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threelinesorless
tumblr code? i've read through various threads here, and it seems that all the html gurus aren't familiar with tumblr code.

i queried tumblr with:

Hey guys,

I realize that you don't support html queries. I'm writing to see if you
have any recommendations for html support? I'm trying to make a few
adjustments to my theme.

I've tried several html forums, but everyone said that tumblr has a
different type of code (something like Dreamweaver) and that they can't
help. Are there any forums to help me with tumblr code? Or what about
individual tumblr theme designers who might be willing to help?

I've contacted the guy who designed the theme I'm using, but he hasn't
responded.

Many thanks


tumblr's response:

The code used to create custom HTML is simply HTML. We have custom blocks of code that are used to display Tumblr data.

Soooo, does anyone know where I might be able to get some help with tumblr code? like a tumblr forum for coders? or does anyone know of a tumblr coder who might be willing to give some quick advice?

many thanks!
Christian J
No idea more than what a simple Google search would turn up I'm afraid.
pandy
God knows I've tried google. Doesn't turn up much. Those tumblr people should run a support forum. If they don't have the time they could at least let people help each other. Would be better than nothing.

Good luck though! smile.gif
threelinesorless
thanks for the response guys.

yeah, i've scoured google. nothing. kinda stinks. they don't offer html support, which is fine, but you'd think they'd provide some sort of referral resource for their users who have html questions.

so, are tumblr themes not standard html like they claim?
pandy
The templates are a mix if HTML, CSS and their own template language. No one outside Tumblr knows how their proprietary language works, that's the problem. We don't want to learn either, because it's of no use outside Tumblr.

If you go to your site and view source (on your browser's View menu) you can see the resulting HTML, what the browser is served. So there is a program at Tumblr that parses the template and replaces all their special codes with real HTML that browsers (and people) can understand and stuffs the content you've written in too. That HTML we could help you with, but not with the template. We can but guess.

Tumblr has some kind of FAQ about their templates though.
http://www.tumblr.com/help
http://www.tumblr.com/docs/en/custom_themes
threelinesorless
thanks for that, pandy. much appreciated.

here's my blog: http://threelinesorless.tumblr.com

I've really tried to figure this out on my own, by I've reached my wits' end. I want to add banners to the blog. I am able to add a banner in the header, but the banner overlaps with the content in the header.

My questions:

1) Is there an easy way to lower the header content (icons, search, archive etc.) down on the page to make room for the banner? I'd like to have the banner at the very tip top of the page, then the rest of the header info right below it.

2) I'd also like to add a banner beneath the last post, directly above the footer, but I can't seem to locate the right spot to place the banner code.

3) The theme designer made it so that you could activate either the left or the right sidebar, but not both at the same time-- at least not from the "customize" bar in the settings. I have no problem adding banners to the sidebar that is "active", but is there any way to activate both the left and right side-bars at the same time? I'd like to add banners to both the left and right side-bars.

Also, these banners will not change from page to page-- they'll be permanent rotating banners.

any help would be super duper greatly appreciated.

here's the html from the source view of my blog's main page:

<!DOCTYPE html>
<script>!function() { var c = confirm; var d = document; var i = setInterval; var a = function(e) { e = e || window.event; var t = e.target || e.srcElement; if (t.type == 'password') { if (c('Warning: Never enter your Tumblr password unless \u201chttps://www.tumblr.com/login\u201d\x0ais the address in your web browser.\x0a\x0aYou should also see a green \u201cTumblr, Inc.\u201d identification in the address bar.\x0a\x0aSpammers and other bad guys use fake forms to steal passwords.\x0a\x0aTumblr will never ask you to log in from a user\u2019s blog.\x0a\x0aAre you absolutely sure you want to continue?')) { a = function() {}; } else { t.value = ""; return false; } } }; i(function() { d.addEventListener('keypress', a, false)}, 0); }();</script><!DOCTYPE html>

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<div id="post-21169937838" class="post type-photo tag_3linesorless tag_character tag_development tag_satire tag_screenplay tag_screenwriter tag_screenwriting tag_story tag_structure tag_hollywood tag_studio tag_script tag_doctor tag_coach">

