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- UCLA Radio News interview with John Wilson [#]
- Because "old fashioned" job hunting was just too easy [#]
- Q & A with Screenwriter John August at WGA [#]
- Internet Movie Script Database [#]
- Alameda Writers Group notes: Lisa Cron (agent), Paul Levine (attorney) [#]
- Jackhammer and John August exchange [#]
- Warner Bros. Comedy Spec Writing Mini-Workshop Notes [#]
- Rock and Roll for Writers: John August [#]
- first draft: finished [#]
- 128 pages and the pool [#]
- First, there were no good shows to pick from.
- Picking appropriate story; too many long-lost relatives, high school reunions, and xmas/holiday stories. Do a garden variety story.
- Write some either critically acclaimed or popular. Avoid more obscure shows, because if the reader isn't familiar with the show, they can't judge your script, and know if it has the appropriate tone.
- Typos!
- Not crisp. Mealy-mouthed characters, redundant moments, etc.
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UCLA Radio News interview with John Wilson
Nov. 29th, 2007 | 11:49 am
I was recently interviewed by John Wilson from UCLA Radio News. He finished editing the piece, and it's now available on their site:
Breaking into the Hollywood Scriptwriting business
Anchor and producer John Wilson interviews Devon Delapp, whose daily blog www.devondelapp.com chronicles his ongoing story as an aspiring writer, working his way up through the ranks of the industry. For all of those with a passion for writing or an interest in the film business, find out what makes a fantastic script, where many scripts go wrong and who gets the final credit on a story.
I met John at the Empower Change Summit a few weeks back. We sat next to each other for the Bill Clinton talk. Afterwards, we both agreed: that man has a beautiful brain.
Breaking into the Hollywood Scriptwriting business
Anchor and producer John Wilson interviews Devon Delapp, whose daily blog www.devondelapp.com chronicles his ongoing story as an aspiring writer, working his way up through the ranks of the industry. For all of those with a passion for writing or an interest in the film business, find out what makes a fantastic script, where many scripts go wrong and who gets the final credit on a story.
I met John at the Empower Change Summit a few weeks back. We sat next to each other for the Bill Clinton talk. Afterwards, we both agreed: that man has a beautiful brain.
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Because "old fashioned" job hunting was just too easy
Feb. 16th, 2006 | 11:18 pm
I'm hunting for a job as a PA on television show or pilot. What this amounts to is locating the number for, then calling, dozens and dozens of production offices throughout the Greater Los Angeles, asking about their "staffing needs", and then faxing them a cover letter and resume. It's laborious, and after my last major job hunt, I knew I was heading towards a messy pile of indecipherable notes, detailing who I called, faxed, etc. etc. A mess.
Today, I put together this tool in Filemaker to assist my hunt. It organizes all the pertinent information (number, contact person) for each show into a searchable, indexed database. There's a "Contact History" area for each, that tracks our interaction (when I called, when I faxed, when they offered me piles of money). There's a separate view, that quickly displays everyone I've contacted and when, which makes knowing which show I should be checking up with on any given day simpler (two weeks is what I've been told to wait between calls).
Finally, a customized cover letter and resume can be faxed to the appropriate recipient with one click. With this tool, I can now send out resumes "gatling gun" style. Time spent on laborious work is reduced, which is great, because it gives me more time to work on my screenplay. And by "work on my screenplay", I of course mean "eat leftover sweets from Valentines Day and watch the Arrested Development DVD from Netflix that arrived this morning".
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Q & A with Screenwriter John August at WGA
Feb. 16th, 2006 | 09:22 am
Question & Answer with Screenwriter John August
February 9th, 2006, at the WGA building on 3rd, as part of their "Writers on Writing" series.Moderator: Howard Rodman
John August is a noted screenwriter of films such as Go, Big Fish, and Charlie's Angels. This Q & A session goes over the beginnings of his career, his various projects, past and present, his method, and his advice for new screenwriters. In addition to this Q & A, I strongly suggest those interested visit his fantastic website, johnaugust.com.
