Junto Magazine Vol2_Issue2 - Page 19

Junto Magazine, Volume 2 Issue 2 of my apprenticeship, and rewrote it. Virtually all of the prose ended up being published. Since then I have published four more novels. All the while, screen- writing was the financial engine that has allowed me to take time off to do this. What was the most difficult part of finding work and getting published when you were starting out? Finding an agent. In both Hollywood and world of publishing, an agent is re- quired to get work, but how do you at- tract an agent when you have never worked? This Catch-22 plagues almost every young writer striving to break in. My path was circuitous. I went to a Hollywood party where I met an enter- tainment attorney. He read my work and signed me; then he shared my work with a young agent who signed me. That agent then became a manager and helped me find a new agent. With this team in place, I was ready to make my first big sale, which came not long after. I am still with my attorney all these years later. The les- son to be drawn from example is simple: When you are starting out, never say no to a party. Having written screenplays on your own like Autumn in New York (2000) and worked on movies that ended up with seven credited screenwriters like Underworld: Awakening, which would you say is more difficult or frustrating? Being the first and last writers are the best positions to be in. The first writer is the creator. This is ideal because the vision is yours, and if the script is good and you are not rewritten too drastically, you will end up getting sole screen cred- it. Subsequent writers get screen credit only if they create over 50% of the story, which is a tough threshold to reach. Being the last writer means you were brought in at the end of the development process to help get the movie across the finish line. It’s fun because the end is in sight. Very often you even know who will be playing the roles. The worst positions are everything in between. Because when multiple writers are called in, it usually means the film is in trouble. It often means that too many people have a say in the process. It’s hard to please multiple sen- sibilities and do your best work. Do you prefer writing screenplays, novels, or plays more? When you have a new idea for a story how do ε½Τ)‘•Ρ•Ι΅₯Ή”Ρ‘”Ι₯‘Ё™½Ι΅…Π)™½Θ₯Πό½Θ•α…΅Α±”°UΉ‘₯͍½Ψ΄)•Ι•εΙ°έ…́„Ή½Ω•°Ρ‘…Ёε½Τ)…‘…ΑΡ•₯ΉΡΌ„™₯±΄ΑΙ•ΡΡ䁙…ΝΠ°)݅́ё…Ё…±έ…έё”Α±…Έό)]Ι₯ѕȁ…Ή₯Ι•Ρ½Θ°±±₯Ν½Έ ΥΙΉ•ΡΠ)]Ι₯Ρ₯Ήœ™₯Ρ₯½Έ₯́ё”Ι•…Π΄)•ΝЁ©½δ™½Θ΅”‰•…ΥΝ”₯Ё„ΑΥΙ”