This is a transcript of SYS 513 – The Dirty South and Classism With Matthew Yerby.
Welcome to Episode 513 of the Selling Your Screenplay Podcast. I’m Ashley Scott Meyers, screenwriter and blogger but sellingyourscreenplay.com. Today I’m interviewing writer and director and actor Matthew Yerby. He is a southern filmmaker from Louisiana. And he has a great story about how he got started locally as an actor and just started networking and meeting people and moving up. He eventually moved to New Orleans where he started getting bigger roles and started to put some of his own projects together. If you live outside of Los Angeles and are trying to get your career going, Matthew has a lot of great advice on how you can find a local-opportunities and make the most out of them. So, stay tuned for that interview.
If you find this episode valuable, please help me out by giving me a review in iTunes or leaving a comment on YouTube or retweeting the podcast on Twitter or liking or sharing it on Facebook. These social media shares really do help spread word about the podcast, so they’re very much appreciated. Any websites or links that I mentioned the podcasts can be found on my blog in the show notes. I also publish a transcript with every episode in case you’d rather read the show or look at something later on. You can find all the podcast show notes at www.sellingyourscreenplay.com/podcast and then just look for episode 513. If you want my free guide How to Sell a Screenplay in Five Weeks, you can pick that up by going to www.sellingyourscreenplay.com/guide. It’s completely free. You just put in your email address and I’ll send you a new lesson once per week for five weeks along with a bunch of bonus lessons. I teach the whole process of how to sell your screenplay in that guide. I’ll teach you how to write a professional logline and query letter, and how to find agents, managers and producers who are looking for material. Really is everything you need to know to sell your screenplay just go to www.sellingyourscreenplay.com/guide. So now let’s get into the main segment today. I’m interviewing writer, director and actor Matthew Yerby. Here is the interview.
Ashley
Welcome Matthew to the Selling Your Screenplay Podcast. Really appreciate you coming on the show with me today.
Matthew Yerby
Hey, man, thanks for having me.
Ashley
So, to start out, maybe you can tell us a little bit about your background. Where did you grow up? And how did you get interested in the entertainment business?
Matthew Yerby
Absolutely. I actually grew up in small town, North Louisiana. I graduated high school from a town called Winfield. I played college baseball at a division one school right down the road called Northwestern State University. It’s inaccurate Louisiana. And that’s kind of where I’ve always considered home. But shortly after that, I’ve made a move out of there to pursue an acting career. First moved to Shreveport. And during it that’s at the time that I was going to acting classes and auditioning as much as I could for short films. And you know, whatever feature was coming through Louisiana at the time. I also started writing, I was so poor that I could not pay for coverage. And so, I bartered. I was a yoga instructor and I bartered with who is now my mentor. She’s an editor in the industry and we bartered I would teach her yoga, and she would help critique my screenplays. I continue the acting journey down to New Orleans, and with my mentor actually helped her produce a film. And once I did that, I knew I wanted to be behind the camera for good. I just kept writing and writing and I finished 12 feature length plays before one of them became a movie. And that was the Dirty South.
Ashley
Gotcha, gotcha. So let me just touch on a couple things you just mentioned. I know this podcast. I mean, we have people all over the world, much less people here in small town, USA, maybe you can talk about that transition. Like why didn’t you just bump from your small town, you went to Shreveport, New Orleans, why not just come out to Los Angeles. And maybe you can give us some tips there. Like if you’re in a small town like that, you know, it’s a big fish in a small pond. But how do you find opportunities outside of Hollywood? How do you find those opportunities to meet your mentor to get these acting gigs?
Matthew Yerby
Well, you know, first thing as far as for an actor, like the first place, you’re going to get your foot in doors with short films, you know, short films, they are ready to cast all kinds of actors, whether they’re experienced or not experienced. So, I knew that in Shreveport, Louisiana, that was going to be a much easier stepping stone than for me leaving Macintosh, which was a population of 20,000 and going to Los Angeles, so I went to Shreveport first, I learned under a very good coach. And when I felt like I wasn’t getting enough auditions, I moved to New Orleans. And that’s where I found an agent and I actually started auditioning regularly and I started writing more, I just wrote more I worked more with my mentor and New Orleans was the first time I really got to step on big sets and actually to understand, you know, just how this you know how films go, how movies are made, and how long you have to be there on set all the things that I learned and, you know, after …
Ashley
How did you find your local community like how do you find a community in New Orleans. I mean, in LA, you just go to a coffee shop and you’re likely to bump into someone that’s writing a screenplay. But in New Orleans, how do you just get piped into these? Are there trade magazines that you can look at to see what productions are coming to town? Just doing local theater you network with those people? Just how did you actually get into the local scene?
