Blogroll: Are Online Film Classes Worth It?

John August discusses online film classes...

Red Brick Road Theatre Company

I recently posted an ad for The Red Brick Road Theater Company on the left side of this blog.  If you haven't already, I encourage you check out the company's upcoming shows.  Click the ad to visit TRBRTC's official website.

The Red Brick Road Theatre Company is a non-profit theatre company based in North Hollywood, California. Formed in November 2007 by 5 strong willed actors, the company has grown to a group of 10 talented, motivated and hard working actors, producers, writers and directors. Its mission is to produce and explore artistically challenging and widely inspirational works, encourage diversity and develop existing and new original pieces through the use of ensemble.

More On Copyrighting

A few days ago, I received this comment:

What if your script is based off a real person and you're waiting for permission from their estate before submitting your script? Could you have your script dramatizing that person's life copyrighted BEFORE permission is obtained or AFTER?

The truth is, I have no idea. But I'll find out...

Adaptations

A great post by Alex Epstein regarding adaptations...

Ebru TV Seeking Field Producers

Experienced, freelance field producers needed for several new productions.

Candidates MUST HAVE television experience with producing segments, packages or interviews at various locations (non-studio settings). You will also be required to create a rough edit of your segment/show using Final Cut, as well as write any VO/narrator script needed.

You must have strong organizational skills, and the ability to carry out a project to completion. Final Cut Express skills required.

Ebru TV is a small, national network. Our television studio is located in Somerset, NJ. Candidates should have reliable transportation to our location. It is not easily accessible by public transportation.

Please send a resume AND include cover letter, summarizing relevant experience to:

Noreen Davis Green
_green@ebru.tv_ (mailto:green@ebru.tv)

Please do NOT send your resume for any other position. NO PHONE CALLS

Panforte Productions Seeking Intern

We are looking for a part time intern to assist with series development, sponsorship acquisition, database management, and other office tasks. Additionally, we will be looking for a person that wants to grow into a field production PA, AP, or AC.

Ideal candidate would have good computer and phone skills, familiar with basic production forms and production books, basic skills in FCP and/or photoshop, and a keen interest in a career in video production. We are based out of Brooklyn, NY and the Bay Area, CA.

Our projects range from commercial campaigns to promos, company profile, demos, and original branded content. We specialize in food, lifestyle, travel, and sports content, with a focus on pro-cycling. Most of our projects are small crews of 3-8 people around the NYC area as well as many shoots on location nationally and in Europe.

You can view some of our video work at:
www.vimeo.com/panforte
www.vimeo.com/brakethrough

Please reach us at:
iri@panforteproductions.com
jim@brakethroughmedia.com

Feel free to pass on to any candidates that would be a good fit.
Thanks so much!
Iri

Iri Greco
Panforte Productions
www.panforteproductions.com
Skype: panforteproductions
M: 516.607.9101 Twtr: panforte

Follow us on Twitter
* Check out our new Projekt Motion Fall 2009 Video Reel

Amanda Brings Isaac Home to Kansas City

Video from KCTV 5.

Family Guy and IASIF to Host Benefit for Haiti

Auto Reply: Out of the Office

If you've recently emailed me a spec, roommate inquiry, or general question, I apologize for my delay in response.  I have received and read your emails, but I'm under deadline to complete my pilot.  I promise to email each of you back as soon as possible.  Please be patient...

HAITI UPDATE: Amanda, Natasha, and Isaac are back!

Natasha and Isaac (along with 66 other Haitian children) arrived in Miami yesterday!  Natasha is currently rejuvenating in Florida with her boyfriend, Junior.  From there, she will travel to Kansas City to visit her parents and gather supplies for Faith Love Hope Infant Rescue, and then she will return to Haiti.

I am so proud of you, T-Rae.  You are selfless.

Amanda flew to Miami to be reunited with Issac; they will return to Kansas City tomorrow, TOGETHER.  Though it will take two more years to complete the adoption, Isaac will remain with her throughout the process.

From Amanda:

I still have to ADOPT him. But I have 2 years to complete it... so much red tape to go thru. But the amazing thing is he's here WITH me while i do it. Miracle after Miracle. He's absolutely the most precious child ever and i get to be his mama... :-)

Thank you all for your prayers and donations. And remember, if you're looking to receive notes on your spec, Warren and I will read and give notes to any HU reader who sends us their script, along with a minimum donation of $50 dollars, which will be sent to Much Ministries to aid the relief effort in Haiti.  Donate $100, and I'll get you a second set of notes from a working television writer (writer will differ based on genre of spec).  Donations must be received by Jan 29th.  If you're currently working on a spec, you can send in your donation now and we will read your script as soon as it's finished.  Email HollywoodUniversityBlog@gmail.com for more information on where to mail your donation.

Should Aspiring Writers Subscribe to the Trades?

Subscriptions to Variety and The Hollywood Reporter are very expensive.  Should young writers invest in these publications?  If you enjoy reading the trades and you can afford a subscription, absolutely.  But in my opinion, it's not a necessary investment for young writers still working to break in to the industry.

