TOP SHELF SHERRY

Will You Help Make My Dream a Reality?

Consider this a census, of sorts

After reading about a fellow Medium writer who set up a crowdfunding account for a very specific surgery, I thought I’d reach out to my friends here and request their aid in helping me realize a longtime dream.

This individual makes a good piece of change on this platform. She has something like a gazillion fans and all I can say is “good for her,” as she’s cracked the code.

That said, I’m not one of those fans. But, this piece isn’t about that.

In contrast, my earnings here are meager because I don’t feel right creating a cottage industry from my personal problems, or the shit that I encountered growing up, some of which would curl your hair. And it wouldn’t be right to play the victim card when so many people and animals are being victimized as I write this. Because it’s a fucked up world.

I’ve shared some of the more hair-raising incidents in my past, but I also write about other stuff, you know? (Noobs, take note.)

On a lesser note, there are the insults received from an ageist society that doesn’t believe anyone over fifty has a functioning brain cell. I’ve noticed this in the creative arena, especially, where Millenials are revered for their ability to “influence” others into falling for all sorts of bullshit. In a sense, marketing has never been so distasteful in its manipulation of the more guileless among us.

Because, again, it’s a fucked up world.

But, it’s the world we live in and we must learn to adapt. Or, head for the hills, which isn’t such a bad premise, the more I ponder it.

Enough about that.

Before I stick my hand out and rattle my can, here’s a bit of background for the uninitiated. I’m a screenwriter. For over eighteen years, I’ve been on a rollercoaster ride, coming very close to breaking through the Hollywood gauntlet on several occasions. But, after so much time invested chasing a dream, I’m questioning my pit-bullish determination to keep going, or bust. At times, I’m stubborn to a point bordering on stupidity.

For writers, the entertainment industry is a tougher gig than ever. No longer are we required to deliver a great script and call it a day. That’s so old school. Now, producers and agents want a “packaged” project. That means, they require “attachments” in the form of talent, preferably A-list, and financing. So now we screenwriters are expected to pony up our own money to produce our work and convince Denzel or Meryl or Tom, to star.

Also, it’s getting increasingly difficult for someone trying to break in to even get read. And if no one says “send it,” in response to your email query, you, like the world, are fucked.

It’s amazing how much things have shifted in a relatively short period of time. A few years ago, I had little trouble getting read requests in response to my queries as I write really compelling ones. These days, I’m surprised if I get a canned response telling me that the company “doesn’t accept unsolicited material.”

Compared to other struggling screenwriters, I’ve experienced a modicum of success in that I’ve had two short films produced, both of which garnered several awards. Though awards, as I’ve learned, don’t mean a damn.

The high point (and low point) of my screenwriting journey came when my feature screenplay, DEAD TIRED, was optioned by the executive producer of The Dallas Buyers Club. A connection I’d made on my own since I was without representation at the time.

He was a strange cat, but I wasn’t about to make waves as I wanted to see this script made. It was and is a kick-ass story. Here’s the logline, or “elevator pitch.”

After an unavoidable accident, lifelong insomniac Dani Knox discovers that killing…can lead to a killer night’s sleep.

I should have known something was up when told me, “let’s find a director and get this movie made!” The subtext being that I should find a director.

WTF? I thought that was his job! As I said he was a strange cat.

So, what did I do? I found one. A talented, Indie guy, and a Canadian, Carl Bessai. His company is Ravens West Films, Ltd. and when I checked out his director’s reel and who he’s worked with, I knew he had the goods.

Carl was an incredible help to me as I was getting skewered in the option agreement process. (What’s new, right?) With his aide, I was able to determine what to say say “yes” to and what to dig my feet in, for.

Thankfully, I had an attorney in Los Angeles who was excellent in helping me navigate this minefield, even though his specialty wasn’t entertainment law.

Finally, after much back and forth and the EP implying that it was his way, “or the highway,” we settled on a deal. I won’t go into specifics but just know that it sucked.

From there, it was “all systems go.” With my help, and Carl’s, a film financing agency put together a marketing pitch book that explained, with copy and cool imagery, the concept for the script. They devised a budget and Carl and I worked on securing talent.

Actually, he did the heavy lifting for that, with the help of a prominent New York casting agent that he’d worked with before. They drew from both a “caucasian” and a “diverse” list of actors, like Roony Mara, Janelle Monae, Ruth Wilson, Emmy Rossum, and the like.

Although I tried not to let my excitement get the better of me, I was psyched and already looking forward to the shoot, to which, as stated in my contract, I’d be able to attend.

We discussed a Toronto shoot, which would stand in nicely for my Chicago-based story. Also, Carl, being Canadian, knew his way around the tax breaks and the rest of the financial minutiae there.

