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Screaming at the Screen | Scandal S7 E18: Over a Cliff

Okay.  Anybody who knows me knows that I am a die-hard, ride or die gladiator.  I’ve been watching Scandal since day one.  The minute the characters stepped onto the screen I was hooked.  Despite all the law breaking and scandal making, I fell in love with the characters.  Shonda Rhimes, my writing idol, created a show that solidified itself as my favorite television show of all time.  So, the series finale was hard for me.  I’m so sad to see the show end.  What will I do with my self, my Thursday nights?  How will I live?  Next Thursday, you’re liable to find me in my apartment in the dark sitting in the middle of the floor drinking wine and rocking.

Tears . . .

Alright.  Let’s get on with it.

Olivia arrives at some dark abandoned warehouse where she meets with prosecutor Lonnie Mencken only to find out if he’s not going investigate Cyrus’ airplane hijacking and B613, but promises to get her a Senate hearing instead, if in exchange, she can guarantee that Mellie will make gun control a priority. She tells him she can do it if Cyrus and Jake go to jail and B613 is dismantled. He pulls out a gun. LONNIE YOU AIN’T CRAZY! YOU BETTER WATCH YOURSELF. Olivia thinks he’s about to shoot her, but he tells her this is how she’s going to get her Senate hearing. In an earlier episode, we found out that Lonnie’s son was killed due to gun violence. Killing himself is the only way he can get the president to do anything about gun control. Lonnie bites the bullet right in front of Olivia.

Sally Langston informs her Lovers of Liberty that the Senate hearing is up and running. Cyrus storms into Jake’s office and orders him to kill all of the members of the committee. Jake says they don’t have anything to worry about now that Lonnie is dead. Cyrus reminds Jake that David is the head of the Justice Department and that means they’re screwed. Back at QPA, David explains to the gladiators that Cyrus and Jake will be investigated and jailed for their crimes committed under B613. Huck realizes that they will go down too because of their own B613 crimes. YEP. Y’ALL DID THE CRIME, SO YOU GON’ HAVE TO DO THE TIME.

Olivia meets with Daddy Pope in the park. She confesses that she was the one who exposed B613. She wants his help to save the country, but Daddy Pope is like, hell no, I’m retiring. He gives her an envelope with the deed to his house and account numbers for off shore bank accounts and trust funds he set up for Olivia and her future child. SEE, DADDY HAS ALWAYS LOVED HIS BABY GIRL. HE MADE SURE SHE WILL BE TAKEN CARE OF. Olivia can’t understand why Daddy Pope isn’t supportive of her wanting to save the country. After all, didn’t he raise her to be a good person? Daddy Pope let’s her know there’s a difference between him raising her to be a good person and her doing massa’s dirty work with a smile on her face. Olivia can’t see the difference between what she’s doing and what Daddy Pope has done for the same white people to protect their republic. He tells her it was HIS republic he was protecting because he was in charge and he made the rules. Olivia thinks coming out of the shadows and standing in the light by protecting the people is going to make the country better. Daddy Pope is like, girl, you don’t know these white people like I do.

Marcus shows up at the White House to talk to Mellie. He finds her drinking her hooch and staring at her presidential painting, which was supposed to be unveiled at the National Portrait Gallery, but was postponed on account of the B613 hearings. She grapples with the fact that nobody will recognize her as a great president, but as an impeached president. Marcus tries to tell her different, but she silences him by getting down to the reason she invited him there. She’s going down, so there’s no time to waste anymore. She grabs Marcus and kisses him.

Back at QPA, the gladiators sit around the conference table fidgeting and worrying about their testimonies. Quinn is freaking out about baby Robin growing up without her parents. Olivia tries to console her, but Quinn tells her to shut up. GIRL, WHO YOU THINK YOU TALKIN TOO? Olivia gives her a pass because she knows Quinn’s worries are valid. Abby is worried that David will move on eventually after growing tired of having a prison bae. Huck isn’t worried about prison. After all, he’s been in the hole. He eats prison for breakfast. He’s worried about speaking in front of the fifteen members of the Senate committee. Poor Huck, always so painfully shy.

