I actually owned and a career that I was good at. I’d be rolling in a six-figure income, probably married with a little Sanford or two in tow. That would have been the ideal Central California life, but it isn’t what I wanted. I’d probably be miserable, maybe even divorced and sending a good chunk of my income to pay for alimony and no longer living in the house I purchased at the young age of 21. Instead I’m living the dream. Or at least trying to.

Yesterday that high I’ve been living on for so long came crashing down around me. I don’t really know why or what could have caused it, but it hit me like a ton of bricks. This isn’t the first time that the self-doubt has hit me, but it is the first time I’ve ever been hit so hard by it. I had to drive around in my car for almost an hour to clear my head, to shake loose those thoughts that crept in and wouldn’t let go. Did I shake it all? No, but it isn’t as strong today as it was yesterday.

I just feel at a place of stasis in my personal life and career. There are things I can personally do to move things forward, but I’m at such a place emotionally that I keep second-guessing myself and spiraling deeper down into this state of despair. On the other side of my life (yes, I know I’m being vague) there is really nothing I can do but wait. The waiting is what is killing me. It is what is tearing down the other side of my life and making the emotional so strong.

As someone recently put in an email, “I’m loyal to a fault.” Reading that was like getting punched in the gut. I too am too loyal at times. Sometimes I question if I should jump ship, but I’m in so deep that I’m not sure I could properly plant my feet to make the jump. Okay, I’m going too cliche heavy in this post and I should really put a stop to it. I know I could really make the jump if I wanted to, but I have a lot of faith in the decisions I’ve made.

I’ve been offered some other options over the past 18 months and have turned them all down because of faith. No, I’m not talking the religious kind. Instead, I’m talking about the kind for the situation I’m in and the possible outcome that could happen. I’m not trying to manifest some of the Secret into my life, but I have an idea and a vision of where I’d like to be and what I’d like to become. This has come to me over years of personal reflection and lots of boring hours being stuck in an LA commute.

Only time will tell if I’ve made the proper choices in my life. Was it all worth it? Who the fuck knows. All I can say is I’ve grown as a person for the choices I’ve made and if everything comes crashing down, it is no ones fault but my own. Maybe I should stop checking my horoscope, as even it has a better outlook on my situation I’m currently in. If only it could point me in the direction of this so called “significant other” it keeps referring to, maybe I wouldn’t think it is all bullshit.

Hopefully soon I can be less vague in my postings and fill you all in on what decisions I’ve come to. For those who have received my personal rants and discussed the ups and downs with me, I thank you with all my heart. You guys are awesome and I owe you more than you could ever imagine. For those who are concerned and want to know more in the less vague sense, send me an email and I’ll fill you in, if I can.

No matter what, for those who are wanting to pursue your dreams, keep at them. Don’t listen to my emo-filled blog post. There will be ups and downs. I’ve just decided to emotionally release some of my thoughts through vague and cryptic words. To tell you the truth, even though this is pretty much word vomit, I already feel a little better about it.

Keep living the dream…

Until next time…

Journey Into The World Wide Web

For those who have known me a while know I’ve gone down the web portal several times with a couple different projects. My first foray into the webseries realm was with a little series called Porntourage (NSFW). It doesn’t take much to guess what it was about as the title gives it all away. The series followed an up-and-coming actor, but not in Hollywood, but instead on the other side of the hill. I helped a couple people with on set production and even acted in the pilot episode as a one-off. The episodes were long, right under ten minutes, in a medium that seemed to favor those that were under the four minute mark.

It was a complete learning experience. Since the series had a niche market, we really hammered on the blogs and websites that catered to adult entertainment. Several months later (with too long between each episode) and three episodes in the can, there was a chance to take the series to the next level. There was a website offering the makers of the series some decent bucks to move forward, but it didn’t match with the future of those creators. So sadly the series died a slow death. We were notified of several industry fans, made the front page of AVN (Adult Video News for those who don’t know) and were able to take away a lot of knowledge to throw ourselves into the next project. Hopefully one my parents wouldn’t be ashamed to admit their son had any part of.

So around the time the WGA Writers Strike rolled around I helped with the series Mr. Hollywood. This series was simple to produce as we had only one location and it followed the vlog style that many YouTubers were becoming accustomed to. From his fictitious Mr. Hollywood Productions, Mr. H would rant or dole out advice on a wide range of subjects. At times it was rude, crude and downright offensive. But it was fun. We’d shoot 4 to 5 episodes in an afternoon, leaving me to cut the five plus minute cuts to shorter segments under four minutes.