The shit was finally getting real and each day brought a fresh dose of validation that I had what it takes to “make it.”

Carl’s casting director had several established and also, up-and-coming actresses in the line-up for my protagonist, Dani Knox. And, because the EP just had to put his foot down somewhere, he said, “get Halle Berry!”

Again, WTF?

Now, I’m a fan. I love Halle Berry. Not only is she a dream walking, she knows her craft. She grabbed me by the throat in Monster’s Ball.

With that said, she was completely wrong for my lead who was in her early to middle 30s and not drop-dead gorgeous. Not initially, anyway. But hell, it was Halle Berry. I wasn’t going to complain if her people expressed interest.

They did not.

And I don’t know if that was a sign that the shit was going pear-shaped, but, just as we had another significant actress in our orbit who was really, really interested, the EP delivered a massive kick to our collective ass and everything went to hell.

Inexplicably, he decided to take his company in a “truth-based-only” stories direction and DEAD TIRED, was definitely not based on a true story, albeit it was inspired by my husband’s bout with chronic insomnia.

Talk about an emotional shift. I can’t adequately describe the disappointment that swallowed me up after receiving this stunning news.

In fact, everybody involved with the project was gobsmacked. All that work!

The whole shit show fell apart and the rights to the screenplay reverted back to me.

I was crushed, but I picked myself up and jumped back into the craziness.

Although I’m still committed to making DEAD TIRED a reality, this piece is about another screenplay. One very personal and inspired by a true story, my own. Briefly, it documents a time, six years ago, when both my parents were diagnosed with stage four lung cancer, at the same time. And, less than two months later, I received my own diagnosis of breast cancer. Here is the logline for The Month We Fell Apart.

A strong-willed woman’s rocky relationship with her parents turns revelatory when all three receive a life-altering diagnosis.

This is a drama with dark, comedic overtones as my parents were characters and some of the shit that went on in this period defies belief. Too, I was blown away by their courage in challenging a disease that ravaged their bodies and killed them nine months later within a couple of weeks of one another.

Now, supposedly I have a manager. She has been MIA for months and months and I am operating on the very strong “assumption” that I am once again on my own.

I’m fine with that. No one promotes me better than me.

To my missing rep’s credit, she did approach several producers who loved the script but again, wanted some dough upfront.

As an aside, Carl Bessai is keen on this project and would love to direct, but also wouldn’t stand in my way if a producer and or agent had other candidates in mind.

So. The dough.

That’s where you come in. I happen to know there are a shit ton of generous folks on this platform as I saw how many stepped up to throw money at the writer I referenced at the beginning of this piece.

“Okay,” I thought. “Why not me?” “I have some fans here. Maybe they wouldn’t mind ponying up a buck or two or five.”

This is where the shit gets confusing, though. I’m not quite sure how much would be enough to entice a producer to sign on. Because I don’t consider The Month to be an Indie project as the ensemble cast speaks to A-listers, I’m guessing thirty thousand, to start? Or, fifty thousand?

Let’s see. How many people would need to donate, let’s say, five bucks apiece tops, in order to make that much cash?

I don’t know. I suck at math. We’ll just say, “a lot.”

So, my friends, what do you think? Should I start a crowdfunding thingy? I have to get this made, you know? I’m tired of the bullshit and I know I have the goods.

You’re probably thinking, “what would I get in return?” I’m working on that, but a hearty “thank you!” for sure.

I’d approach Natalie Portman and her company Handsome Charlie Films, but, been there, done that. I’m just a gnat to her.

Hey, maybe the big winner in the MWC, Randi Ragan would like to help me out with a few dineros. At least she’s in Los Angeles and could probably hang out at an In-N-Out Burger to hobnob with a producer or two waiting online for their dead cow.

Admittedly, I’m torn as I’ve never done anything like this. But maybe now’s the time. My time has to come sometime, right? Don’t we all believe that of ourselves?

Alright. I’ve decided. I’m going to go for it. Will you help me realize my dream of becoming a working screenwriter so I don’t have to enter and lose any more writing challenges?

People. Are you buying this? Yes?

THEN LET’S MAKE A MOVIE! 😛

If you can handle it, read every one of my stories and those of other fab Medium writers. I’ll get a couple of shekels and you’ll have full access to this whole joint! https://sherrymcguinn.medium.com/membership

Sherry McGuinn is a slightly-twisted, longtime Chicago-area writer and award-winning screenwriter. She is currently pitching her newest screenplay, “The Month We Fell Apart,” a drama with dark, comedic overtones and inspired by a true story, as well as “DEAD TIRED,” a female-driven, ass-kicking thriller.

Thanks for reading, guys. If you enjoyed this, I’d love for you to check out the following, as well as my newsletter, Sherry Raw.