The B613 hearing begins. All the gangs there, the gladiators, Fitz, Mellie, even crazy ass Hollis Doyle and creepy ass Tom. You know, Tom is all too happy to drop a dime on Cyrus. Ain’t nuthin like a lover scorned. They confess their deeds and implicate Cyrus and Jake for the the airplane hijacking, the assassination of President Rashad, and the crimes of B613. Later, David tells them to expect jail time for some of them and suggests that they get their affairs in order. Olivia makes a request to him to let Quinn to visit Charlie in prison. The gladiators tell him everything. Quinn asks Charlie to marry her. She came prepared wearing a white dress under her coat. Abby hands her a bouquet of flowers and Huck officiates on account of his last minute on-line certification. We find out Chalie’s government name: Bernard Gusky. THAT IS ONE HOMELY NAME. They all get a chuckle out of it. Quinn vows to never hack him without cause, to help him hide the bodies without question, and to always have his 6. Spoken like a true assassin!

On the way to his car, David runs into Jake. He threatens David to drop the case by walking him down memory lane to the time when he shot and killed Cyrus’ husband James in front of David for threatening to expose Sally Langston’s murder of her husband and Cyrus’ help in covering it up. David remembers it well, but this time his fear is replaced with anger. He’s tired of being Jake’s bitch. He tells Jake he’s the one who’s the bitch because he’s just a hired gun for everybody including Cyrus right now. David is like, if you’re going to shoot me, then do it because I’m not scared of you anymore. He hits Jake with a dose of reality: either do Cyrus’ dirty work or put on the white hat. Jake knows he’s right. He lets David go. NOW, THAT’S HOW YOU GET DOWN DAVID! CHARLIE BROWN FINALLY TOLD LUCY OFF FOR MOVING THE FOOTBALL.

Cyrus is bad mad because David is still alive. He has the gall to accuse Jake of not having the guts to kill David. UM, CYRUS? HAVE YOU MET JAKE? Jake kindly reminds him that he’s a killing machine and he can kill anybody anytime he gets good and ready. He adds that Cyrus doesn’t have the right to talk to him about killing until he grows the balls to carry out the dirty deed himself. And with that, Jake goes home.

Later in bed, David is quite proud of himself as he tells Abby about his run in with Jake, but she’s more concerned about going to prison in the morning. David gets a call from Cyrus. He wants to cut a deal. NOW, DAVID, YOU JUST GREW A PAIR. HERE YOU GO BEING GULLIBLE AGAIN. EVERYBODY AND THEIR MAMA KNOWS CYRUS BEENE AIN’T TAKIN THE FALL FOR NUTHIN. Cyrus hands David a letter confessing to hijacking his own airplane and framing Mellie. He wants to have a farewell drink with David. David says no, but we all know Cyrus doesn’t take no for an answer. Right then and there, I knew David was a goner. Cyrus goes about telling David how much of a monster he has been. David starts coughing and choking. He falls on the floor gasping for air. Apparently, it’s taking too long for him to die, so Cyrus speeds it up by smothering him with a pillow. CYRUS. I HATE YOUR GUTS. EVERY SINGLE ONE OF THEM. WE WERE ROOTING FOR YOU. Awww David. Tears.

The gladiators gather around David’s cold body at the morgue. Olivia says he died of a heart attack, but they all know Cyrus did it. Quinn points out that now that David is dead, they are all going to prison. Abby doesn’t want to hear that kind of talk. She tells them they have to fight for their lives. Huck wants to handle it, but Olivia says no because they are the only good guys left.

Quinn goes to Daddy Pope for help. She wants him to use his resources to send her and her family to some remote place in the world. He’s not willing to risk his freedom for theirs.

Olivia and Fitz share a drink. Olivia doubts herself for trying to do the right thing. Fitz tries to defend her, but she admits to being the problem for everything that has happened. In comes the Olitz theme song. OH LORD, NOT THE OLITZ THEME SONG. Tears. Olivia gives Fitz two options: they can keep arguing about doing the right thing or they can do “something else.” Fitz takes “something else” for $400, Alex. He utters those same four words that sparked the point of no return for Olitz seven seasons ago, “Take off your clothes.” YAAASSS! AND I GUARANTEE YOU THEY TOOK MORE THAN “ONE MINUTE.”