Matthew Yerby
It’s actually a great, that’s a great question because I booked a short film when I was in Shreveport. I think I was 24 years old. And another actor on the set was a guy named Andrew Vogel, and we became friends. He was in New Orleans. And he actually I told him that I was looking to move to New Orleans and he said – Hey, man, I need a roommate. So, I packed my stuff up, moved down there. 10 years later, Andrew Bobo was just an actor in the Dirty South as well as produced the film. So, you’d be surprised like who you meet on short films, we always like throw, like, throw the short film and just things like always, it’s not going to do anything. You meet a lot of your team right there in your very beginning, like your humble beginnings.
Ashley
Yeah, yeah, for sure. So how did you get that first short film? I mean, in LA. I think a lot of those short films are on places like Craigslist, you can find people casting short films. There are the breakdown services here in LA for actors, but in in some of these small towns, how to actors get those roles? How did you even find this short film?
Matthew Yerby
I want to say this was a Craigslist, I think I found this. Just the calling that the audition on Craigslist, I it was still back when we were doing like in person auditioning. So, I actually I went to this house audition for him and I actually got just that was the way that it starts. I do remember looking. A lot of things on Facebook, Facebook will actually tell you a lot of casting calls, if you will look in the area that you’re at, if you will, you know say if you’re in Shreveport, Louisiana, if you’ll just type in Shreveport, Louisiana film and television, Facebook, I got all of these groups that popped up to me, so I joined them. And I just started looking at what people were writing and seeing what they needed.
Ashley
Yes. Smart. Okay, so take us through your journey. It sounds like throughout this entire process. You’re writing screenplays. So, the Dirty South was about what you say 10th or 11th screenplay, and then take us through that journey? How did you start to get that produced? How did you get it get some financing in place?
Matthew Yerby
Well, one of the things like I, I really attracted the attention of two producers, one being Andrew Vogel, the other Suzanne and Tony and both of them really, really enjoyed the script. And they said, we’re going to help you make this no matter what, no matter how long it takes. And that’s exactly what they did is took four years for us to get. And believe me, like the casting process was very, very difficult. Because when you see a first name, a first-time writer, a lot of these big actors are not going to take that chance. So, the casting process took four years, but in through that process, I probably went with over 50, to 75 rewrites just to keep building the story to attract that actor, and we finally landed on our cast.
Ashley
Gotcha. Okay, so let’s dig into this. To start out, maybe give us a quick pitch or logline, what is the Dirty South all about?
Matthew Yerby
The Dirty South is a small-town crime drama. And this is where, in any town, there’s really no small town, especially there’s no middle class in the south, we have the upper class and we have the lower class. And the Dirty South is about a family that will do anything that it takes to actually protect one another. And it is it’s the fight against rich against poor. And it’s about my lead character, Sue getting $30,000 in three days’ time, or she’s going to lose her house and her family business to the big wigs at the town.
Ashley
And where did this idea come from? What was sort of the genesis of this story.
Matthew Yerby
My mentor also told me to write what I can produce and write what I know well, I’m from this area. So, I know these characters very, very much. So, I’ve been on both sides of that track. And I know how much you have to call in scrape and scratch if until, you know until you have anything but it’s yes, the logline is it’s just a small-town bartender must get 30 grand in three days so she’s going to lose her family business and she’ll do anything in the entire world.
Ashley
Now you mentioned that you needed to kind of use what you had you knew these characters you’re from this area just from a practical production standpoint, did you have access to a bar like were there some production elements that you also knew you had going into writing this so you wrote this around some of the actual physical things that you might have had in place maybe can speak to that a little bit?
Matthew Yerby
Every location not just the bar the bar is actually where I worked at in college but that was part of me writing what I could produce I wrote only locations that I knew that I could get them free we got every location for free. We got boats for free every truck for free all the tractors and equipment and anything that we could ask for. I knew that this was a I could produce this myself or I can it was a one phone call away.
Ashley
Gotcha. So, let’s talk about your writing process specifically. When do you typically write? Do you write in the mornings, nights, middle of the day? And where do you typically write? Are you that home office guy? Do you need to go to Starbucks with an ambient noise? What is your just sort of writing routine look like?
