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free*lance: n (1820) 1 a. usu free lance: a mercenary soldier esp. of the Middle
Ages: condotierre.
Editor: Michael A. Casano
Publisher: George Giokas/StaffWriters Plus, Inc.
Welcome to -30-, found exclusively at the StaffWriters Plus Web site. One of the most
common challenges faced by freelance writers today is keeping up with the latest trends
within the industry and the changing needs of their customers. This is where -30- will
help. Each installment of -30- will deal with a topic or issue of interest to the freelance
community, from ideas on how to grow your current client base to techniques that can enhance
the quality of your work. We hope you find -30- a useful tool in your pursuit of new business.
We also look forward to hearing from you. Please submit your messages and thoughts for future
articles to (info@staffwriters.com).
ABOUT OUR NAME:
Reporters used the symbol -30- at the end of their typewritten copy to indicate to editors
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IN THIS ISSUE:
In this issue of -30-, our main story takes a
look a look at the world of promotional videos and how you can get in on this lucrative field. Our
Q&A looks at Sal St. George, whose specialty is comedy and whose
diverse career has taken him from writing scripts for theme park bird shows to coaching
Madonna on a movie set. And see how our columnist Melanie Hauser grapples
with "the rejection letter."
Scribbler's Scrapbook
by Melanie Hauser
This issue, I meditate on the rejection notice. It is a subject I seem to spend a lot of time reflecting upon; it must be because lately, I've seen so many of them.
Let us first ponder the "No letter rejection." This is, I believe, the most demoralizing. I received one last week, and still have not recovered from the blow to my self-esteem (I run and hide as soon as I hear the mailman these days).
I received the dreaded, familiar SASE a mere three days after mailing my manuscript! I opened the envelope dejectedly, wondering what kind of rejection letter was there to mock me, only to pull out my manuscript, accompanied only by my own query letter. Worse still, the entire package was slightly crumpled. My only reaction was one of extreme humiliation: my manuscript must have been so vile, so revolting, that the editor crumpled it in disgust (or worse, passed it around the office for a good laugh), and could only think of ridding himself of it as quickly as possible, hence the absence of a letter and the head-spinning swiftness of its return.
Slightly less humiliating is the form letter. We all know this one; I have wallpapered my bathroom with my collection.
First, we have the simple, "your manuscript does not meet our needs" letter. Basically, you know they hated your work, but at least they took the time to send you a letter stating so.
Then there's the elaboration on this theme, where the form letter offers a series of explanations of just why your manuscript does not meet their needs, and someone actually spent about a nanosecond considering it, and checking off the appropriate explanation. If, like me, you're really hungry for encouragement, this letter provides you with perhaps half a crumb of it.
The next best thing to an actual acceptance is the personalized rejection letter. I hear they're very encouraging (in a discouraging way); I'll let you know when I actually get one.
Then there's the most puzzling of them all: silence. Utter indifference to your effort. Or, if you're the type who views the glass half-full, the hope that your story is so magnificent, the editor was sent into an alcoholic despair over his own inability to create such a masterpiece, visited Betty Ford to recover, and as soon as he is out, will send you a huge advance and create the position of Lord Staffwriter for All Eternity just for you.
Before we descend into alcoholic despair ourselves, there is some good news. I recently received a new, improved reply to a submission of mine: an e-mail.
People are sooo much more polite on the Internet! I was sent the nicest, friendliest little ol' e-mail the other day, by an editor whom I had assailed with yet another manuscript. I'm not even sure it was a rejection, because it was just so darn nice!
This editor told me, very considerately, that while she didn't have room for it in her department, she felt my writing was perfect for another editor, to whom she was passing it on. She also invited me to e-mail this other editor myself, and then she wished me a nice day!
Of course, I replied back, thanking her, praising her publication, etc. And then I spent about an hour laboring over the perfect e-mail to the other editor, one that best displayed my powers of wit and insight and verbal dexterity. I was brave enough to send another sample of my writing, which I included in a file, and optimistically pressed "Send Mail." (After realizing I forgot to attach the file, I had to send an embarrassing e-mail explaining my mistake.)
I have never heard back from the other editor, nor have I received the dreaded SASE. So I am left, once again, to concoct some wildly optimistic scenario....