The gladiators are prepared to walk the plank, but the committee has postponed their recommendations because they have a new witness. Ol’ Daddy Pope takes a seat in front of the Senate committee. They have a little chuckle when he tells them he’s not there speaking as Eli Pope the citizen, but as Rowan, killer and the commander of B613. They’re like, yeah, okay black man. Daddy Pope proceeds to snatch their edges by telling them he wasn’t just responsible for running B613, he created it out of necessity due to the complacency of white men who’s white privilege placed the country in a state of neglect. He hips them to the fact that while they, privileged white men, were busy destroying the country, he was the one making the real decisions for the good of the country, like when to go to war, what president sits in the oval office, the soldiers brought home in caskets, the freedom of citizens to sleep peacefully in their comfy beds knowing no enemy was attacking America, and keeping the stock market afloat. God dammit, Eli Pope aka Damascus Bainbridge aka Command aka Rowan, a black man, is the one who’s really making America great. Senator Reston asks Daddy Pope if wants a parade for his efforts. He rattles off many things he wants, but the icing on the cake would be to see the faces of complacent, privileged white men when they learn that a black man is the one who has really been running the country for the last thirty years and that their power only existed because of his black power. HE GOT THAT COMMITTEE SHOOKETH! Oh, the pearl clutching of it all! Daddy Pope knows somebody has to take the fall, but in order to spare privileged white men the embarrassment of having been ruled by a black man, he will kindly let Jake and his whiteness have all the credit and all the prison time. DADDY POPE WAS, IS, AND ALWAYS WILL BE NUTHIN TO FUCK WITH … lolololol.

Back at QPA, Quinn and Huck celebrate, but Abby can’t be happy because the real good guy, David, is dead. Olivia pays Jake a visit in jail. She apologizes to him for making him step out of the sun with her. She’s sorry for him being the one going to prison when all of them did dirt. He says prison is nothing. Again, what’s prison to a B613 agent? Jake thanks her for showing up for him. Welp, no more #TeamJake.

Olivia summons Cyrus to the Oval Office and demands that he sign a letter of resignation. He offers her a drink. CYRUS, NOW YOU KNOW LIVY AIN’T STUPID. He goes on about never being able to enjoy a drink again. OH WELL, YOU SHOULDA THOUGHT ABOUT THAT, CYRUS BEFORE YOU GOT GREEDY. He signs the letter, gives Olivia a pat on the hand, and makes a weary glance at the presidential seal on his way out the door.

Mellie wants Olivia to join her as Vice President to help her restore faith in the American people. Olivia politely turns her down noting that she’s finished with cleaning up other people’s messes. She tells her that Mellie doesn’t need her because she’s capable of running the country on her own and she knows she’ll do a great job. Mellie asks her what will she do instead. She says anything she wants. Olivia takes off down the streets of D.C. strutting and looking fly as always sporting her signature fabulous white coat. She takes one last look at the White House, like yeah I did that. A black woman ran the White House and a black man ran the free world. How ‘bout that! A black SUV pulls up beside her. It’s Fitz.

“Hi.”

“Hi.”

Quinn and baby Robin greet Charlie outside the prison.

Fitz reveals his presidential portrait. HEY FITZ! LOOKIN ALL HANDSOME IN YOUR BLUE SUIT AND ALL THE GIRLS CUTTIN THEY EYES AT YOU. Oops, The Color Purple slipped in there.

Mellie signs The American Assault Weapons Control Act of 2021. She snuggles up next to Marcus for a picture with her cabinet members. 2021 huh? Ol’ Mellie got a second term AND Marcus.

Meanwhile, Jake’s crazy ass is lying in prison grinning at memories of standing in the sun with Olivia. I guess if he can’t have her in real life, wet dreams will do. That Olivia lovin is something powerful… After all, she has the face that launched a thousand ships.

Alas, daddy and baby girl sit down for a real family dinner and share their favorite thing: fine wine.

Abby and Huck say their goodbyes at David’s grave. Tears.

Two little black girls stroll the halls of the National Portrait Gallery. They come to a halt in front of a portrait they can’t take their eyes off of. It’s Olivia Carolyn Pope. She’s gorgeous and regal in a white collared blouse, a thick brown leather belt cinched at the waist, a Cinderella-like, flowing blue skirt, and beautiful big natural hair. HEY MADAM PRESIDENT!

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A Gift Deferred

When I was a kid, I thought I would be a lawyer.  Not that I really knew what that meant at the time.  I was around five years old when some adult told me lawyers make a lot of money, so that’s what I should be.  That’s the worse thing that could have been said to me.  If only that person would have talked to me about following my passion…

As a kid, I had a natural attraction to words and stories.  I loved books and made good grades in English class without much effort.  My favorite school activities were book fairs and weekly trips to the library.  However, being a writer wasn’t something I thought about.