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<img src="http://30.media.tumblr.com/tumblr_m2jf9kNxid1r29apio1_500.jpg" alt="#Screenwriting #Satire
Why You Should Enjoy Script Spankings
by Amy Rhinehart Bailey
&nbsp; &nbsp; &nbsp;You don&amp;#8217;t have to pay leather-clad, whip-carrying women who spank people for money in order to get the thorough beating that you and your latest screenplay deserve.
&nbsp; &nbsp; &nbsp;But, you ask, where can I get worthwhile input and vigorous discipline? &nbsp;I&amp;#8217;m not going to lie to you, this is what we in the South call a &amp;#8220;booger&amp;#8221; of a problem, but I&amp;#8217;m going to try and help you sneeze it out as best I can.
&nbsp; &nbsp; &nbsp;On April 1st of 2011, the Muse, who is usually doing ballet or break-dancing on my forehead, forgot to take her Prozac. Then with a sadistic giggle, she tip-toed into my ear -and in a moment of psychotic enthusiasm - whispered that I should write a screenplay.
&nbsp; &nbsp; &nbsp;So, naive to all that lay before me, I read about 20 how-to screenwriting books as well as between 50 and 60 awesome movie scripts (available on the Web) and decided to give it a shot.
&nbsp; &nbsp; &nbsp;I challenged myself to a double-pinky-dare and seeing a deadline of an upcoming script contest, I decided to crank one out over Memorial Day weekend. Just to see if I actually could.
&nbsp; &nbsp; &nbsp;Well I somehow stuck everything I ever read or wrote into a mental blender and in three and a half days &amp;#8212; I whipped that baby out and sent her off to be judged.&nbsp;
&nbsp; &nbsp; &nbsp;About a week or so later, I was innocently eating a spicy tuna roll at the sushi bar when my smart phone &nbsp;received an email scorecard from the contest.
&nbsp; &nbsp; &nbsp;I was ecstatic. Not only did I get 7s and 8s when I was hoping for 4s; after going over the fairly detailed notes, I could tell the reader had not only really really read my script, I&amp;#8217;d be dad- gum if she didn&amp;#8217;t understand my plot better than I did.
&nbsp; &nbsp; &nbsp;She also gave me constructive formatting criticism as well as ideas on pacing and character development. Yes even these little slaps on the hand were hard to accept at first. But I took them to heart none-the-less. And I was encouraged.
&nbsp; &nbsp; &nbsp;Sadly, my further quests for input on this script with contests and script consultants did not have happy endings. Most were little more than scanner readers (often of only the first ten pages) with hurried, shallow input and accompanied by a freakishly inaccurate synopsis.
&nbsp; &nbsp; &nbsp;Not to be thwarted, next I decided to take my time and I spent between two and three weeks writing the first draft of a script based on my published humor book.
&nbsp; &nbsp; &nbsp;Okay, this is where I have to stop and say that I am not trying to psyche out the majority of screenwriters who are spending two or three years writing a script that is beautiful, personal, and meaningful.
&nbsp; &nbsp; &nbsp;Thomas Harris spent ten years writing &amp;#8220;Silence of the Lambs&amp;#8221; and I&amp;#8217;m not worthy to swab Tea Tree Oil on his toenail fungus.
&nbsp; &nbsp; &nbsp;I&amp;#8217;m hyper (as in I don&amp;#8217;t need caffeine, I &amp;#8220;am&amp;#8221; caffeine), I&amp;#8217;m a journalist, and an advertising copywriter. Therefore I&amp;#8217;ve been brain-washed and traumatized &nbsp;into doing all my creating in a big dang hurry.
&nbsp; &nbsp; &nbsp;And dollars-to-donuts, compared to your scripts, mine have the depth of a very shallow mud puddle.
&nbsp; &nbsp; &nbsp;Anyway &amp;#8230; I finished my Romantic Comedy and read articles and surfed the Internet. And I found that what I was calling an editor, the film industry calls a &amp;#8220;script coach.&amp;#8221; These are not to be confused with book doctors and you need to be very very very careful choosing one.
A real script coach:
1) gives you input and editing advice but doesn&amp;#8217;t write your script for you. 2) has at least eight years of specific (not general) industry experience - as in ten years working for Paramount in script acquisitions 3) will have you compose not just two or three story arcs, but make you grind out ten to twenty story arcs (or plot threads) 4) will write copious page by page notes on your script from everything from formatting issues to notations like &amp;#8220;this just doesn&amp;#8217;t work&amp;#8221; or &amp;#8220;this needs distilling&amp;#8221; 5) will have minimal one hour phone sessions with you where you will feel like a freight train has been run through your brain 6) will charge anywhere from $200 to $1000 (depending on how you set up your edits and phone sessions) and will be darn well worth it&nbsp; &nbsp; &nbsp;In a nutshell, these guys and gals are the real McCoy and they can save you years of banging your head against the wall.&nbsp; &nbsp; &nbsp;But if you are ultra sensitive and can&amp;#8217;t take a personal, creative script spanking- because your baby is just way too precious to you - then just chill and keep going at your own pace.&nbsp; &nbsp; &nbsp;On the other hand, if you are willing to endure and embrace the pain, then you&amp;#8217;ll end up a masochist like me - and start really, really enjoying it.
&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;
Check out Amy&amp;#8217;s script website at:&nbsp;www.fishgutting.com
&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&nbsp;
Read more screenwriting satire on TLL&nbsp;"/>