To be honest, I didn't find the trades valuable until I was a working writer.  Trades provide daily updates on recent deals, casting, show pick ups and cancellations, etc.  As an assistant working to land my first staff writing position, the information didn't affect me.  That said, I did read them.  My boss subscribed to both Variety and THR, read them each morning, and then passed them on to me.  (At least one person in every Hollywood office subscribes so once you land an assistant job, you'll likely have access to the print versions of both publications.)

Once I began working as a writer, the information in the trades become much more valuable to me.  For instance, if I'm developing a pitch for a certain production company or studio, it's imparative for me to be up to date on the other shows that entity is developing.  Or if I'm sending my pilot to an actor for consideration, it's important I know what other projects that actor is involved in.  I'm not discouraging anyone from subscribing (I subscribe to both Variety and THR); I'm simply encouraging you not to stress if you're a college student who can't afford the subscription fee.  You can keep up to date with major developments for free via Variety.com, THR.com and of course, Deadline | Hollywood.

More From Haiti... and How to Get Me to Read Your Spec

For those of you following the stories of my friends in Haiti:

Here are my dear friend Natasha's latest updates.  She's currently planning to escort her nephew Isaac to Miami (her sister is currently in the process of adopting Isaac from Haiti) and subsequently travel to see her boyfriend, Junior, before returning to Haiti.  I have yet to meet Junior, but he is my favorite boyfriend thus far, as my grandfather's name was Junior; not to mention how happy he makes Natasha.  In addition, T-Rae (as well as most of the children at the Faith Love Hope) is suffering from a cold.  I pray she recovers soon.

You can view Amanda's updates, press interviews, and photos here.  She is in Kansas City, patiently waiting to be reunited with her son, Isaac.   Isaac is still in Haiti, waiting for his paperwork to be processed, which will allow him to travel to the states with Natasha.  Things change every minute.  I'll keep you posted.

And last but not least, here are Dorothy Pearce's latest updates from Faith Hope Love Infant Rescue.

Regarding the second half of my post's title... are looking to receive notes on your spec?  Warren and I will pledge to read and give notes to any HU reader who sends us their script, along with a minimum donation of $50 dollars, which will be sent to Much Ministries to aid the relief effort in Haiti.  Donate $100, and I'll get you a second set of notes from a working television writer (writer will differ based on genre of spec).  Donations must be received by Jan 29th (one week from today).  If you're currently working on a spec, you can send in your donation now and we will read your script as soon as it's finished.  Email HollywoodUniversityBlog@gmail.com for more information on where to mail your donation.

If everyone who subscribes to this blog via Google reader, Twitter, and Facebook donated $5, HU could donate over $1200 to Haiti.  (Now you're all doing the math to figure out how many subscribers I have... and you're either really impressed or really unimpressed...)

Is everyone watching Hope for Haiti?  I will admit, I stopped blogging to watch Madonna sing Like A Prayer.  I couldn't help myself. 

Have a wonderful weekend.

Natasha, Dorothy, and Poutchino after last Tuesday's earthquake.

WANTED: 20-Something Roommate

Forgive my lack of blogging this week; I've been ill.

My baby sister, Emily, is currently looking for a roommate.  Pot-loving drama queens (and kings) with multiple DUIs need not apply.  Emily is the younger, carefree version of me and comes complete with living room furniture and, of course, access to me, as well as my husband's cooking.  If you or anyone you know is looking for a roommate, please email a short bio and writing sample to HollywoodUniversityBlog@gmail.com.  Open to male and female applicants.

More on How to Get Your Script Read

At least once a week I receive an email from an aspiring writer asking, "How do I get my material read by someone 'important?'"  I've written a number of posts about the different ways to get your material read, but I'm linking them all here for your convenience.  (Actually, it's for my convenience; next time someone emails me, I can just send them a link to this post.)

WAYS TO GET YOUR SCRIPT READ

Submit Your Materials to Writing Programs and Contests

This is the best option for those of you who live outside an entertainment industry based city and for those of you still in school.  Here is my post on reputable writing programs and contests.

Query Your Connections

Take advantage of the connections you have (and make new connections) via email.  Reach out to alumni, friends of friends, and anyone else who many have a connection in the industry.  Click here to read more about making and utilizing connections.

Query Managers

Querying managers is a long shot, but again, it's something you can do before you relocate.  More details here. 

Entry Level Jobs and Internships

Jobs and internships are the number one way to make the connections that will get your script read.  Aspiring writers are often focused on getting their materials directly to an agent or high-level writer or producer who can staff them, but the truth is, that's not how it usually works.  Generally, a writer works as an assistant, makes connections (a few higher-level connections and a lot of lower-level ones), and asks their connections to read their script.  And if your script is good, your connections pass it along to their connections (agents, showrunners, etc.)...

Click here for advice on how to find entry level job listings.