She was probably so taken with my writing she can't bring herself to share it with anyone else, let alone the paying public (those philistines!). So she keeps it on her desktop, where, everyday before she tackles her mundane editing job, she can read it, and become inspired anew.
(I couldn't use the Betty Ford scenario again. There must be some limit as to the amount of editors they can accept.)
©1998 Melanie Hauser
INTERVIEW: SAL ST.GEORGE
by Christine Montemurro
Not many writers can find their work performed daily at theme parks like Walt Disney World and Busch Gardens. Or say that they met both Bud Abbott and Madonna. But Sal St. George is not your average writer.
Originally a stand-up comedian, St. George moved on to create and direct old-time vaudeville shows. These shows, which traveled around the United States, led to St. George being noticed by the Walt Disney Company, who hired him to write and direct shows performed at Walt Disney World.
Today, St. George continues to create shows for theme parks, historical shows for mansions, and programs for other organizations across the country. He lives for the sound of laughter, claiming it to be the greatest reward.
Question: How did you get started writing for vaudeville shows, mansions, and places like Walt Disney World and Busch Gardens?
ST. GEORGE: I was taking a film appreciation class in college and I had to do a report on someone famous.
I chose to do it on Abbott and Costello. During my research, a person named Rich Lamparski gave me a number to call and when I dialed,
who was on the other end but Bud Abbott! He invited me to California for a visit. I went to see him and my three days there turned into three weeks.
After that I was hooked on entertainment, comedy and writing.
Q: What was Bud Abbott like?
ST. GEORGE: He was so cordial. Everything you could possibly think was [physically] wrong with him.
He was in his late seventies. He was in a wheelchair. But he was the most generous and warm person. He introduced me to numerous people like the
Andrew Sisters and Joe Besser. I can't think of any actor now who would invite a stranger into their home.
Q: When you're creating a script, do you find it difficult to write humor?
ST. GEORGE: Apparently, it comes naturally to me. Everything happens before I sit down in front of the computer.
The script is evolving in my mind and everything falls into place when I write.
Q: Have you ever written a piece that others just don't find humorous?
ST. GEORGE: I've been very fortunate in that I haven't had that problem. I send companies scripts and I pray that they have a sense of humor.
I find it so much easier when I write and direct a show though because someone can miss the entire tone if I'm not directing my own work.
Q: What has been your toughest piece to write?
ST. GEORGE: Each project I receive is a challenge. The historical shows that I do are each very different
and really challenging. One historical show I did at a mansion was about women's suffrage. It was very issue oriented. Through my research I found that
it was extremely difficult to be a woman in that time. I took that and put into writing and had people squirming in their seats because of the issues
involved, although, the issues and humor in that show had the perfect blend.
Q: When you write a script, how do you find a balance in the material so that everyone will enjoy the show?
ST. GEORGE: The script has to be tailored to the audience. In a theme park, the audience I'm targeting is an All-American family.
The people are in the same age and grade groups. In a mansion where I do historical shows, the scripts tend to be more upscale and challenging.
Q: Do you always do a lot of research for each show? Do you enjoy doing it?
ST. GEORGE: I research a lot unless it is straight comedy. I really enjoy researching.
You find out interesting things. One historical show I did was about Alice Roosevelt. Through research, I found that in the early 1900s,
which was when the show was taking place, pizza was introduced to New York for the first time. I ended up adding that into the show.
The little strange information made it more interesting.
Q: Do you ever think about going into television or the movies?
ST. GEORGE: I only like live audiences. I think that is the best place. I love hearing the sound of laughter,
although I keep everything open and never turn anything down. I did do one movie in the 1980s called Desperately Seeking Susan, the one Madonna starred in.
I worked on the scene where there was a disturbance in a magic club.
Q: What kind of person was Madonna like?
ST. GEORGE: Madonna talked to everyone. She told stories about her life. She was very nice.
Everything was going for her then. Her new record and video came out the same time the movie did.
Q: You have created an organization called Funny Bones. What has been your objective with this organization?
ST. GEORGE: The organization was created two years ago. It's basically a group of people that talk about humor.
We discuss why things are funny, how they are funny, and what makes them funny. We talk about why something works and another doesn't. We dissect jokes.
It's a fun group.
Q: What advice you would give to others looking into this sort of profession?
ST. GEORGE: Quit! But seriously, you have to have a natural sense for it. I remember one time seeing Don Rickles in Westbury.