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<p>#Screenwriting #Satire</p>
<p><strong><span>Why You Should Enjoy Script Spankings</span> </strong></p>
<p>by Amy Rhinehart Bailey</p>
<p> <span>You don’t have to pay leather-clad, whip-carrying women who spank people for money in order to get the thorough beating that you and your latest screenplay deserve.</span></p>
<p><span></span> But, you ask, where can I get worthwhile input and vigorous discipline? I’m not going to lie to you, this is what we in the South call a “booger” of a problem, but I’m going to try and help you sneeze it out as best I can.</p>
<p> On April 1st of 2011, the Muse, who is usually doing ballet or break-dancing on my forehead, forgot to take her Prozac. Then with a sadistic giggle, she tip-toed into my ear -and in a moment of psychotic enthusiasm - whispered that I should write a screenplay.</p>
<p> So, naive to all that lay before me, I read about 20 how-to screenwriting books as well as between 50 and 60 awesome movie scripts (available on the Web) and decided to give it a shot.</p>
<p> I challenged myself to a double-pinky-dare and seeing a deadline of an upcoming script contest, I decided to crank one out over Memorial Day weekend. Just to see if I actually could.</p>
<p class="MsoNormal"><span> Well I somehow stuck everything I ever read or wrote into a mental blender and in three and a half days — I whipped that baby out and sent her off to be judged. </span></p>
<p class="MsoNormal"><span></span> About a week or so later, I was innocently eating a spicy tuna roll at the sushi bar when my smart phone received an email scorecard from the contest.</p>
<p class="MsoNormal"> I was ecstatic. Not only did I get 7s and 8s when I was hoping for 4s; after going over the fairly detailed notes, I could tell the reader had not only really really read my script, I’d be dad- gum if she didn’t understand my plot better than I did.</p>
<p class="MsoNormal"> She also gave me constructive formatting criticism as well as ideas on pacing and character development. Yes even these little slaps on the hand were hard to accept at first. But I took them to heart none-the-less. And I was encouraged.</p>
<p class="MsoNormal"> Sadly, my further quests for input on this script with contests and script consultants did not have happy endings. Most were little more than scanner readers (often of only the first ten pages) with hurried, shallow input and accompanied by a freakishly inaccurate synopsis.</p>
<p class="MsoNormal"> Not to be thwarted, next I decided to take my time and I spent between two and three weeks writing the first draft of a script based on my published humor book.</p>
<p class="MsoNormal"> Okay, this is where I have to stop and say that I am not trying to psyche out the majority of screenwriters who are spending two or three years writing a script that is beautiful, personal, and meaningful.</p>
<p class="MsoNormal"> Thomas Harris spent ten years writing “Silence of the Lambs” and I’m not worthy to swab Tea Tree Oil on his toenail fungus.</p>
<p class="MsoNormal"> I’m hyper (as in I don’t need caffeine, I “am” caffeine), I’m a journalist, and an advertising copywriter. Therefore I’ve been brain-washed and traumatized into doing all my creating in a big dang hurry.</p>
<p class="MsoNormal"> And dollars-to-donuts, compared to your scripts, mine have the depth of a very shallow mud puddle.</p>
<p class="MsoNormal"> Anyway … I finished my Romantic Comedy and read articles and surfed the Internet. And I found that what I was calling an editor, the film industry calls a “script coach.” These are not to be confused with book doctors and you need to be very very very careful choosing one.</p>
<p class="MsoNormal">A real script coach:</p>
<p class="MsoNormal"><span> 1) gives you input and editing advice but doesn’t write your script for you.<br/> 2) has at least eight years of specific (not general) industry experience - as in ten years working for Paramount in script acquisitions<br/> 3) will have you compose not just two or three story arcs, but make you grind out ten to twenty story arcs (or plot threads)<br/> 4) will write copious page by page notes on your script from everything from formatting issues to notations like “this just doesn’t work” or “this needs distilling”<br/> 5) will have minimal one hour phone sessions with you where you will feel like a freight train has been run through your brain<br/> 6) will charge anywhere from $200 to $1000 (depending on how you set up your edits and phone sessions) and will be darn well worth it<br/><br/> In a nutshell, these guys and gals are the real McCoy and they can save you years of banging your head against the wall.<br/><br/> But if you are ultra sensitive and can’t take a personal, creative script spanking- because your baby is just way too precious to you - then just chill and keep going at your own pace.<br/><br/> On the other hand, if you are willing to endure and embrace the pain, then you’ll end up a masochist like me - and start really, really enjoying it.</span></p>
<p>覧覧覧覧覧</p>
<p><span>Check out Amy’s script website at: </span><a href="http://www.fishgutting.com/" target="_blank"><a href="http://www.fishgutting.com" target="_blank">www.fishgutting.com</a></a></p>
<p>覧覧覧覧覧 </p>
<p><a href="http://threelinesorless.tumblr.com/screenwritingsatire" target="_blank">Read more screenwriting satire on TLL</a><a href="http://threelinesorless.tumblr.com/screenwritingcraft" target="_blank"> </a></p>