And remember, SUBMIT YOUR SCRIPT IN PDF FORMAT!

Should You Apply to a Show that is "Not Currently Staffing?"

My sister is currently applying for PA positions and is frustrated with the number of shows that are already staffed.  But I always tell her, apply anyway.  When you call a production office, you generally speak to an assistant.  Often times, that assistant has no idea he or she (or a fellow assistant) is about to be fired and that the show IS actually staffing.  Attention your cover letter and resume to the production coordinator and send it in.  If the show is already staffed, they will keep your resume on file in case something comes up at a later date.  Also, if your resume is good, the production coordinator may pass it along to another show that is staffing.  I applied to CSI a few years ago and their production coordinator called me personally to say, "I received your resume; we're not currently staffing but a friend of mine on another show is, and I'd like to send your resume to her."  How kind. 

Apply to every show. You never know what might happen.

What Spec Materials Should I Write?

One common question young writers ask is, “What should I write?”  Years ago that question meant, “What series is the hot one to spec?  And what’s been over-speced?”  But nowadays, it’s a much more complicated question.  Executives are interested in more than just specs.  So what should you submit?  A pilot?  A play?  An essay?  A short story?  Poetry?  Your to-do list?

I’ve asked a number of industry professionals this question while getting my own samples together, and I can tell you, everyone has a different answer.   But there is one underlying piece of advice: write something you can write well. 

If you have a great idea for an Office spec and you’re burning to write it, then write it.  People may tell you, “You shouldn’t write an Office spec because EVERYONE wrote an Office spec five years ago.”  But if you think it’s the script you can write the best, write it.  A handful of execs may refuse to read yet another Office, but most will be more than happy to read something good.  On the flip side of this question, if someone tells you to write a Big Bang Theory because it’s the current hot spec, but you don’t feel you can write it well, then do not write it.  Write something you can write well.

Do plays, essays and short stories make good samples?

Yes, because they exhibit your unique voice.  Plays can be particularly impressive, because many producers and execs consider the theater to be the “elite” alternative to TV and film.  Furthermore, studios and production companies love to read material that can potentially be developed into a series or film (or in some cases, a book series, which can then be developed into a series or film).  In addition, short stories and essays provide readers with a sample they can read through quickly, which is very enticing during staffing season when they have piles and piles of 40 - 60 page scripts to read.

If I submit an essay, should I also have a script sample?

There are no rules in Hollywood.  I know writers who were hired without ever having written a spec.  But generally, essays and short stories are submitted by writers in addition to their script samples.  Many producers I know would refuse to hire someone who had never written a script, except maybe in the instance of a consultant who had special expertise in the subject of the series (like Aaron Sorkin hiring Clinton Press Secretary Dee Dee Myers for The West Wing.)

Should I write a spec or a pilot?

The current trend is to write a pilot.  Some executives believe anyone can write a funny episode of The Office because it’s a funny show.  (After reading several Office specs I can tell you, many people can’t write a funny episode of The Office, but I digress.)  While pilots are the trend, they are very difficult to write, and I would never advise someone to write a pilot before they wrote a spec (or two or three) of an existing series. 

Specing an existing series provides you with a concept and characters that “work” and allows you to focus on structure, dialogue, formatting, etc.  Be honest with yourself about your skill set; I never would have been prepared to write a pilot had I not previously written a number of specs.  A well written spec will get you much further than a poorly written pilot.   Remember -- write what you can write well.  And if you do attempt a pilot, be prepared for the process to take significantly more time and effort than a spec.  You may have a few false starts; a few “back to square one” moments.  That’s part of the process.

There is another genre of spec worth considering –- the high-concept spec.  For example, the crossover spec: Dexter and Horatio meet and realize they’re working in the same Miami police department or Michael Scott meets David Brent.  A spec Mary Tyler Moore Show that revealed Mary and Rhoda as lesbian lovers made the rounds a few years ago.  A comedy pilot about a family of lovable terrorists also got a lot of attention.  During the first season of Lost, I wanted to write the final episode of the series as a spec -- answering the questions posed in the first season, explaining the hatch, etc.  But at the time I was working on another spec.  By the time I was available to write my Lost spec, the world of the island had become so complicated that I didn’t know where to begin… but you get the idea.

RULES FOR SPECING A SERIES

As you know, this isn’t a “how to write a spec blog.”  I generally link to more experienced writers for their advice on the matter.  But there are a few general guidelines that every aspiring writer should follow:

SPEC SUCCESSFUL SHOWS

It’s helpful to pick a popular or critically acclaimed series. Some executives will refuse (or reluctantly agree) to read specs of shows they’ve never seen, but again, if you’re burning to write it, do so.  Write something you can write well.  You can’t please every executive.  That said, if you’re tempted to spec a new, relatively unknown show, make sure it’s not likely to be canceled after six episodes.