During my teenager years, I started writing short stories, poems and song lyrics, but it wasn’t until I was in my twenties when I started having a serious desire to be a writer.  I wanted to write novels like Zora Neale Hurston, Terri McMillian, and Jackie Collins.  Still, I did nothing about it. I continued to write short stories, poems, and song lyrics for my own pleasure, but I never really shared them with anybody; just a couple of friends.

It wasn’t until I had to declare a major in college when I finally knew that I wanted to be a professional writer.  It was an indirect decision though.  I was a music connoisseur and wanted to work in the music business as an Artist and Repertoire representative.  I know.  I was all over the place.  Anyway, at the time there was no such thing as majoring in the business side of music.  Schools only offered music degrees to musicians or people who wanted to teach music.  So, I picked the closest thing to the music business: Radio, Television and Film.

In one of the classes, we had to learn how to write television commercials.  I quickly got the hang of it.  That was all it took.  The screenwriting bug bit me.  I spent years learning the craft.  The journey has been long due to a nasty habit of procrastination, but I’m finally at the stage where I’m ready to cross into the professional arena.  I think I would have arrived at this stage when I was younger had I received encouragement as a child.  I’m not blaming anyone.  Back then, being a writer wasn’t thought of as a viable career.  Still, a little direction would have been golden.  Good thing it’s never too late to pursue your dreams.

The next time I find myself with the opportunity to encourage a young person about their future, I’ll make it a point to let them know it’s okay to go for the gold as long as it involves their passion.

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Cut To The F*cking Chase | How to Get Hollywood to Take Your Call

Someone called my office to submit a project.  I explained our script submission process to the caller and gave her my email address.  She sent a logline and synopsis five minutes later.  Cool beans, right?  That should have been the end of it, right?  Of course not.  That would be too much like right.  The caller called back to tell me that she already submitted a logline back in September of 2014.  Okay, my bad.  I didn’t get to it.  I let her know I wasn’t aware of her previous submission, but I’d be sure to take a look at what she just sent to me.  She reiterated the fact that she sent it back in September.  Um, was she looking for an apology?  Obviously, we didn’t get to it.

Maybe fifteen minutes later, another person called asking to submit a project.  I gave her the same instructions as the previous caller.  She informed me that she was at lunch at the moment and asked if I would mind texting her my email address.  Uh . . . YEAH I mind.

First of all, it is not the company’s job to put in work in order to read your stuff.  Secondly, as if I want some stranger having my cell phone number!  Her request was very unprofessional.  Why couldn’t she wait until she was in a proper setting where she could break out pen and paper to take dictation of my email address?  Was she under some kind of duress to call that very minute?  Like, did somebody have a gun to her head?  She easily could have waited to make the call at a time when she was better prepared.  It would have saved her from looking unprofessional and amateurish.

Most people in Hollywood wouldn’t have put up with that kind of foolishness.  They would have told her to call back when she had her shit together.  I tend to be on the nicer side of the fence.  I was kind enough to ask for her email address so that I could shoot her an email, then she would be able to get my email address that way.  I wrote down her email address with the intention to email her.  Eventually.  The manner in which she approached the company didn’t incite me to email her quick, fast, and in a hurry.  I would have gotten around to it.  Eventually.  Lucky for her, she called back later that day to get my email address.

I warn you, don’t conduct yourself like these callers.  You will annoy the hell out of us and land yourself on the “Do Not Read” list.

Here’s how to get Hollywood to take your phone call:

  1. BE CONFIDENT

Don’t call there stuttering and “um-ing” all over the place.  Speak in a calm, self-assured manner.  Know what the hell you’re talking about or earn an Oscar pretending like you do.  If you’re told to submit a logline and you don’t know what a logline is, don’t be all, “What’s a logline?” That’s a red flag.  The person on the other end of the phone line is thinking, if you don’t know what a logline is, chances are you don’t have a grasp on screenwriting yet.  That won’t make them eager to read your script.  Google is your friend.  Use it.

  1. BE PROFESSIONAL

Scene for Blog Post

So, that happened.  Like, in real life.  Minus the atom splitting request.  But, yeah.  Really, dude?  A ‘lil sumthin’ sumthin’?  And what would that be?  Have a purpose when calling.  Are you calling to find out about the submission process?  Are you calling to get an email address?  If so, have a pen and paper ready to write down information.  Make sure you’re in a quiet environment.  Nobody wants to hear your loud television or barking dogs in the background.