Matthew Yerby
My writing starts in the morning, I usually start around 6:30 In the morning, and I will ride till around 8:30 or 9:00, just depending on how well it’s flowing. But I always ride it home, I usually use my balcony. I live in Venice Beach, California. And so, I will walk out on my balcony and take my computer, open, have my coffee, and I’ll go until I can’t go anymore.
Ashley
Gotcha. So how much time do you spend preparing to write outline, index cards, versus how much time are you in Final Draft actually cranking out script pages?
Matthew Yerby
I actually think the outline does take just as long if not longer, you know, I just use the structure. And I always like this past script, I did learn that it’s better for you to see it. So, I have been putting it up on the wall you know, each scene is a postcards and each one is labeled either blue for you know, this is where my lead character loses this scene, or it’s reds where he wins the scene. And so I can see the flow of the script. But for the colors, it’s like you don’t want three blue scenes in a row because they will be just sad. So, after the outlining is done, then I create my characters. And I create characters by typing a one full page single spaced, and I won’t stop until I fill the entire page up. And it is everything about this character. And I will do this with my three to four lead characters. And I won’t stop until I fill the entire page up. Because once I’ve done that, I know everything about them. And when I sit down to start writing, they start talking for me.
Ashley
And so, you just imagine like where they grew up, you know, siblings, grandparents, socio economic, all that stuff is in this one page?
Matthew Yerby
All in one, but everything about them what they’re good at, what their flaw is, what the thing that drives them crazy, the thing that will bring them joy, I create them fully as three-dimensional human beings, because we all have the good side and the bad side. And I if they are a bad character, I explained why they became bad. If they are a good character, I explain why they’re on this path and how much they’ve overcame to be on this path.
Ashley
How much changes as you start writing the script how much Jeez, you ever have to go back and say, you know what this character is not actually working in this particular situation, I need a different character, how much changes of these character bios as you’re writing the script?
Matthew Yerby
Normally, I stick pretty true to them. There has been times, especially on the most recent projects Dirty South, I thought it was easier to to combine two characters in the one because I realized they were talking almost the exact same, they had pretty much the same dialogue. And I realized that this is going to be more powerful coming from one person and it’s more resourceful as well.
Ashley
Gotcha, gotcha. So, let’s talk about your development process a little bit. Once you have a draft a draft that you like, it sounds like you have this other producers you’re working with, but what does that development process looks like you had a draft, you sent it to them? Did you send it to some actors? Did you get notes? And then how do you interpret those notes?
Matthew Yerby
Well, I always send it out to at least five people each time. And I have a list of five, two of them are writers, two are actors. One is my mentor. And each time I will send it out, I will receive all of their feedback. And I’ll have all their feedback printed out right in front of me five different things. And I will see which points match on every one of them. If it’s across the board, or even three or four, if it’s three people say this thing is like, that’s a note. And I just I looked from an across the board, but I’ll always take that, I actually look forward to the first critique because that’s where the story really starts to get way better is on the second draft. First draft is about getting it out of your heads, you know, getting it out of your head. And on paper on the second draft, you really get to see some people if they were sitting in the audience is like, this is what they actually would think could make this story better. And when you start bringing more brains into it and more creativity, the story always gets better.
Ashley
You mentioned that you estimated you might have done 75 drafts of this movie, just to accommodate actors and stuff. Maybe you can talk about that a little bit. You know, do you ever get notes? Or do you ever find yourself accommodating an actor? And maybe you know, it’s not necessarily what you would do story wise, but man, you really want this actor or you know, you’re not completely in agreement with this person’s notes. Maybe you can just speak to that a little bit. How do you kind of worked through some of those issues? Because there’s always a practical element, especially a low budget independent movie. There’s always sort of some practical elements that that often crossed with the artistic.
Matthew Yerby
Absolutely. My Lead actress in the film, she, she definitely wanted to discuss all the dialogue, right before we would shoot the scene. And one of the things that I learned on sets was, it’s always great to be open, it’s always great to not put a roof on an artist in the creativity that they’re bringing to the table. But it is always important to just the process that I did with this is I always told my actors, the first take is yours. The second is mine. And for him that I allowed every actor to actually give exactly what he or she was truly feeling in a moment. And I always had a backup, just in case it wasn’t. It wasn’t exactly what I was thinking.