DON’T LET YOUR GUEST STAR STEAL THE SHOW

Almost all shows provide the opportunity for you to create a new character (the patient/criminal/neighbor of the week).  In fact, most readers will want to know that you can create a character in addition to properly using the regular characters on the show.  Just remember who your main characters are.  (Hint: they’re not the one(s) you created).

ABIDE BY THE “RULES” OF THE SHOW

Most of the biggest hits of modern television include some kind of serialized storyline, whether it’s Carrie and Big, Derek and Meredith, or John Locke and Benjamin Linus.  It absolutely fine to spec a show with an ongoing story, but it’s important to follow a few simple rules when doing so:  First, be sure to include an author’s note at the beginning of your script to let your reader know where the series was when your spec was written.  (Click here to view the authors’ note I included with my Grey's spec.)   Second, your spec shouldn’t change the essential world of the series.  For instance, don’t write a Friday Night Lights where Jason Street walks again or a Two and a Half Men where Alan and Jake move out of Charlie's house.  Create stand-alone stories within the world that currently exists in the show.   And be prepared for the possibility that the episode of the show that airs the week after you finish your spec will blow your story out of the water.  It happens.  And it’s not the end of the world. 

One last thing: sometimes you’ll think of a great story for a show you don’t love to watch…  Write it.   You don’t have to love watching a show to write it well.  I wrote a Grey’s spec because I had a number of great medical story ideas.  My friend was in med school at the time and was constantly calling me with tales from the front lines.  Here’s my dirty little secret: when I decided to write a Grey’s, I had never seen a complete episode of the show.  I bought seasons one and two on DVD and spent two weeks watching them.  Then I wrote my outline.  And that spec landed me my job at In Plain Sight.  

Write what you can write well.  If you’re confident in your abilities to execute an original script, write a pilot or a play.  If not, spec an existing series.  If you already have two or three scripted samples and you have an idea for a short story or essay that has the potential to be developed into a series or a film (or that will simply display your voice in a way your previous samples don’t) write it!.  Write the piece you’re burning to write.  And write what you can write well. 

For more thoughts on this subject, check out Ken Levine’s advice on spec materials in his latest Friday Questions post.

For Those Of You in Kansas City

Reporting from Haiti

Thank you to everyone who continues to pray for my friends, Amanda and Natasha Taylor.  Amanda has finally arrived in Kansas City via an evacuation flight from Port-au-Prince to Miami.  She and her friend, Ashley Bryan, are currently setting up a donation site.  You can follow their efforts through Amanda's blog, Miss Taylor........@.

Natasha remains in Haiti with Faith Hope Love Infant Rescue, subsisting on Pop Tarts and her faith.  Communication is spotty, but she is updating as often as she is able.  You can follow her updates on her blog, Tasha Rae. 

Below is an account of Tuesday's quake and it's aftermath from Dorothy Pearce, manager of Faith Hope Love Infant Rescue.  For additional information on the Christian children's home and to follow Dorothy and Natasha's journey through this crisis, visit Dorothy's blog.

We survived the earthquake, all of us. PRAISE GOD!!!!!!

Amanda, Natasha and I were just arriving at Sacred Heart Hospital (CDTI) near what we think was the strongest area of the quake. Jesula, our nanny who had been with Poutchino at the hospital, was collapsing on the ground outside, in shock. Natasha ran inside for Poutchino. We parked the car. A man carried Jesula to the car. She was frozen with fear.

Hospital patients were brought outside, injured people came in thru the gate. All hospital personnel worked thru the night and next day with barely a break. Amanda and I took turns holding a flashlight for a surgeon stitching wounds and gradually learned how to do more. Natasha had to stay in the car holding Poutchino.

Some people were beyond help: the doctors gave them medicines for pain and treated those they could help. I counted about 40 people who died during the 24 hours we were there, all ages. Security manned the gate, only letting in the injured people that the doctor felt they could help.

Generators lit the parking lot. It seemed like a scene from hell with all the moans and screams and cries for help and the ground covered with injured people and blood. People panicked at every aftershock. Burns were the worst injuries but thankfully few.

Communications were cut off -- no one could find out about the rest of their loved ones. We had to try hard not to imagine the terribles thing that might have happened to our children and staff. Rumors trickled in about the buildings that had crashed. A rumor started that a tsunami was coming and we had to leave.

Heroes were everywhere. Groups of people sang and prayed and praised God for sparing so many. Doctors and nurses barely stopped to rest thru the night and well into the next day. Pain pills and shots were given freely. Every injured person got a shot of ampicillin. I gave shots, too. The hospital emptied its shelves, giving everything they had to help people. The strong carried the weak. Everyone comforted everyone else. People walked around praying for others. Two people scoured the streets for anything that could be used as splints. I am still amazed and glad that I had donated blood just that morning! We saw God working in us and all around us.

We finally were able to leave the hospital Wednesday afternoon, bring Poutchino with us. Collapsed buildings, wrecked and crushed cars, blood and bodies were everywhere. Coming home was such a blessing! No one was injured, the house was intact! Hallelujah! sweet relief!