  1. BE PATIENT

Don’t call with an attitude because the company hasn’t gotten back to you about the script you sent months ago.  In this business, it’s normal not to get a response from a production company, agency or studio.  The correct thing to do is to follow up with the company after a reasonable amount of time.  The turnaround time is usually around six to eight weeks, but it varies with each company.   If the company has more submissions than they can handle, the wait time can be even longer.  At the end of the eight weeks (or whatever they tell you), feel free to follow up. If they still haven’t read your submission, don’t get an attitude.  That will only get you put on the dreaded “Do Not Read” list.

Wait about a month to follow up again.  That’s a good amount of time that keeps you from being annoying.  If they still haven’t read your script, don’t take it personally.  They aren’t ignoring you.  They have piles upon piles of scripts waiting to be read.  Chances are they don’t have a large enough staff to read the scripts in a timely manner.  If they tell you they’re going to read your stuff, they will.  Eventually.  Be patient.  Don’t be an angry stalker.  It’s not a good look.

So, that’s the trick.  Act like you have good sense when calling Hollywood and they’ll take your call and read your stuff.  Eventually.  LOL 😉

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My Top 5 Screenwriters

# 1  SHONDA RHIMES | The Queen of Hearts

Best known for:  Scandal, Grey’s Anatomy, Introducing Dorothy Dandridge

My favorite work:  Scandal

scandal promo

Why I admire Shonda:

I admire Shonda’s writing because she writes about love in an antisentimatic way.  You gets no cuddles with Ms. Rhimes.  Instead of a character telling another that they are important to them or are the only friend they have, the character will say, “You’re my person.”  That’s what Christina told Meredith in an episode of Grey’s Anatomy when she needed to provide an emergency contact person in order to schedule an abortion:

Cristina: The clinic has a policy.  They wouldn’t let me confirm my appointment unless I designated an emergency contact person.  Someone to be there in case and…to you know help me home after.  Anyway, I put your name down, that’s why I told you I’m pregnant.  You’re my person.

Meredith: I am?

Cristina: Yeah, you are.  Whatever.

Meredith: Whatever.

Cristina: He dumped me. [Meredith hugs Cristina] You realize this constitutes hugging?

Meredith: Shut up, I’m your person.

Even when Meredith shows a moment of tenderness with a hug, she tells Christina to shut up when she protests.  Very funny.

On Scandal, the entire show is based on everybody’s love for Olivia.  It may be warped, twisted love, but love nonetheless.  On any given day, Fitz is willing to give up the presidency or go to war for her.  They both do dangerous, irrational, stupid things for each other in the name of love.  You won’t find their type of love described on a Hallmark card.  It’s raw, dark, and by any means necessary.

Olivia and Fitz

Daddy Pope loves her so much that he basically stalks her and kills for her in order to keep her safe.  Same for Mama Pope.  Same for Jake, Huck, and Quinn.  Their loyalty for her is unwavering because they love her.  Abby and David lie and cheat for her.  Cyrus, her male BFF, always takes her back after she does something to jeopardize the White House.  Even creepy ass Tom thinks she has a “face that launched a thousand ships.”  Yes, Shonda is the queen of the love story, but she isn’t going to give it to you “Leave It to Beaver” style.

#2  NANCY MEYERS | The Ultimate Girl Power


nancy_meyers 4

Best known for:  Father of the Bride, Something’s Gotta Give, Private Benjamin

My favorite work:  Something’s Gotta Give

somethings gotta give 3

Why I admire Nancy:

Meyers’ films are all about grown ass women living their lives, doing their own thing.  Her characters are usually over the age of 35, which I love because, seriously, Hollywood seems to think all the world wants to see is 20 year olds bouncing around on the screen.  Nancy’s female characters have it together overall, but learn they are lacking in a certain area.  They set out to fix the flaw and wind up learning a lot about themselves that they never knew.  Now, that’s girl power!

#3  DAVID SIMON | The Realist

david simon 2

Best know for:  The Wire, NYPD Blue, Treme

My favorite work:  The Wire

The Wire

Why I admire Simon:

When you watch a David Simon project, you get sucked into the world he created and you don’t want to leave.  He makes you feel like the characters are your friends and family members.  That crooked politician or drug dealer could easily be your loved one.  You feel like you’ve walked the streets of the neighborhood in the story because he paints such a vivid picture of the way of life in the city.  The characters communicate the way real people speak; yet the dialogue still manages to be full of subtext.  It’s relatable because it’s lean and mean, no fluff.