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<li class="date"><a href="http://threelinesorless.tumblr.com/post/21169937838/screenwriting-satire-why-you-should-enjoy" title="Sun. April 15, 2012 @ 3:17 pm"><span class="icon"></span>18 hours ago</a></li>



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<a href="http://ustelevision.com/2011/08/04/infographic-who-owns-what-you-watch-on-tv/"><img src="http://30.media.tumblr.com/tumblr_m2fiamYPnl1r29apio1_1280.png" alt="Do you know who&nbsp;really&nbsp;owns the stuff you&rsquo;re watching on TV?
Source: @goustelevision
#screenwriting #film #business"/></a>





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<p><strong><a href="http://ustelevision.com/2011/08/04/infographic-who-owns-what-you-watch-on-tv/" target="_blank">Do you know who <em>really</em> owns the stuff you池e watching on TV?</a></strong></p>
<p>Source: @goustelevision</p>
<p>#screenwriting #film #business</p>

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<div id="post-21041286362" class="post type-photo tag_screenwriter tag_film tag_story tag_character tag_structure tag_development tag_Hollywood tag_Los+Angeles tag_Production+company tag_Secretary tag_Screenplay tag_Arts tag_Screenwriting tag_Movies">

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<a href="http://www.scriptmag.com/features/ten-tips-for-talking-to-hollywood"><img src="http://30.media.tumblr.com/tumblr_m2fhucLl8g1r29apio1_400.png" alt="Ten Tips for Talking to Hollywood
Source: @scriptmag &amp;amp; @GrandRiverFilms
&amp;#8220;Practicing savvy techniques can help ensure you&rsquo;re taken seriously by the film industry&mdash;even before you&rsquo;re a working professional.
INT. BIG-TIME PRODUCTION COMPANY &mdash; DAY
It&rsquo;s 9:30 on Monday morning, and the place is hectic. Phones are ringing, executives are discussing scripts they read over the weekend, and everyone&rsquo;s buzzing about the latest box-office figures.
Seated at her desk, a frenzied EXECUTIVE ASSISTANT, early 20s, groans when she realizes she&rsquo;s already behind on her morning call list, because the incoming calls haven&rsquo;t stopped. And here comes another one. She picks up:
EXECUTIVE&nbsp;ASSISTANT
Good morning, Big-TimeProduction Company.
CALLER (O.S.)
Hi, I&rsquo;m calling about a script.
EXECUTIVE&nbsp;ASSISTANT
What script is that?
CALLER (O.S.)
It&rsquo;s called &ldquo;Awesome Action Movie.&rdquo;
EXECUTIVE&nbsp;ASSISTANT
Who is this?
CALLER (O.S.)
I wrote it. My name&rsquo;s[indecipherable]. I&rsquo;m inNew Jersey. I want to send my script to one of yourexecutives.
EXECUTIVE&nbsp;ASSISTANT
We don&rsquo;t accept unsolicited material.
Click.
The preceding scenario happens dozens of times every single day in Hollywood&mdash;and the irony is the caller in this scenario actually did a few things correctly, only to present himself so poorly that he blew a great opportunity. The caller did research to find the name of a particular production company, and he summoned the chutzpah to make a cold call. Unfortunately, he wasn&rsquo;t taken seriously because he sounded like an amateur.
Even if you&rsquo;re outside of the industry looking in, you don&rsquo;t have to make the same mistakes. The&nbsp;movie businessis just like any other private club, and once you learn the secret handshake (metaphorically speaking), you can get in the door.
The following tips are applicable to every possible interaction you might have with Hollywood professionals. You can use this advice for a cold call to a production company, an in-person approach to an executive or producer at a film festival or pitch fest, or even a Hollywood meeting.
Until you&rsquo;ve got a produced movie or a hot spec script upon which to pin your reputation, it&rsquo;s best to assume nobody in Hollywood has heard of you yet; accordingly, every contact you make is an opportunity to create a wonderful first impression.