Praise God we had just received new supplies of antibiotics. We gave most of them plus a lot of gauze and tape, tylenol and ibuprofen, needles, and IV sypplies to a clinic set up in our neighborhood. We had a little bit left over to give to Healing Hands this morning, and sent home some gauze and soap with a nanny for her injured grandmother.

Poutchino definitely had meningitis but there was no more infection by the time the CSF was tested. Considering the chaos at the hospital we brought him home with us. His abdominal pain is completely gone. He can eat again. I give him 1 gram of ceftriaxone every 12 hours hoping to keep the meningitis from returning. Infection could be hiding in his shunt. An operation to remove the shunt would be difficult to get now.

For those of you who know our staff, Claudia's leg is broken and her house destroyed. Jesula and her family are safe but their house was destroyed and they are staying here. Leonne's home was destroyed and she is staying here. Eva's house was destroyed but she has another place to stay. Suzette's house was destroyed: she can't come to work. Rosemanie is fine. Bébé was thrown from a truck during the earthquake and was injured but is doing okay. She was on her way to work the overnight shift. The other ladies who were here took care of everything. They worked very very hard. Our staff is fantastic!

Both of our usual grocery stores, Caribbean and One Stop, were destroyed. We haven't heard what happened to the people inside. Those were the only places we could cash checks. Gas stations arent open yet. We heard that Sherrie Fausey's building partially collapsed and one child was killed. Sherrie and Julie are fine. Karen Bultje and her kids are fine. Nikki, who went to live with Roberta, was killed by a falling wall. Roberta and all other children are okay. Pastor CJ came by this morning to see if we were okay. He said Pastor Leny and his family are okay. Pastor Genada called. They were in Port au Prince during the quake and a block fell on his daughter's leg. They had to go all the way back to Gonaives to get help for her. Karen Bultje is still being an angel of mercy for as long as her diesel fuel holds out: she brought us several cases of pop tarts so we have breakfast for a while. Dottie was temporarily trapped in her house but is okay now. Nickson and Ivens and their families are okay. Deedee, the Boyers and the Olssons are okay. Barb Lataillade's foot was nearly amputated. The U.S. military got her out to Jacksonville, Florida for care. Our pediatrician called to check on us.

Phones are starting to work again but not yet normally. Helicopters are flying overhead all the time, and small planes. The U.S. military is running the airport now. Civilian flights are all canceled. UN police are in charge of security. Not much is seen of Haitian police, I don't know why. I expect, hope, that relief supplies will come in soon. Our biggest concerns at the moment are cooking fuel and water.

We all are fighting shock, trying not to be overwhelmed with grief and horror. I am trying to plan without being overwhelmed with worry. PRAYER AND PRAISES REALLY WORK TO KEEP SPIRIT UP! Remembering what God has already done in protecting and providing for us reassures me that He will continue to provide for our needs. I am so thank Natasha and Amanda were with me at the hospital and that Natasha can stay here for a while to help.

I have heard that maybe 100,000 people died. I can believe it based on what I have seen. I heard that the earthquake was 7.3 on the Richter scale. We need news from outside but please keep emails strictly to news. We have to use our precious supplies of gasoline to get online. Since we have no place to cash checks I have to work with Christian Light Foundation to find a way to get money to us.

Please pray for all of us in Haiti and for all those sending and bringing help.

Natasha

HAITI UPDATE

Here's an update on my last Haiti post.

Amanda is currently in Miami, en route to Kansas.  Natasha remains in Haiti to support the relief effort.

Members of Much Ministries (Natasha's employer) will arrive in Port-au-Prince tomorrow to assess the damage to their affiliates and aid in reconstruction.  For updates on Much Ministries' affiliates in Haiti, click here.

Below is a list of reputable organizations collecting donations.  In addition, you can donate directly through this site. All donations received by Hollywood University will be donated to Much Ministries in honor of my friend, Natasha.  Paypal does charge a fee for donations made by credit and debit cards as well as for currency conversion, but my husband and I will personally cover the cost of these fees. The entire amount of your donation will be sent to aid Haiti.

OTHER WAYS TO DONATE

The American Red Cross International Relief Fund

UNICEF's Haiti Earthquake Fund

Wyclef Jean's foundation, Yele Haiti. Text "Yele" to 501501 and $5 will be charged to your phone bill and given to relief projects through the organization.

Ben Stiller's organization, Stillerstrong.

For a complete list of relief organizations in Haiti currently collecting donations, visit The Huffington Post.

Natasha and Amanda

 

DONATE TO HAITI

Natasha

My friend Natasha Taylor and her sister, Amanda Taylor, are currently in Port-au-Prince. Though their family has not spoken to them since Tuesday's quake, we have received confirmation that the sisters survived.

My friend Natasha has devoted her life to Haiti. She currently divides her time between Faith Hope Love Infant Rescue, a Christian children's home in Haiti, and Much Ministries, a Georgia-based agency committed to aiding the nation.