This can be seen in my favorite scene from The Wire.  Detectives Moreland and McNulty run ballistics at a crime scene.  Each time they figure out a clue, they utter, “Fuck me.”  Each time they say it there’s a different meaning behind it.  How Simon managed to give two words multiple meanings is pure genius.  And that’s some fine acting too.

#4  AARON SORKIN | The Wordsmith

aaron-sorkin

Best known for:  The Social Network, The West Wing, A Few Good Men

My favorite work:  The West Wing

west-wing-banner

Why I admire Sorkin:

Aaah, the king of dialogue.  Sorkin’s dialogue makes me drool.  You learn a thing or two from his words because they’re packed full of knowledge and wisdom.  Those marathon monologues are like a symphony.  I think Aaron influenced Shonda when she created Scandal.  Sorkin’s dialogue keeps you on your toes too because you have to pay close attention to the rapid-fire pace of the characters’ words.  Blink and you’ll miss an important piece of information that either reveals character or is a set up for some scenario later in the episode.

#5  BEAU WILLIMON | Mr. Personality

Beau Willimon

Best known for:  House of Cards, The Ides of March

My favorite work:  House of Cards

house-of-cards

Why I admire Beau:

When I saw House of Cards for the first time, my mouth dropped open within the first minute of the premiere episode.  Willimon has a way of letting the viewers know what type of person the character is immediately.  He does this by showing the character’s trait through action.  In Season 1, Chapter 1, Congressman Frank Underwood goes to the aid of a dog that has just been hit by a car.  Frank breaks the fourth wall and tells the viewer there are two kinds of pain:  the kind that makes you stronger and the useless kind that makes you suffer.  He has no patience for useless things and demonstrates that philosophy by putting the poor dog out of its misery by suffocating it.  BOOM!  Beau doesn’t bullshit around.

There are other writers that I admire, but the above are my top 5.  Rhimes, Simon, Sorkin, and Willimon are my uber favorites because they create anti-heroes with major flaws who you love anyway.  That’s my kind of writing!

Additional favorites:

Matthew Weiner | Mad Men

Mara Brock Akil | Girlfriends

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Cut To The F*cking Chase | How to Get Hollywood to Read Your Script

. . . ACTION!

Okay, so you finally grew the balls to call a production company to ask if you can send them your script.  Good for you!  Now, here’s how not to eff it up.  Find out their submission policy and . . . DO. WHAT. THEY. TELL. YOU. TO. DO.  If they tell you to submit a logline, then send them a logline ONLY.  Don’t throw in your script, cast wish list (you’re not the decider here), budget, and soundtrack suggestions (nobody cares about soundtracks anymore) all packaged in a pretty blue presentation folder that you eagerly bounced down to Staples to pick out thinking it would make the production company buy your script.  No.  It will not.

Different production companies have different policies.  One may want a logline, another may want a synopsis.  You may even stumble upon that rare unicorn of a production company that will allow you to submit your script without having an agent.  Whatever their submission policy is, adhere to it.  Why?  Because they have their particular policies for a reason.  For example, one company may only want a logline because they receive tons of submissions and don’t have time (maybe due to lack of manpower) to read a bunch of full-length scripts.

A logline saves the reader a lot of time.  It immediately tells the reader what the story and character are about.  It also lets the reader know if the writer has any skills.  If your logline sucks hard, there’s a 99% chance that your whole script sucks even harder because if you haven’t mastered how to write a logline, you haven’t mastered how to crank out 100 pages that somebody other than your mommy would want to read.  Production companies ain’t got time for that!

Just work on your logline.  Make it sing and then send it in, but follow the rules and save your little presentation folder for school or something.  You will only piss off the reader on account of her having to shuffle through all of that extra crap.  And when you piss off a reader, your script goes in the trash and you get placed on the “do not read anything from this person EVER” list.  It’s basically like an airline “no fly” list minus the terrorist.  In other words, you’re screwed.  Yes, the punishment seems petty and mean, but it is what it is.  “Life is pain.  You just get used to it” (Charly Baltimore, The Long Kiss Goodnight).

. . . CUT!

Tell me, have you ever submitted something to a production company, agent or studio?  What happened?  Spill the tea in the comments section.

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Welcome to WordyGirl Entertainment!

Welcome to WordyGirl Entertainment!  This blog is a fabulous place to find information on all things television, film, and online media including news; celebrity and industry insider interviews; reviews; promotions; commentary; behind-the-scenes scoops; and screenwriting advice/tutorials.  Enjoy