Beginnings
Born: Boulder, Colorado. Very suburban upbringing, Scouts on Monday, etc. (oddly, another prominent screenwriter, Josh Friedman (War of the Worlds) is also from Boulder. Also, John is bummed that Josh has not yet assigned him a pseudonym on his own blog).Attended Drake University, received a degree in Journalism. There, learned "Pyramid Style", the journalistic style of writing that allows the story to be cut off at any point and still stand up on its own. John saw a similarity between this and film, in that a great film can convey its essence in any one frame. For example, Aliens, his favorite movie.
Peter Stark Program
The Producing program at USC film school. It helped John get over his fear of Los Angeles. The best aspect of it was the lack of textbooks -- professionals would just come into the class and talk with them. Great benefit was learning "wholeness" of industry, from script to distribution.While there, wrote short thriller called "Coil", that garnered him some attention.
He worked as a script reader for TriStar. He kept his notes on each script witty to help fight boredom, which helped him stand out. He did so much coverage of scripts, it got to the point where he could read and cover a full script in 90 minutes. His method was turn pages with one hand, "flash" each page (see it all at once), while simultaneously writing with other hand what was happening. It taught him how to *not* write a screenplay.
Here and Now was his first script. Overwritten, "about everything", but good enough to land him an agent.
Immediately out of school, he did two adaptations for money: How to Eat Fried Worms, and A Wrinkle in Time. Then he did Go.
First film: Go
Started as short spec script, then he later expanded to a feature length. The script as it was shot didn't change much from first draft, though there used to be a Linda Hunt character. If he had to pick, John would describe himself as the Claire character (Katie Holmes) -- "Can't we all just get along?"Filming was behind by 3rd day, so John took over as 2nd unit director. He remembers being amazed by how many trucks were used to carry all the gear.
There are story ties to Alice in Wonderland -- the Miata is the "White Rabbit".
Titan A.E.
Many iterations of script had passed before he touched it. 8 years old. His main job required lots of editing. At one point was to be all CGI, and was told "characters can't get wet, because doing water on the computer is hard".God
An 11 minute short, actually filmed using the Go crew while on a break. Rejected from Sundance. It currently has a 4 out of 10 star rating on IMDb, which John doesn't understand because he knows for a fact that almost no one has seen it -- on a shelf at home.Charlie's Angels
Weird and great experience. He, Drew Barrymore, and McG all spent weeks before script was written just talking about how they wanted the movie to feel. General concept was for it to be "about 3 dorks who're good." A positive experience.Charlie's Angels: Full Throttle
Before starting, they created a "stupid sequel things to avoid" list, then watched as item by item they checked them all off. Bad decisions were made, and John has mixed emotions about the whole thing.Big Fish
He read the manuscript first, then got Sony to option it (it was sort of "holding" deal on John -- as long as they had this project he wanted, he wouldn't leave them).John's own father had passed several years earlier, so he felt he would be able to address much of the story honestly.
Unmade scripts
Zombie Western: awesome.Fenwick's Suit: adaptation of children's book. Dropped.
Demonology: sad story. It was a combination of two of John's favorite movies: Clueless and Aliens. Paramount just never made it.
Thief of Always: He did a good script, but was fired because the director and novelist hated it.
"Secret Project": To be his directing debut. Very much under wraps.
Barbarella: for Drew Barrymore, but unfortunately, studio politics sank the project.
Fury: Wrote on spec out of anger following Charlie's Angels: FT. Very violent action movie. Studio wanted it as PG-13, so John didn't sell it.
Tarzan: Current frustration. Wants to set it in modern Africa, but studio wants it in Victorian times. Also difficult is that there is no dialogue for 40 pages.
Advice to Writers / Personal Writing Method
Working with directors
John has worked several times with Tim Burton. Reasons why their relationship has flourished:
Listening very, very important. From this, Tim Burton trusted him.
Ask "What do you need? I'll try and get it for you."
With Big Fish, John constantly asked himself, "Why is Tim interested in this story?"
On rewrites: Be a grownup
Know the issues that concern each person in the room -- knowing this can help explain quite a bit of their motivation.
Decide whether to take ownership of project, i.e. Architect vs. Contractor.
Due to disconnect of time between writing and the final product, watching a film he worked on is like seeing "a kid I met at camp."
When not writing...
Working on web site.
"I can beat myself up with the best of them."
