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A recent conversation with some of my writer friends focused on our ongoing struggle to be at peace with our work…and with ourselves. If only we had more time to write. If only the subject matter would come more easily to us. If only we could get published or produced or even just optioned, then we’d have a sense of accomplishment and confidence as artists and be able to transcend our inner turmoil.
But would that really work?
I don’t do guest posts that often but Marc Omeyer is a stand-up guy and I don’t run into a whole hell of a lot of stand-up guys these days. So I’ve spent the last couple of weeks wondering what to write about… Didn’t want to do the same old, same old and recently, I’ve been doing so much THINKING about concepts that I wondered when was the last time anyone’s ever discussed the THINKING part about writing?
Having grown up surrounded by Hollywood I am not easily star struck. I do however love any opportunity to speak French which is why my hands began to sweat the moment I saw Jean Dujardin, the star of THE ARTIST. I was in Hollywood at the iconic Grauman’s Chinese theatre with fellow screenwriter and colleague, Shane Clark attending American Film Institute’s annual AFIFest and U.S. premiere of THE ARTIST.
Tiens c’est vendredi, et pour tout dire, j’avais la plume paresseuse. Mais finalement je vais surfer sur le soleil radieux qui baigne le jardin et dont les rayons pointent vers le pc dans un sous entendu qui en dit long. C’est entre le soleil et moi et il a gagné.
Everyone insists on how important a pitch is. But as for myself, I think every writer needs four different and necessary pitches.
First is the install pitch, the initial appeal of a conflicting contrast, a fresh situation around someone in relation with three essential entities : us, his world, and a vital necessity.