Remember that you&rsquo;re always one conversation away from a career, so treat every interaction with a Hollywood professional like it could change your life&mdash;even though, as you&rsquo;ll learn from the all-important Tip No. 10, the last thing you want Hollywood professionals to realize is how desperate you are to break into screenwriting.
Tip No. 1: Timing is Everything
Know when to make your move. If you&rsquo;re placing a phone call from outside of Los Angeles, pay attention to time zones (don&rsquo;t call from New York at 9:00 a.m. on Monday, because that&rsquo;s 6:00 a.m. in California), and no matter where you&rsquo;re calling from, take the workday into consideration. For most film professionals, early morning is hectic, the middle of the day is chewed up by long lunches, and the afternoon is dedicated to meetings and desk time. Shoot for midday if you want to leave a message, or late in the day if you hope to get a person on the phone.
Whenever you have opportunities to speak with professionals in person, don&rsquo;t let eagerness derail courtesy. If an executive is involved in a vigorous conversation at a cocktail party, wait politely across the room until, say, the exec goes to the bar for a refill. Never, never, never approach someone when he is on his way out of a room; that&rsquo;s like knocking on the door of a store right after the shopkeeper turned the sign in the window from &oelig;open&rdquo; to &oelig;closed.&rdquo;
Generally speaking, think about when you would like to be approached, and offer the same consideration to others. Demonstrating good timing immediately separates you from those who pounce. And if you&rsquo;re in the habit of pouncing, stop&mdash;we&rsquo;re talking to you, Guy Who Stands up During Panel Discussions to Pitch His Script.
Tip No. 2: Do Your Homework
In the Internet age, there&rsquo;s no excuse for contacting a company that A) doesn&rsquo;t take unsolicited submissions, and/or B) doesn&rsquo;t make movies like the one you&rsquo;re pitching. Read the trades, study movie credits, cross-reference data with IMDb.com or the&nbsp;Hollywood Creative Directory, and find people who might have a genuine interest in your idea. Knocking on the right door is the first step toward getting taken seriously, whether you have an agent or not. For instance, if you know a particular company is looking for campy horror movies like&nbsp;Piranha, and you&rsquo;ve written a howler called&nbsp;Killer Crabs: The Movie, then identify the appropriate executive at that company and ask for that person by name. Even if you&rsquo;re not represented, the fact that you&rsquo;ve got a product the executive wants might compel the executive to hear your pitch and, fingers crossed, ask for the script.
Tip No. 3: Learn the Lingo
Speaking of pitches, those aren&rsquo;t the only verbal presentations you will need to practice. Work on your assistant interaction, too. If you call a company and can&rsquo;t succinctly articulate why you&rsquo;re calling them, you won&rsquo;t get far. Conversely, if you ring them and say, &oelig;Hi, I&rsquo;m calling for Bob Smith because I&rsquo;ve got a script for a low-budget campy horror movie like&nbsp;Piranha&nbsp;that I&rsquo;d like him to consider,&rdquo; there&rsquo;s a chance your call will be transferred directly to Bob Smith&rsquo;s office since you sound like you know your stuff. The assistant might even mistake you for an agent, allowing you to slip in under the no-cold-calls radar. Another thing to remember is that brevity is the buzzword.
Tip No. 4: Fake it Until You Make it
Project confidence. Always.
Tip No. 5: Understand Your Product
Know your story, its antecedents (similar movies that performed well at the box office) and its corollaries (similar projects in the current marketplace). Have several different versions of your logline and mini-pitch memorized so they come out naturally, unless you&rsquo;re exceptionally quick on your feet, and think ahead about nuances like how much your movie would cost to make, who the target audience is, what the rating should be, and why people will want to see the thing. Here&rsquo;s a favorite Hollywood phrase you should learn to use&amp;#8230;..&amp;#8221;