Website came out of frustration from answering same questions on IMDb, and having no good way to navigate previous answers.
How to balance the day: Work 9 to 6. When his assistant is there, he knows it is "work time". Past 6, he feels like he is neglecting family. The new baby makes things tough.
If stuck...
Try brute force, making yourself keep writing. Also, skip to part you want to write next, then come back later.
Tries to write the ending early on, when still excited about the idea.
Rewriting
Two kinds: reworking entire sections, and then just moving commas.
Working on a word processor can give the "illusion of work", for it's easy to scroll by all that text without qualifying changes.
Ask "is this scene needed?" Drop if not.
Recognized in his own work
Daddy issues seem to come up often.
"2nd world" arises, i.e. what Tim Burton creates, or the Miata/White Rabbit of Go.
In 10 years John hopes to be...
Still writing for big filmmakers.
As a director, hopefully will not intimidate other filmmakers that he would be writing for.
Still working.
Good screenwriters to study
James Cameron: Aliens, Point Break. More than any other, he knows how to convey sense of watching a movie as you read.
Quentin Tarantino: Natural Born Killers. On every page, you know he's having fun.
Inspiration
Often starts by thinking of "a movie about this."
"Sorry this is so commercial, but I ask myself 'What would the trailer be?'" - To know what is in that form can decide whether or not he'll pursue the idea.
It's tough to hold onto the original inspiration of an idea all the way through a project. For Go, he had a mix-tape of music he used to keep him in the mood.
For Big Fish, he made himself cry on purpose to write death/sad scenes.
His first move as a new grad today
John didn't do TV or many specs, but he would now.
Consider television as "just another screen", and pursue it if at all interested.
Don't re-write that first script too many times. You need multiple scripts.
Let anyone read your scripts, and be proud of the work. Of all the people he's met, it was the assistants that helped him the most -- get to know people at your level.
Write a script that can be made for a lower budget than a big blockbuster -- it'll make you easier to hire.
Personal method for writing/re-writing
Goes off along, writes chicken-scratch longhand version that only he can read.
Then a readable longhand, script version.
His assistant to types those notes up in proper format.
Takes two passes on this version, with some time in-between each draft.
Then ready to share.
Before starting actual script, preparation
Write up "beat sheet" of things that you want to happen in rough order.
Rarely returns to this sheet, and allows organic growth.
Don't feel guilty about not writing a section because it is stripped by earlier change.
Final, miscellaneous advice
Dialogue is the way people would talk if they had 30 second pause between each exchange to think of something good to say.
"Pick movies that get made"
Each script is a 6 months dedication, so think long and hard before starting down that road.
Feel bad about un-produced characters, trapped in a script that will just gather dust on a shelf.
* * *
The WGA then thanked John for his time. The Q&A now over, he was approached by about a dozen people. I hung back, ended up being one of the last to speak with him there, and as a result ended up in the same elevator down to the parking garage. There, we had this quick exchange.
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Internet Movie Script Database
Feb. 15th, 2006 | 10:41 pm
I must be late learning about this, but how could I have not found it sooner?
Internet Movie Script Database
It's certainly not as complete as the IMDb that it shares a name with, but there are many scripts here I haven't been able to find before. It's well organized, too.
Internet Movie Script Database
It's certainly not as complete as the IMDb that it shares a name with, but there are many scripts here I haven't been able to find before. It's well organized, too.
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Alameda Writers Group notes: Lisa Cron (agent), Paul Levine (attorney)
Feb. 11th, 2006 | 11:59 am
The Alameda Writers Group is one of the more prominent organizations of its kind. They meet at the Glendale Public Library, and occasionally feature guest speakers, ranging from successful writers to booking agents. It was at one of these meetings on January 7th that I took these notes. Following is advice aimed at the entry-level writer, with a few tid-bits for the old pros. Specifically, they talked about query letters, legal protection with script registration, and finding an agent:
The Alameda Writers Group General Meeting
January 7th, 2006, Glendale Public Library
Guest speakers: Lisa Cron (booking agent), Paul Levine (attorney, manager)
They each took a turn dispensing advice, then both participated in an audience Q & A.