As a Preditor (Producer/Editor) I was able to suggest rewrites, cuts, changes, etc. I helped create the flow and the pacing of each show along with James Waugh. Once we launched we were featured on the front page of Funny or Die and had modest success across other viewing platforms, but they were always our biggest fans. I can’t remember how many episodes we shot, but there are a couple that remained unreleased as the passion for the project seemed to die out of nowhere.

The best episode to put together was our Oscar Episode. Since I was the one who had seen most of the films at the time I was tasked with writing most of the episode. Since there can always be an upset at the Oscars, we shot a line for each and every nominee in all of the main categories. It was long, tedious, but a fun task. I placed a timeline together of the episode and as each winner was announced I cut out all the loser lines, never to be seen by anyone. It was a bummer as some of the could-be award winners had the better lines. Our last episode we dubbed the Bizzaro Oscars Episode and put together a list of alternate winners.

From there James was brought on to create some web content for a pilot that HBO had picked up created by Daniel Knauf. The series Honey Vicarro never made it to air, but the webseries with the obsession of actors was a fun and quick shoot and can still be seen on YouTube. Mara Marini was awesome and pulled off the whole series with out much support from any other actors. As this was around the time LonelyGirl15 was in the news for being fake, our series was quickly dismissed as being another fake webcam vlog and viewership plummeted. But it was another fun project while it lasted.

And that was all I did for the web for a while. I learned a lot and came away wary of the outlet as a way of furthering one’s career. Hell, there really isn’t money to be made in it, so if you’re going to put all this time and effort into it, why not at least get something out of it. I never jumped back in because each idea and concept was nothing new. It wasn’t anything that people would say “holy shit, look at what they’re doing!” The web has become a place where you throw several projects against the wall and hope something sticks. That isn’t a good business model at all. So I was waiting until something found me.

Later in 2011 Eric Goodwin came to Adam Morris and I with an idea for a webseries chronicling a group of individuals as they prepared for the end of the world. We fleshed out the characters and the storylines and it became something we decided to tackle. But this wouldn’t be just another webseries. This would be an ambitious effort for any and all that signed on. We set out a number of episodes to make and release within a year that showed a passion and dedicated bunch. The arbitrary number we came up with was forty broken up into two seasons. Even at four minutes an episode that would be almost THREE HOURS worth of content released within a year. Almost two feature films worth. And the other thing, we would do it for as little money as possible. We raised a little over $5k on IndieGoGo (which came out a little under that number once fees were taken) and we jumped in feet first.

We made sure we knew who are characters were and what they want out of life. We tackled the series like a regular TV series, outlining the first twenty episode season so we know where we want to end up with this cast of characters. Tonally it kind of hits all over the place, but following great shows like Curb and Eastbound they never sit within the same tone from episode to episode. Plus, with each set of our characters being unique, it allows us to play with tone and style. Eric has been great transferring that to screen, giving the three different story arcs a different look and feel.

The only problem we have is how to actually market this and who to target. Porntourage and Mr. Hollywood were easy. They had a clear cut audience and places that we could drop fliers and stickers. Wave Goodbye is a whole different model. This is more like TV and has a broad audience appeal. Those who love journeys like Lost are the ideal audience. There’s some mystery involved, but ultimately it is the characters hopefully you’ll care about.

The numbers are a little lower than I hoped for the premiere episode, but it has only been out 36 hours with only pushing it on Facebook, Twitter and Google+ (does anybody even use it anymore?). As each episode is released, hopefully our numbers grow, as with weak and anemic numbers it will be tough to pull through all forty. At least at this moment we have ten in the can, eleven written and the first twenty outlined. We’re currently ahead of our production schedule, but I want to keep the passion high. Not necessarily for me, but for the actors (as they should all hopefully land some great roles after this showcase) and for our director Eric. They’ve all given so much time and energy towards this and I want to see their careers flourish off of this project.

So hopefully you’ll take the journey with Autumn, Sargent Mitch Preston, Leonard and our fourth character who makes a quick cameo at the end of episode two. I can’t give away his name yet, but eventually you’ll learn more about him.

In the end, what is this long-winded post about. If you want to make it in this crazy business, sometimes you just have to do things yourself. You may not get the results off the first project, but hopefully you’ll take something away from it and be able to grow into your next project. Find what you are passionate about as it will help make the project a million times better. And while money isn’t the greatest on the web at the moment, don’t do it for the cash, do it to make a name for yourself and those who are in your project. Once you create a project of quality that garners some heat, Hollywood may just come knocking on your door, even if you live in the sticks…

Also, if you have a webseries or short online, feel free to post it in the comments section. This is all about promoting projects so it doesn’t just become something you threw against the wall, hoping it would stick.