Her sister Amanda, in addition to her years of missionary work, is in the process of adopting a baby from the country.  The sisters were on their way to Sacred Heart Hospital in Port-au-Prince to visit a boy from the children's home when the quake hit.  Reports indicate that Amanda's future son, Issac, is also okay.

If you are interested in donating to Haiti, I would like to direct you to the Much Ministries donation page.

In addition, Much Ministries founder Kathy Brooks will be traveling to Haiti as soon as possible and would like to take a satellite phone with her to allow Natasha and Amanda, along with other missionaries, to contact their families. If you have ideas on how to provide this resource to Kathy, please email me.

This blog is dedicated to helping young people pursue their dreams of working in the entertainment industry.  Disasters like the earthquake in Haiti remind us just how trivial our business is.  We want to entertain, and the unfortunate residents of Haiti just want to survive.  Please consider making a donation.

Amanda & Issac

Film And Television Events in LA: Anatomy of a Script

Winnie Holzman (Wicked, My So-Called Life) and Robin Schiff (Romy & Michelle's High School Reunion) host some of the most successful and interesting writers working for film and television in this annual talk-show-styled series. The series features screenings of the guests' work, followed by a 2 to 3 hour intensive interview focusing on the writer's creative process, with a refreshment intermission.  More...

Indie Film Distribution

Forgive my lack of blogging; this week has been insane.  And it's only Tuesday.  I just realized I'm out of sour cream, which I need for the cake I'm baking, so I sent my son up and down the street in search of 1/4 cup of sour cream.  CSI happens to be shooting an episode in our neighborhood, so if you're watching and you see a little boy in the background wandering the streets holding a measuring cup, that's my Henry.

I'll be back to blogging A.S.A.P.  In the meantime, check out John August's post on indie film distribution. 

And yes, sour cream in cake is good.

Screenplay Giveaway Winners

Congratulations to David and Art.  And thank you to everyone who emailed!  Scripts will be mailed out today.

Screenplay Giveaway

I cleaned off my bookshelf last night and found copies of The Secret Life of Bees and Slumdog Millionaire.  If you would like them, email me which one(s) you want and I will mail them to you.  First come, first serve. 

Mentors

I stumbled across this article in THR regarding mentors, specifically President and CEO of A&E Abbe Raven’s mentor, daytime producer and executive Mickey Dwyer-Dobbin.  Ironically, the article focuses more on those who were mentored than the mentors themselves.  The inspiration mentors such as Dwyer-Dobbin have imparted on young, wandering children of the industry such as myself, cannot possibly be measured.  Or repaid.

I’ve blogged before about the “connections” my Midwest childhood provided me -- a man who was arrested for climbing a local hotel wearing homemade Spider man shoes; a Christian recording artist who lived with my grandparents in my father’s old bedroom; a family friend who dated Melissa Etheridge back when she dated men…  Needless to say, I forced to pave my own way.

Throughout my childhood, my mother did daycare.  CBS soap operas ran in the background all day long because Mommy “needed to hear adult voices.”  She never actually watched the shows.  But I did, and the voices stuck with me.  (I still write every role for Kim Zimmer.  Even the male roles.  It’s my own version of Yentl or The Nutty Professor in my head.  I wig her and she plays all the parts.  And she’s fabulous!  But I digress…)

It was an English teacher at my high school who first encouraged me to write for television.  I was babysitting for her (because that’s what you do in small towns); a soap was on in the background and she said, “You should write these.  You’d be good at it.”  And that was the first time it ever occurred to me that people actually wrote television.   

I wrote my first spec (for Guiding Light) with my best friend Gina when I was a high school sophomore.  Sometime during our senior year, Gina found Mickey Dwyer-Dobbin’s email address on a university alumni page, noted her credits, and emailed her.  She told her we were aspiring writers from Kansas who hoped to someday write for daytime television and asked if she would be willing to meet with us while were in New York during spring break--

I have a confession, Mickey.  We weren’t coming to NYC for spring break.  Not until you invited us.

-- Mickey emailed us back and invited us to her office in Manhattan.  And then we went home and asked our parents if we could go to New York for spring break.  I would love to tell you how inspiring Mickey was during our first meeting, but I don’t remember anything she said.  I only remember her office and the pictures that hung behind her desk.  That’s what happens when you’re in awe. 

Mickey mentored Gina and me throughout high school and college, granting us an internship at Proctor and Gamble and its soap operas, As the World Turns and Guiding Light, after our freshman year of college. 

Every Friday she would call us into her office to discuss our weekend plans.  What plans?  We were 18.  We had no idea what to do with ourselves.  And every Friday she would hand us a map with a new location circled – a museum, a beach, etc.  On Mondays we were to report back on our new experience.  Mickey wasn’t just teaching us how to navigate the world of television; she was teaching us how to navigate the world.

Mickey gave me the greatest piece of writing advice I’ve ever heard.  I was pitching one of my many (most likely bad) story ideas when she looked at me and said, “Do you really wanna watch that?”