Lisa Cron - Booking Agent
When signing someone, she looks for hard worker, dedicated, "Sharahzad" (1001 Arabian Nights)
Question 1 for 'em: Can they hook the reader?
"SECRETS" ABOUT QUERY LETTERS
1. Format and amount of text can have equal effect as content. Keep it
lean: 1-2 paragraphs, 2 sentences each. Lots of white space.
2. Query letters don't mean as much as you think.
3. Send first three pages of script with the letter.
4. A synopsis is not worth it - never read.
Format should be: Half a page long
- brief desc, why writing to agent, genre.
- give taste of script, and riveting specific detail.
- any credentials, awards, sales, produced
- possibly describe how script is like project "X", but with a twist
(LA Confidential, but funny!)
- mention if multiple submission, or if you're submitting this to her
exclusively for a period.
5. be confident, succinct, believe you're a good writer.
- don't apologize, qualify (I think, I believe)
- don't be needy (I trust you will...)
- don't say, "It's ready to go" (response is "oh yeah?")
- don't be chatty. no life details unless relevant
- don't brownnose
6. the agent wants to know: if you know someone they know.
Paul Levine - Lawyer and Agent
QUERY LETTERS
1. best way to get agent is by referral - no DUH
2. purpose of query is to get him to request materials -- DO NOT INCLUDE 3 PAGES
COPYRIGHT LAW / WGA SUBMISSION
Every idea is copyright at moment of creation. However, officially registering a copyright gives additional rights. However, most important:
REGISTERING YOUR SCRIPT WITH THE WGA IS A WASTE OF TIME
Why? Other than show a date when script was submitted, offers no other protection. (Side note: it's a popular myth that someone can mail themselves their own script in a sealed envelope to prove date of creation. Not true, for envelopes can be steamed open). The WGA also throws out the script/proof of creation after five years.
Instead of WGA, REGISTER YOUR SCRIPT WITH US COPYRIGHT OFFICE. It also proves date of creation, but they never throw it out. More importantly, in court, if registered, you're entitled to statutory damages and having your attorney fees paid by the other, losing party. No other form of registration, WGA included, guarantees these rights.
The Alameda Writers Group General Meeting
January 7th, 2006, Glendale Public Library
Guest speakers: Lisa Cron (booking agent), Paul Levine (attorney, manager)
They each took a turn dispensing advice, then both participated in an audience Q & A.
Lisa Cron - Booking Agent
When signing someone, she looks for hard worker, dedicated, "Sharahzad" (1001 Arabian Nights)
Question 1 for 'em: Can they hook the reader?
"SECRETS" ABOUT QUERY LETTERS
1. Format and amount of text can have equal effect as content. Keep it
lean: 1-2 paragraphs, 2 sentences each. Lots of white space.
2. Query letters don't mean as much as you think.
3. Send first three pages of script with the letter.
4. A synopsis is not worth it - never read.
Format should be: Half a page long
- brief desc, why writing to agent, genre.
- give taste of script, and riveting specific detail.
- any credentials, awards, sales, produced
- possibly describe how script is like project "X", but with a twist
(LA Confidential, but funny!)
- mention if multiple submission, or if you're submitting this to her
exclusively for a period.
5. be confident, succinct, believe you're a good writer.
- don't apologize, qualify (I think, I believe)
- don't be needy (I trust you will...)
- don't say, "It's ready to go" (response is "oh yeah?")
- don't be chatty. no life details unless relevant
- don't brownnose
6. the agent wants to know: if you know someone they know.
Paul Levine - Lawyer and Agent
QUERY LETTERS
1. best way to get agent is by referral - no DUH
2. purpose of query is to get him to request materials -- DO NOT INCLUDE 3 PAGES
COPYRIGHT LAW / WGA SUBMISSION
Every idea is copyright at moment of creation. However, officially registering a copyright gives additional rights. However, most important:
REGISTERING YOUR SCRIPT WITH THE WGA IS A WASTE OF TIME
Why? Other than show a date when script was submitted, offers no other protection. (Side note: it's a popular myth that someone can mail themselves their own script in a sealed envelope to prove date of creation. Not true, for envelopes can be steamed open). The WGA also throws out the script/proof of creation after five years.