Ashley
How do you approach screenplay structure? There’s sort of the Blake Snyder Syd field where they have a very clear template midpoints Inciting Incidents act breaks and that sort of stuff. How do you approach screenplay structure on your scripts?
Matthew Yerby
Blake Snyder. He’s actually I just read, save the cat this year, this calendar year. And I’ve, I’ve always had the screenwriters Bible, and I’ve always kind of just stuck to that, because it’s, you know, that’s the three-act structure that it will just teach you down. But, you know, Blake Snyder really, really broke it down to a little bit, just a little bit more in in his book, Save the Cat. And for the new screenplay that I’m writing right now, I tried this approach. And I just didn’t realize like how, how much easier the outline was to spit the outline out whenever I had. You know, if it talks about the midpoint, you know, we always think of the midpoints. And we know that something big is changing right here. But Blake Snyder really pointed out to me is like this is one scene, there is like this specific point, there’s one scene to it, there’s not two, there’s not three, and whenever I saw there was a true structure of for each part, how many scenes should be in that part, everything really started making sense.
Ashley
Yeah. How do you approach genre requirements? And I’m curious, this being sort of a Crime, Drama, action thriller elements. Winter’s Bone came to Mo, when I first saw it, but just how do you approach genre requirements? Did you talk to some distributors and get an idea? Well, would this be a movie that might potentially sell and then as I said, these genre requirements, you hear certain things like, you know, you want a 10 seen every 10 pages, or in a thriller, you want a thrill every time you’re in a comedy, you want three laughs a page? Just how do you approach some of those types of things. And then maybe we’ve talked about the distribution.
Matthew Yerby
That’s kind of what happened on the last film, we, it was more of just a Crime, Drama and our distribution, throughout the idea that we should probably add some more action into it. So, this could actually it has the bones to be an action film, but there’s just not, it’s not often enough. So, I did some research, I’ve read a few action scripts that from a few actor friends of mine, and just above my own research online, I realized how to write an action scene, how to write a car chase scene, and how to pace the movie to where we’re not sleeping for too long. And action will keep us up throughout the entire event.
Ashley
Gotcha. Okay. So, once you guys had a draft of the script that you really liked, what were the next steps to actually going out raising money and getting this cast attached?
Matthew Yerby
Like I said, the casting process took four years. So, it’s a lot of it’s was, you know, putting out offers in Hollywood, do you have you send out an offer? And you have two weeks for the actor to say yes, no, or not even answered at all. So, I’m certain that many of them saw Matthew Yerby on this script. And they, when they looked up the name, they’ve never seen anything. So, I’m sure it was passed along a lot. But I didn’t know that the characters that I did write, were very specific. They were southern. And I wanted to make sure the accent was going to be not, I just knew it had to be authentic. And so, it was very, very, we had a lot of thought process going into who’s going to play these roles. And by the end of it, I do see why this process takes so long and that’s just casting will take forever. And the moment we got the cast, the money came right behind it.
Ashley
Okay, so can you talk about that a little bit? Yeah, there’s always this chicken and egg piece in Hollywood where it’s sometimes tough to get the cast before you have the money. And so you know, it sounds like you guys went to the cast first tried to get the cast and then went and raise money, but maybe you can talk about that a little bit. How do you incentivize these actors to sign on? Did you give them pay or play deals? Did they just liked the material, did you have someone that knew them? Maybe you can talk about that? How do you get these types of actors attached to your project without having a lot of money?
Matthew Yerby
First thing I did forget to mention, we crowdfunded the film in 2017, which gave us a little bit of money. And it gave us enough to be able to pay a 10% deposits on all of these actors. And so that we were pitching real offers. And we had enough to just to pay 10% of them just so they know. It was, it was real. And I will say one of the actors, I did reach out to a friend. And that’s how we actually got Wayne Perrey. On my film, he was actually my acting coach. And I reached out to him two weeks before we started shooting when we lost another actor, but for the other ones I do. It’s still shocking to say, but they really loved the material. They really liked the role. And they wanted to see it. And they said, I’m if this thing is greenlit, I’m in.
Ashley
Did you hire a casting director to help with that? Or was your producers making the offers to the agents?
Matthew Yerby
Producers, they took care of everything.
Ashley
So, talk about that a little bit. So, once you had your cast attached, because we often hear in Hollywood, that once you have your cast attached, it’s very easy to raise money, which I think is a little bit of a fallacy. Nothing is easy in this business. But maybe you can talk about that just a little bit. Once you have this cast attached, then what do you actually do to raise the money? It’s just it’s going back to some of your investors you’ve already talked to because you have named cast, they’re a little more excited about it. But just what does that actually literally mean? Like, who do you go to once you have this cast attached?