And that, friends, is the question you must ask yourselves.  When you’re creating a story or a scene, ask yourself, “Do you really want to watch that?”  And be honest.  Often times, the answer is no. 

Throughout our college years she checked in with our professors, read our specs, and gave us all the advice that mentors are supposed to give.  But most importantly, she gave a girl from the middle of the country the self-assurance to break into this industry.  And while I’ve thanked her many times while practicing my awards speech in the shower, it’s time I say it out loud.

Thank you, Mickey. This blog is dedicated to you. 

From Warren:

When I moved to Los Angeles, I was dating a girl whose father was an old-time TV writer.  And I mean "old-time" -- he had credits like "The Monkees,"  "Kung Fu," and "Adam-12."  He introduced me to his agent when I was a senior in college, a relationship that led years later to my first real job.  He worked with me on my scripts, talked writing with me endlessly, taught me writers' terms like "on the nose."  It's fair to argue that he smoked way too much weed to be considered a "mentor," but I could never begin to put a price on the experience he shared with me.

I broke up with his daughter before my career really got started, and I lost touch with him over the years since then, and so I never took the time to really thank him.  Then in November of 2008, he died.  RIP, Robert Schlitt.  Thanks, Bob -- consider this too little too late.

Film And Television Events in LA: Film Independent's Director's Close-Up

From filmindependent.org:

LOS ANGELES (January 7, 2010) - Film Independent, the non-profit arts organization that produces the Spirit Awards and the Los Angeles Film Festival, announced that writer/directors Neil LaBute (The Shape of Things, Possession), John August (The Nines, writer Charlie and the Chocolate Factory), as well as New York Times Media Correspondent Michael Cieply will be moderators at the tenth annual Directors Close-Up, taking place February 3 - March 3, 2010 at The Landmark - West Los Angeles. Series panelists this year include directors Cherien Dabis, Ruben Fleischer, James Gray, Michael Hoffman, Jason Reitman, Marc Webb, editor Dana Glauberman, and cinematographer Eric Steelberg, with additional names to be announced.

Over the course of five consecutive weeks, attendees will gain rare insight from artists as they discuss the craft, collaboration, and art of filmmaking in this series. Film Independent's 2010 Directors Close-Up sponsors include Skywalker Sound, The New York Times, The Landmark Theatres, the Directors Guild of America and SAGIndie/Screen Actors Guild. Film Independent is proud to welcome The New York Times as Co-Presenter of the Spirit Awards Roundtable on March 3rd.

"The Directors Close-Up is a singular opportunity for both independent filmmakers and the film-loving public to learn about every step of the creative process, ask questions, and interact with the panelists in an intimate setting," said María Bozzi, Director of Film Education. "We are so excited to have Neil, John and Michael lead the discussions with such a diverse group of illustrious directors and their collaborators."

More...

Elizabeth Cosin's Advice for Young Writers

I highly recommend reading Elizabeth's Cosin's inspiring interview with Neely Swanson at* No Meaner Place. Here's an excerpt:

It doesn’t matter what anybody says or how much work there is or who gets gigs on the Who You Know circuit or who the best unemployed writer or unpublished script is. It doesn’t matter. None of it does. What matters, what always will matter now and forever, is the work.

And not just any work but your work. What matters is if you are one of those people who are hard-wired to write then write you must do, no matter if it pays the bills or not. No matter what anyone tells you. No matter the prospects of getting paid or published or even printed on glossy white 3-hole punch paper. No matter what, period.

Because if you are one of those poor suckers, you already know the gospel by heart. You ain’t in it for the money. Only a fool becomes a writer to get rich. You’re in it because you’re in it and there’s no way out of it. You’re here because you have no choice, because there are forces at work well beyond your control that compel you to turn that glob of gray between your ears into words and sentences, paragraphs and chapters, dialogue, scenes, acts, to put pen to paper or fingers to keyboard or blood to stone. Because you have no fucking choice.

If it’s in you, you know. And if you know, then you don’t need anybody to tell you that you’ve just turned on to an endless two-lane between the voices in your head and those voices on paper making any kind of sense, the latter so far out on the horizon, you can’t be sure if it’s home or a thousand-foot death drop off a cliff.

I’ll tell you what you say to that young kid just starting out or to the reflection in your mirror on those days when you’re certain you’ve either written your last good word or the last word of yours anybody will ever read. You remind that kid (and you) that nothing will ever matter more than the work, that on this crazy, winding, frightening, amazing, wondrous, magical and sometimes fucked up ride that for sure has been chosen for us and not vice versa, the only thing you’ll ever have any control over is your craft. And nobody can take that away from you. Not if you don’t let them.

*When referring to blogs, is it "at" or "on" or "in?" Someone please enlighten me.

