HEY FORGERS! This week's Business Talk is going to be 🔥FIRE!🔥. Special guest @Matthew Lutz will be sharing a method he developed called SCRIPT REQUEST SPRINT: 50 script requests in 30 days. DO NOT MISS THIS!!! "This isn't a craft course and nobody's giving notes on your second act. This is marketing: targeted, repeatable, and built to get producers requesting your pages." JOIN US on WED, JUNE 24, 10am PST. Link to Zoom call: https://us06web.zoom.us/j/86850227314?pwd=Z9bwsCa7KTM0UTWYRaL5FOE8MzQRxa.1 Here's what to expect... SCRIPT REQUEST SPRINT: 50 script requests in 30 days. You wrote the script. It's good. It's also collecting dust on your computer, unread. The hard part was never the writing. It's getting the right people to ask for it. This is a 30-day system for making that happen at volume. Not one lucky break. A machine you can run again and again. This isn't a craft course and nobody's giving notes on your second act. This is marketing: targeted, repeatable, and built to get producers requesting your pages. You'll learn how to build: 1. A target list worth pitching — real producer emails, plus a LinkedIn pipeline of producers 2. Assets that get opened — a query letter that lands, a profile that reads like a working writer, swipe files, and a tracking tool so you don't lose track of all of your script requests and interested readers 3. A daily outreach engine — 50 sends a day, scheduled, tracked, and followed up with 4. The discipline to run it — until the requests come in, and then until one of them turns into a deal We all want to get read. But smoking "hopium" alone won't cut it. This is how you build a tactical and practical system that gets you read... on repeat. This system is about volume. It's not glamorous. But it works. ABOUT MATTHEW LUTZ • Matthew Lutz is a produced screenwriter who works on assignment • The project he's going to share with you in this case study ranked in the top 1% of Coverfly's Red List (out of 50,000+ projects)

I’ve spent 30 years writing and developing movies and shows for studios including DreamWorks, Disney, Paramount, Fox, Sony, Netflix, and Nickelodeon — including Shrek 2, Jimmy Neutron, Rugrats, The Smurfs, and Disenchanted. I've banged my head against many walls and plowed through everything below. Now, looking to give back the best I can to you good folks. If I were going to coach you personally on your script, pilot, feature, treatment, or story idea, which of these feels closest to what you need right now? Pick the one that hits hardest.

Great to have so many new people coming on board! Before I forget, here's the actual link for this Thursday's New Member Hot Seat/Orientation at 10 a.m. Pacific Time. If you haven't been in a coaching call yet, this is the place to start. You are welcome to come, hear me pontificate about my philosophy on writing/coaching and why I started this group about 9 months ago. It's started at the urging of my daughter who is now at NYU, studying creative writing. And she told me how much our conversations about creativity and the writing life meant to her. As a father, you never really realize a lot of times that your children might actually be listening to what you're saying. Much less getting something from it. But here we are now. My goal here is to really teach writer's to lean into their own voices, and to be able to move through the ups and downs of what it takes to write a script. To realize that enthusiasm and inspiration ebbs and flows, and the real trick is riding those waves and just to keep getting in touch with that voice inside you, which only comes from consistently getting your ass in the chair. When you frame the struggle as the central task of the creative, then those days when you're not feeling it take new meaning. Anyone can write when inspired. But when you learn to show up and be present for the work, no matter what you're feeling, then you really start learning what it is to be an instrument for your own characters. And not just some moody writer, who writes when they want for their own ego. Yes, I will flat out pontificate in this coaching session. But the more I teach these things, the more important and foundational I realize they are. Because I"m seeing writers move through the process without so much mental drama and procrastination that plagues most of the writing world. If you have pages, drop them here. We'll assign your cast and do a table read of 5-10 pages of your opening. Because nothing is more important for a new writer than the opening of your script. It lives or dies in the first 10 pages.

Is anyone familiar with John Fogel entertainment group? I reached out through entertainment careers . net as an internship and he had me read and write 5-7 pages of notes for a 110 page screenplay he called me after and offered me an unpaid internship and requested I write a few pages of sample writing in the vein of a buddy buddy cop script "he's been trying to nail for years" but it seems like he wants creative ideas or direction on where to go so he can sell the script when ready with the promise of giving me a co writer credit if I work on a singular project with him and help bring his ideas to fruition. Is this a scam? I'm green so i have no idea.

For those in the Zoom Pitch meeting today, please give me your opinion of this background for my deck: (You may need to click on it to see the whole slide.)