An unofficial #scriptchat Exquisite Corpse – Straight From the Fridge

Back in April I posted to this very website asking people if they’d be interested in partaking in the first ever unofficial #scriptchat exquisite corpse. Many people reached out, each taking a crack at 5 pages in a script before passing it off to the next participant. Some people fell off along the way. Some seven day deadlines were extended for multiple reasons. And a couple alternates were brought in as backup since we ran out of writers at the end.

I want to thank everyone who had a hand in this. The corpse is being delivered to you all as-is (minus one writer who didn’t know how to properly format a script – that part I cleaned up a bit). This hasn’t been rewritten, redeveloped. The first writer was given a title and delivered the first five pages. From there, each writer added on, hopefully building off of what was previously given to them.

I haven’t read the conclusion of Straight from the Fridgeyet. I only know where the story was when I submitted my last five pages. I know where I wanted it to go, but like most, I’m sure it went elsewhere.

So here she is:

upload files free

Enjoy it for what it is. I’m thinking about doing a Corpse short in early 2012 and then doing a feature length around the second half of the year. It’s a great tool to practice delivering pages on a deadline… even if you don’t like what you’re writing. The main thing is to get the words on the page.

In the end, I’d love to hear any comments you may have about it. Where did it go off the rails? What is the meaning of it all? What storylines were dropped that you wanted to see explored further.

Tips for a successful PitchFest

Well it’s that time of year again, the Great American Pitchfest has arrived at the Burbank Marriott for two days of classes and unlimited pitches (not to mention Screenwriter Karaoke).  Every year hundreds of hopeful screenwriters descend upon Burbank from all corners of the World in hopes of shaking hands with Executives, Agents and Managers. Why do they do it? It is one of the few chances where Hollywood opens the door and allows the writer a chance to take their career to the next step.

But you may say why not do things the old fashioned way? You could send unsolicited queries or cold call after cold call?  Sure, some writers have had luck with those methods, but either you’ll just be a voice on the phone or an email clogging up an executive’s inbox.  This is the chance to meet face-to-face. To build those connections that can last beyond this weekend, and no longer will you be that faceless person on the other end of the line.

So how can you have a successful Pitchfest?  Well I’m here to give you a couple tips for this weekend.

  1. The GAPF gives all attendees a book of every company that will be in attendance on Sunday. This is the Holy Grail and lists the Executive who will be on the other side of the table, what they’ve produced in the past and what they are currently looking for. Once you’ve picked up this book.  Study it and make notes.  Start your game plan of the top 10 companies that you MUST visit on Sunday, ranking them in order that best fits your projects that you have on hand.
  2. I just want to be honest up front, Pitchfest isn’t about the Holy Grail of selling your script.  No company is going to buy the script outright from you based on the pitch.  If they like your pitch, some will request (sometime after the event) to be sent a copy of the script (after you’ve signed their release form).  If the Exec likes the material, there’s a chance of landing an option, where the company will help you develop the project over the next 6 to 24 months.  Trust me, there’s no such thing as the perfect script and that is why development exists in this town.  On an option you can’t expect a lot of money, and many options for new writers will be free or a $1 good faith option.  Some may go higher, depending on the potential they see.  Then again, we don’t know if you can take notes, so why drop the big bucks up front.
  3. But instead of just hitting up the Production companies, why not hit up the Managers and Agencies that will be on hand for the event?  If I was on the other side of the table, this would be my number one priority.  Why?  Well if I have someone that represents me, it adds another person that is trying to sell me, my scripts and launch my career as a writer.  Plus if you’re not from LA, at least you’ll have someone in LA that can be your face person while you write scripts from another area of the country (or world).
  4. You may want to put the bigger ProdCos at the top of your list, but honestly is this the best idea?  When you’re pitching these companies, they are pitched all the time by the A-list writers that are constantly working in Hollywood.  This is like you playing little league and battling the World Series champs.  Why not help your odds and look after the Indie Prodcos that are at the event.  No, I’m not saying that to help my chances of finding the great project out there and take it away from the Majors, but the Indie Prodcos sometimes have to look at different sources to find their next project and discover new voices.  Plus if you have a bigger budget film, most smaller Indie ProdCos can partner with a studio or a bigger ProdCo to finance and produce your big budget film.
  5. You must network during this event, even if you’re afraid to talk to people. Writers are creative people and not always the most out-going, but this is a town that operates on meeting and knowing as many people possible.  This doesn’t mean just networking with other Execs if they’re around, but also other writers and attendees of the Pitchfest.  This town is really all about who you know.
  6. Check out the classes (most are free) that are being offered on Saturday.  I’m going to do a quick recommendation that everyone should attend the Social Media class at 9 a.m. and then the Exec Panel at 3:30.  Sure I’m on both of these, but wouldn’t it be great to learn how writers have used such tools as Twitter to approach Execs about their own projects, used FB to fund their latest project and how writers are coming together in weekly chats.  The Exec Panel will give candid advice on what some companies will be looking for and give other general advice to having a successful PitchFest.  Besides those amazing classes (once again, not just because I’m on the panels), there are tons of other great classes in TV, video games, pitching and career.  There are also several advanced workshops that can be attended for an additional fee.
  7. If you’re not sure that your pitch is up to par, several pitch gurus will be on site Saturday to help take your pitch to the next level.  Of course there is an additional fee for this, but I would recommend Danny Manus of No Bull-Script Consulting.  Also Xandy from covermyscript.com will be on site offering help with your pitch and one-sheets (for an additional fee).