How To Ask For (And Receive) Notes On Your Spec

My husband and I read and give notes on a lot of specs. We also receive a lot of notes on our own specs. (Even after 20 years in the industry, my husband still sends his script to fellow writers before sending it to his agents.) If a writer agrees to read your spec, be aware, you're asking for their opinion. And they will have an opinion. Most likely, several opinions. But you're not required to take every one of their notes. In fact, you're not required to take any of their notes. Sometimes I find myself taking all but one suggestion; other times, I take only one. I always tell people, if you get the same note from more than one person, you should really consider addressing it. Otherwise, remember it's just someone else's opinion. It's your script. Your vision. Appreciate everyone's opinion, but follow your own.

Sometimes I send notes via email and sometimes I discuss them over the phone, depending on my schedule. I've been lucky to give notes to very gracious young writers. It's important to be gracious. Readers are giving you their time and it's important for you to say thank you, no matter how helpful (or not helpful) their notes are and how long it took them to get back to you. (I'm the worst about sitting on a script. It is my New Years Resolution to respond in a more timely manner. And to check my voicemail more than once every two weeks. Sorry, Mother.)

When asking for notes, it's important to specify whether you're looking for overall story notes or page notes. Story notes are notes about the story, concept, structure, etc. Page notes refer to specific moments, dialogue, jokes, etc. If you're sending out your first draft, you're most likely in need of story notes. Once you've revised your script, you may want people's opinions on specific scenes or jokes (especially if you're writing a comedy). Asking for page notes from readers is essentially saying "Please don't send me notes about how to radically change my story but rather, specific suggestions on how to make my script better." It's important to let your reader know what you want. It will save you both a lot of time.

Lastly, if you're receiving notes over the phone, remember your reader is not your writing partner and a notes session isn't a brainstorming session. It's absolutely fine to clarify a note you don't understand, but it's not a pitching session. Write down the note and move on to the next one. Don't say, "Oh, that's a good idea, what if I do this..." Many writers will pitch a suggestion along with their note. And many times, it's a suggestion you already thought of and ruled out. A notes call isn't the time to say, "Well, I thought of that but it doesn't work because of this..." Just say, "Thank you," and brainstorm after you hang up.

And unless your mother is a screenwriter, don't bother asking for her opinion. She's going to love it no matter what. Or, in the case of my mother, she'll hate you for always creating a main character whose mother is dead.

For any other questions regarding notes, feel free to leave a comment on this post.

Hollywood Job Skills: Fantasy Football

In college, I learned to play golf.  At the time, I had interned in daytime television; charity golf tournaments are frequently hosted by the daytime stars, and it became clear to me that the golf course was a networking hotspot... not to mention a way to meet men.  My husband may or may not have asked me out because I told him that I knew how to play golf.  I didn't tell him how much I hated it until we were actually on our date. 

My golf skills may have landed me my first date, but my tolerance love of fantasy football landed me the ring.  And a lot of Hollywood connections.   An explanation from my husband:

What's the 2010 equivalent of golf?  What activity permeates every production office in the industry?  No doubt about it -- it's fantasy football.  (Maybe they don't do it at "Glee."  Then again, maybe they do.)  Perhaps it's not something you want to list on a resume, but if you are interviewing for that first job as a PA or an assistant and notice the usual amount of sports memorabilia in the Production Coordinator's office, mention that you play fantasy and see how quickly that sparks a bond with your future boss.

[A gentle caution: playing fantasy football in the office does get some people in trouble.  Make sure your boss (or the company you work for) doesn't have some kind of rule about it.  And don't sit and stew about your line-up when you should be working.]

The great thing about fantasy football leagues in a production office is that it will allow you (at the bottom of the office pecking order) to interact freely with the writers, producers and sometimes even cast members.  You'll email trade offers, talk draft strategy, and get to know each other as people.  This advice applies equally to women and men -- in fact, perhaps one of the best ways a female can fit into a mostly male office is to join the league.  Just be forewarned -- people take it very seriously.  If you are going to play, be ready for the smack talk (mostly in fun) and the occasional angry glare from the producer you just whipped in the playoffs (not so much in fun).  And never -- ever -- draft a kicker until the last round.

The Reasons Scripts Change During Production

A great post by Alex Epstein on the reasons scripts change during production.

Blogging About Your Job: A Big No-no

As a Hollywood writer, you will offend someone eventually.  Remember the Michigan woman's letter writing campaign to advertisers to boycott Married...With Children?  Or more recently, the disabled actors and advocates who were upset by Glee's casting choice?  My own father used to call me every Monday morning to give his review of In Plain Sight which generally concluded with, "...but there's too much cursing."  I can't wait until I write for an HBO show...

You will offend people.  And they will offend you.  Whether it's a woman from Michigan, an advocate for the one group not represented in your cast, or a network executive who just gave you the most incomprehensible note you've ever received, the internet is not the place to vent your frustration.  Yes, people do it.  And many of them almost lose or do lose their jobs.  If you take only one piece of advice from this blog, let it be this: do not post about your work on the internet.  It's not just about whether your boss will care.  What about their boss?  Network or studio execs, advertisers, and so on.  As a young writer, it can be detrimental to your career.