He was the funniest man I saw at that point. I went backstage and got to meet him and asked him the same question you asked. He said to get in front of as many people,
a parking lot or wherever, and just tell jokes. The more you do it, the better you get at it. You have to keep putting out a product and sustain it.
Copyright © 1998
LIGHTS, CAMERA, MESSAGE!
The Art of Writing an Effective Promotional Video
by Michael A. Casano
Corporations present them on towering screens at industry trade shows, while local retailers play them on small TV sets in their stores. Even though promotional (marketing) videos may differ in presentation and production budgets, each one has a similar goal: to entice its target audience to use its product or services.
What makes a successful promotional video? Today, innovative camera angles, catchy music and animation have become essential tools in communicating an organization's key messages. But before a company spends any money on state-of-the-art visual effects, the first step, as always, is to craft a strong script.
No one is more aware of that requirement than Al Cobrin. As a corporate and free-lance writer/producer of promotional videos for companies and organizations like the former Grumman Corporation, the Izumi Corporation and the American Cancer Society, Cobrin knows first hand what elements make up a good video script, with the most important rule being not to ignore the word, "video."
"A lot of people think that the script is about the words, and that's not true," said Cobrin. "Writers accustomed to creating brochures and other printed material, for example, often don't concentrate on the visual images the script must contain to be effective. If the writer fails to do that, he or she is not laying out the necessary pictures that need to be taken."
That's why Cobrin strongly recommends that first-time writers go out on location with an actual production crew. Not only does the experience give them a better understanding of how a video is shot, but it also provides insight into the specific roles each member of the crew has during production, and how a script's visual direction either helps -- or hinders -- their jobs.
Before writing any script, Cobrin meets with the client to get a full understanding of the video's purpose and target audience. This is important, because any attempt to aim for too large an audience demographic could weaken a promotional video's effectiveness.
"When you widen the focus of the video to the point where its message is for everybody, the message reaches nobody," said Cobrin. "You have to determine the purpose of what you're doing in order to home in on that message, and follow it unceasingly."
After meeting with the client, Cobrin develops a treatment (or outline) of what he envisions the script will look like. Cobrin provides the client with as much information as possible in the treatment, including a proposed title, the theme of the video, number of actors, scene descriptions and even the video's length. This way, the client knows exactly what Cobrin is going to do before he writes the script, minimizing miscommunication or error regarding key messages that should be included.
Cobrin also makes sure that the treatment goes to the proper decision maker behind the video project. "I always try very hard to talk directly to the person who requested the video," he said. "If the person is unavailable, then I always insist that he or she sign off on the treatment before we proceed."
In addition to paying attention to the visual elements, Cobrin urges writers to be economical with language as they write a script. Since the most effective promotional videos average between five and ten minutes in length, there is little time to include extraneous dialogue or narration. Conciseness in getting the message across, as well as making sure that each word has a corresponding visual to support it, is key to keeping the viewer's interest.
During the revision process, Cobrin believes a writer must be ready to handle criticism and embrace compromise. Often, a writer may have to explain to the client why he or she didn't include certain information or visuals. While a writer should defend these choices, it can't be forgotten that the client makes the final decision.
Compromising, however, doesn't mean sacrificing an important scene in the video if it's necessary. "Production value is very important, even if you're working with a low budget," said Cobrin. "If there are certain elements you don't want to compromise, argue for them if you believe they will make the quality of the video that much better."
Even after the script receives a final sign-off from the client, Cobrin recommends re-reading your final draft before it heads for production. "One time, I had written a line of narration commenting on some technical aspect of an aircraft, but then had second thoughts about it. Upon reviewing it again, I discovered I was wrong. But my client approved the script that way. So, it means you still have to be careful."
Ultimately, Cobrin reminds script writers to be prepared to wear many hats during the entire video project. "Not only are you the writer, you inevitably act as the diplomat between the client and producer," he said. "In essence, the writer, even if it's the first script he or she has ever written, has the obligation of being the leader, and most importantly, guide the process."
Copyright © 1998 Michael Casano
Past Issues:
[March '00 Newsletter]
[December '99 Newsletter]
[June '99 Newsletter]
[April '99 Newsletter]
[February '99 Newsletter]
[November '98 Newsletter]
[July '98 Newsletter]
[June '98 Newsletter]
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"JOB SCOUT: Weekday Nov. 19, 2008"