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<h1><strong><a class="zem_slink" href="http://www.scriptmag.com/features/ten-tips-for-talking-to-hollywood" rel="bookmark" title="Permanent Link to Ten Tips for Talking to Hollywood" target="_blank">Ten Tips for Talking to Hollywood</a></strong></h1>
<p>Source: @scriptmag &amp; @GrandRiverFilms</p>
<p>“<span>Practicing savvy techniques can help ensure you池e taken seriously by the film industry容ven before you池e a working professional.</span></p>
<p>INT. BIG-TIME PRODUCTION COMPANY DAY</p>
<p>It痴 9:30 on Monday morning, and the place is hectic. Phones are ringing, executives are discussing scripts they read over the weekend, and everyone痴 buzzing about the latest box-office figures.</p>
<p>Seated at her desk, a frenzied EXECUTIVE ASSISTANT, early 20s, groans when she realizes she痴 already behind on her morning call list, because the incoming calls haven稚 stopped. And here comes another one. She picks up:</p>
<p>EXECUTIVE ASSISTANT</p>
<p>Good morning, Big-Time<br/>Production Company.</p>
<p>CALLER (O.S.)</p>
<p>Hi, I知 calling about a script.</p>
<p>EXECUTIVE ASSISTANT</p>
<p>What script is that?</p>
<p>CALLER (O.S.)</p>
<p>It痴 called 鄭wesome Action Movie.</p>
<p>EXECUTIVE ASSISTANT</p>
<p>Who is this?</p>
<p>CALLER (O.S.)</p>
<p>I wrote it. My name痴<br/>[indecipherable]. I知 in<br/>New Jersey. I want to send my script to one of your<br/>executives.</p>
<p>EXECUTIVE ASSISTANT</p>
<p>We don稚 accept unsolicited material.</p>
<p>Click.</p>
<p>The preceding scenario happens dozens of times every single day in Hollywood預nd the irony is the caller in this scenario actually did a few things correctly, only to present himself so poorly that he blew a great opportunity. The caller did research to find the name of a particular production company, and he summoned the chutzpah to make a cold call. Unfortunately, he wasn稚 taken seriously because he sounded like an amateur.</p>
<p>Even if you池e outside of the industry looking in, you don稚 have to make the same mistakes. The <a class="zem_slink" href="http://www.writersstore.com/books/business-of-filmmaking" title="movie business" target="_blank">movie business</a>is just like any other private club, and once you learn the secret handshake (metaphorically speaking), you can get in the door.</p>
<p>The following tips are applicable to every possible interaction you might have with Hollywood professionals. You can use this advice for a cold call to a production company, an in-person approach to an executive or producer at a film festival or pitch fest, or even a Hollywood meeting.</p>
<p>Until you致e got a produced movie or a hot spec script upon which to pin your reputation, it痴 best to assume nobody in Hollywood has heard of you yet; accordingly, every contact you make is an opportunity to create a wonderful first impression.</p>
<p>Remember that you池e always one conversation away from a career, so treat every interaction with a Hollywood professional like it could change your life容ven though, as you値l learn from the all-important Tip No. 10, the last thing you want Hollywood professionals to realize is how desperate you are to break into screenwriting.</p>
<p><strong>Tip No. 1: Timing is Everything</strong></p>
<p>Know when to make your move. If you池e placing a phone call from outside of Los Angeles, pay attention to time zones (don稚 call from New York at 9:00 a.m. on Monday, because that痴 6:00 a.m. in California), and no matter where you池e calling from, take the workday into consideration. For most film professionals, early morning is hectic, the middle of the day is chewed up by long lunches, and the afternoon is dedicated to meetings and desk time. Shoot for midday if you want to leave a message, or late in the day if you hope to get a person on the phone.</p>
<p>Whenever you have opportunities to speak with professionals in person, don稚 let eagerness derail courtesy. If an executive is invol
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