Matthew Yerby
Well, once we have the cast attached, we found some reputable sales companies for domestic and international film sales. And when they see the cast, they will pull out their numbers, and they will see what every actor is actually worth and what they’re worth in the United States and what they’re worth internationally. And from there, we were able to jump our senior producer Todd Slater actually put us in contact with some people that were willing to see these numbers and see that we could, we can make we can make some money overseas. So in through that we found investors that we did not, we didn’t know that there, they were even out there. It really was like when the cast came, everything started falling into place.
Ashley
Gotcha. So just as an actor, I wonder if you can give some tips to screenwriters? Are there some things as an actor that you’ve noticed that you really like when writers put them in? And then the flip side of that, are there some things you see writers do that maybe as an actor, you’re like, maybe you should do less of that. But just maybe from your actor, you know, through your actor lens? Are there some tips you can give to screenwriters?
Matthew Yerby
Absolutely. I’ve learned through I’ve learned through many bad screenplays don’t direct the actor too much with the writing. Like I’ve learned to set the scene up and let the actor act. That is their job, it’s for them to interpret it, you shouldn’t say, I was told on my mentors, like you shouldn’t say that he turns to the left and costs and like, just be so specific, we’ll put an actor in a box. And we’ll also put them in their heads. And that’s where we see bad acting on TV is whenever you see an actor in their head, and so being too specific with them with narrative description, and, you know, physical movements, it’s a lot of times, that’s just wasted page space. Because that’s, you know, on the day of shooting, it’s whatever that actor feels, and if the shot is absolutely correct for him to do it. So, there’s so many factors that, that do go into that. Another thing I would say is that I, one of the things that I’ve really seen that it’s like actors are really, really into is whenever dialogue is just a little, it’s just a little different than what the common normal person speaks. Like, an actor is always attracted to something that’s a little bit different. And, for example, in the film that I do the southern accent, what we do is we leave off the ‘G’ and ‘ing’ a lot. So, if it’s fixing, it’s fixin. And we, you know, along, you draw the A instead of an ER, it’s, you know, instead of supper and supper, and little things like this will attract actors just because I know that this is something different.
Ashley
Gotcha. Gotcha. Yeah, that’s sound advice. Can we just talk briefly about your move to LA it sounds like you’re in Venice now. So, you’re living in California? At what point did you make it out here? And maybe you can talk about that transition? Any advice you have for people that are looking to make a similar move?
Matthew Yerby
Absolutely. I realized that whenever I was in New Orleans, and everything started moving to Atlanta, Georgia, that the industry was not going to have the same amount of auditions and or this the same opportunities for me to actually become a writer director. I knew that there wasn’t a lot of producers and also not a lot of people that invest in films outside of Los Angeles. So, my friends had moved out there the year before. Andrew Vogel, who is the person that produced the film. And I went out there, visited my friends for a week, I took a few meetings while I was there, I had a script that I was kind of marketing at the time, and I met a few producers. And they said, If I were you, I would move home. And I would come back out here. And I did exactly what they said, whether it was perfect for that moment or not, I know that the hardest part is leaving, but I can tell anybody that it’s big, it’s scary. And that’s the only thing in your mind is like, like, I’m a big fish here, but I’m going to be a tiny fish there. And it’s so expensive. It’s all these things. But one of the things that I’ve really learned is like to be a filmmaker, you have to be a hustler. And there’s not a better place in Los Angeles, California that will teach you how to do that.
Ashley
Yeah, yeah. So how did you happen to end up in Venice? And is that where you would recommend if someone just asked you, hey, I’m moving to LA, where should I end up? Is Venice someplace you would recommend?
Matthew Yerby
I would say Venice should be a further stop my first place I lived out there was North Hollywood.
Ashley
I thought I would do is a little cheaper if people don’t know.
Matthew Yerby
There’s a lot of artists, you know, there’s a lot of artists there that are just they’re out there trying to make something. And so, there’s a ton of short films going on out there. They’re like, that’s a great place to actually get a start is just to be in North Hollywood, because I think there’s a different short film every day out there. Yeah. And, and I do think that was a great first spot. after that. I went to West Hollywood and then Santa Monica. And now I’m just landed in Venice.