You may be saying to yourself, “Zac, this is some great advice so far, but what about during the actual Pitch process?”  Well thanks for the kind words, but here is some quick advice for the actual day of pitching and your pitch session in general:

  • The Execs realize that you’re probably nervous. Honestly, don’t worry about it. Think of your pitch like a job interview or a speech that you gave to a class back in school. You’re there to sell yourself and your story, plus aren’t the Execs there looking for material. We need you writers to find our next projects!
  • Practice and hone the 90-second pitch.  Sure you have 5 minutes, but a great pitch can be condensed down into 90 seconds and still get the story out there.  When someone pitches me, I like building a little rapport first during the first 30 to 60 seconds.  After that, you’re off to the races with your pitch.  If we spent 60 seconds building rapport and then another 90 seconds on your pitch, you’re still left with two and a half minutes.  Why is this crucial?  Well every pitch I’m going to have a question to ask you (if you don’t use your whole 5 minutes), so you better know your story inside and out. Also if that pitch isn’t right for the company, it allows you to pitch another story or race back and beat all the other writers back into the queue for your next pitch.
  • Make sure you have plenty of one-sheets for your pitch.  If you don’t know what a one-sheet is, once again, Xandy will be offering services on Saturday, or you can Google examples.  And no, a one-sheet isn’t a theatrical poster, but closer to what a query letter would be.  If you do have multiple pitches, you can do double-sided printing with all your other loglines on the back.  From everyone that pitches me, I request one-sheets from about 2/3s of the writers.  Why?  Sometimes you’re nervous and you missed something. Or as I stated above when talking about networking, sometimes writers are better at writing than actually talking.  I’ve requested a couple projects in the past that had mediocre pitches but blew me away with their one-sheet.
  • I know I said once before, but make a game plan and strategize who you are going to pitch.  Company A may have a line about 5 people deep which means you can’t pitch them for 25 minutes.  Wouldn’t it be better to have backups that you could jump into that line and not waste any sessions?  This is all a numbers game.  If your script has a 25% request rate and you hit 10 people, you’ll be read by 2.5 companies.  If you’re able to pitch 20 companies in the same amount of time with the same take rate, you just doubled your requests by planning ahead.
  • Please, please, please… don’t do anything that will distract the Exec away from your pitch.   In the past people have shown up with props, worn costumes, not brushed their teeth or picked up a pack of gum after lunch, missed their morning shower, showed too much cleavage, had their toupee falling on crooked, mentioned that this comedy was based on their life, or tell me you have a single daughter.  These things have all happened and distracted me from the pitch.
  • The best thing you can do… thank the Exec for their time in the beginning or in the end. We’re there on our Sunday and might have a stack of scripts to read once the event ends. It’s the small things that can make the difference.
  • If the person passes on your pitch or doesn’t request a one-sheet, don’t take it personally.  Not every pitch (even if it seems like something that the info sheet stated) is not going to be for everybody.  A lot of Execs will request your one-sheet but not make a decision until after the event.  Just think, if an Exec hears ten pitches an hour for seven hours, that’s seventy pitches.  I really can’t make up my mind what I want to read until I’ve heard everything and let it all sink in.

Most of all, have fun at the event and meet as many people as you can.  There are a couple writers that I still keep in touch with dating back to my Pitchfest in 2007, allowing them a constant open door to submit in the future. Making it in Hollywood rarely happens as an overnight success story, but building and nurturing long lasting relationships. Sure the guy you’re pitching to may be an assistant, but the assistants of today may be the ones running the studios in the future.

If you have any further questions and liked to pick my brain some more, you can follow me on Twitter or shoot me an email to zac at zacsanford dot com.  I must also state, since we have a no unsolicited query policy, if you do not pitch me at the event, I cannot except any pitches in email or on my twitter outside of Pitchfest.

Hope your Pitchfest is a success and to meet you when you pitch Suntaur Entertainment.