Ashley
Gotcha. So just I’d like to wrap up these interviews by asking the guests, is there anything you’ve seen recently that you can recommend to our mostly screenwriting audience, HBO, Netflix, Hulu, anything you’re watching that you think maybe deserves a little extra attention.
Matthew Yerby
I recently, just rewatched hilar high water again. And it’s just such an incredible script. Every time I watch it, I can’t walk out of the room. I love how beautifully simple they do it. And even the dialogue is very simple. If you’ll watch that movie, there’s not big chunks of monologues, most of their dialogue is one line. It is one line, they use silence so well and they know they know how to bring the intensity up through all the car chases through the gunfights. I just think the world of that movie.
Ashley
Okay. Yeah, that’s a great recommendation. For people that haven’t seen that. Definitely check that out. How can people see your movie The Dirty South? What’s the release schedule going to be like for that?
Matthew Yerby
We will be in theaters on November 10th. And we will be on video on demand as well on November 10th. We have one premiere in Louisiana tomorrow. We have one in Fort Lauderdale, Florida next week, and then we go into the theaters on the tents.
Ashley
Gotcha. Gotcha. And what’s the best way for people to keep up with what you’re doing? Twitter, Facebook, Instagram. And if you’re comfortable sharing, I will round up for the show notes people can click over and just follow along with you.
Matthew Yerby
Absolutely. My Instagram is where most people follow me. And it’s Matthew Yerby Artist. And that’s just that.
Ashley
Perfect. Perfect. Yeah, I’ll round that up for the show notes. Matthew, good luck with this film. Good luck with your future films as well. I really appreciate you taking some time to chat with me.
Matthew Yerby
Absolutely. I do want to tell you one thing before I get off, I’ve actually followed your podcast for about 10 years now. That is really incredible. Because whenever I saw the name, I was like, this is crazy. It’s like this was you were one of my first teachers is as far as like how do I write? How do I actually go out to meet people? And I just want to tell you, thank you for doing what you’re doing.
Ashley
Okay. Well, thank you, Matthew, I really appreciate your taking a moment to call that out. So, it’s appreciated that people do appreciate it. So thank you very much.
Matthew Yerby
Of course, man.
Ashley
So good luck, man. We’ll talk to you later.
Matthew Yerby
Yes, sir.
SYS’s from concept to completion screenwriting course is now available, just go to www.sellingyourscreenplay.com/screenwritingcourse. It will take you through every part of writing a screenplay, coming up with a concept, outlining, writing the opening pages, the first act, second act, third act and then rewriting and then there’s even a module at the end on marketing your screenplay once it’s polished and ready to be sent out. We’re offering this course in two different versions, the first version, you get the course. Plus, you get three analyses from an SYS reader, you’ll get one analysis on your outline, and then you’ll get to analyses on your first draft of your screenplay. This is just our introductory price, you’re getting three full analyses, which is actually the same price as our three-pack analysis bundle. So, you’re essentially getting the course for free when you buy the three analyses that come with it. And to be clear, you’re getting our full analysis with this package. The other version doesn’t have the analysis, so you’ll have to find some friends or colleagues who will do the feedback portion of the course with you. I’m letting SYS select members do this version of the course for free. So, if you’re a member of SBS select, you already have access to it. You also might consider that as an option if you join SYS Select, you will get the course as part of that membership too. A big piece of this course is accountability. Once you start the course, you’ll get an email every Sunday with that week’s assignment. And if you don’t complete it, we’ll follow up with another reminder the next week, it’s easy to pause the course if you need to take some time off. But as long as you’re enrolled, you’ll continue to get reminders for each section until it’s completed. The objective of the course is to get you through it in six months so that you have a completed polished screenplay ready to be sent out. So, if you have an idea for a screenplay, and you’re having a hard time getting it done, this course might be exactly what you need. If this sounds like something you’d like to learn more about, just go to www.sellingyourscreenplay.com/screenwritingcourse. It’s all one word, all lowercase. I will of course the link to the course in the show notes and I will put a link to the course on the homepage up in the right-hand sidebar.
On the next episode of the podcast, I’m going to be interviewing writer director Mick Davis, who just did a feature thriller with Emile Hirsch called Walden. We talked through this project as well as how he got his start. He originally broke into the business as a writer and eventually started to write and direct. So, we talked through how he got some of those first early writing credits, and how he was able to make the move into directing as a writer. So, keep an eye out for that episode next week. That’s the show. Thank you for listening.