Instead of WGA, REGISTER YOUR SCRIPT WITH US COPYRIGHT OFFICE. It also proves date of creation, but they never throw it out. More importantly, in court, if registered, you're entitled to statutory damages and having your attorney fees paid by the other, losing party. No other form of registration, WGA included, guarantees these rights.
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Jackhammer and John August exchange
Feb. 10th, 2006 | 09:03 am
On the upside, the John August Q & A was interesting last night. I introduced myself after, and he recognized my name from an email I sent him, thanking him for letting me rip off code from his web site for my web site. As I didn't approach until right before he was ushered out by the volunteers, we ended up in the same elevator on the way down to the garage. Squeezed among the volunteers and the other last stragglers, we had this exchange:
Awkward silence for a beat.
DEVON (suddenly)
Oh, hey!
Startled, John August glances up. All eyes on Devon.
DEVON (cont'd)
I was going to email you this, but since you're here...
JOHN
Yeah?
DEVON
I took a lot of notes during the session. Do you mind if I...
JOHN
Oh yeah, no problem.
DEVON
Because I like to put that kind of stuff on my web site.
JOHN
Yeah, sure, go for it.
DEVON
Do you want to check it first?
JOHN
No need. Just nothing too offensive.
DEVON
Oh, so you mean I should leave out that whole anti-Semitic rant?
JOHN (laughing)
Exactly. That would need to be edited.
* * *
On the downside, as I write this, there's a jackhammer pummeling asphalt 30 yards from my ear drum.
Awkward silence for a beat.
DEVON (suddenly)
Oh, hey!
Startled, John August glances up. All eyes on Devon.
DEVON (cont'd)
I was going to email you this, but since you're here...
JOHN
Yeah?
DEVON
I took a lot of notes during the session. Do you mind if I...
JOHN
Oh yeah, no problem.
DEVON
Because I like to put that kind of stuff on my web site.
JOHN
Yeah, sure, go for it.
DEVON
Do you want to check it first?
JOHN
No need. Just nothing too offensive.
DEVON
Oh, so you mean I should leave out that whole anti-Semitic rant?
JOHN (laughing)
Exactly. That would need to be edited.
* * *
On the downside, as I write this, there's a jackhammer pummeling asphalt 30 yards from my ear drum.
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Warner Bros. Comedy Spec Writing Mini-Workshop Notes
Feb. 9th, 2006 | 06:44 pm
My application to the Warner Bros. Comedy Writers Workshop was rejected. That's old news -- I got the letter in mid-January. As a sort of consolation, they had this offer in the second paragraph of that letter:
We are, however, inviting you to an evening seminar focusing specifically on comedy spec writing. It will be held Tuesday, February 7 at Screening Room 4 on the Warner Bros. lot in Burbank. We will be addressing some tips and tricks on comedy spec writing. This lecture is only for Workshop applicants (no guests, please) and there is no admission fee.
So, I went. It wasn't in Screen Room 4, but it took a nice evening stroll through the WB lot, guided by misinformed security guards, to figure this out. The screening room was on the second floor of building 66, and was about half-full when I arrived. The speaker was a tall-ish, brunet, 40 year-old named Debbie.
Here are my notes:
Comedy TV Writers Workshop @ WB, 2/7/2006, 7 pm
Speaker: Debbie Pearlman, Director of Writers Workshop
Audience: about 100 people -- 85% white guys, 5% minority guys, 7% white girls, 3% minority girls
326 scripts received. 25 writers interviewed. 10 selected. and in all likelihood, 1 will get a job.
The 10 selected: mid-30's median age, all were multiple submitters. Their spec scripts were: 1 curbed, 2 office, 1 bernie mac, 1 scrubs, some other stuff.
FIRST ADVICE TO COMEDY SPEC WRITERS: Write a drama spec. Comedy writers are struggling, and have been for several years. Drama is doing much better. In addition, a drama Executive Producer is more likely to take a risk on a new writer. Drama writers are more mature and inclusive. Comedy writers are like fraternities and sororities. They're cliquish and more insecure. They won't extend the invitation to a new writer.
Good drama specs are: Medium, Boston Legal, Grey's Anatomy, Nip-Tuck, Deadwood
A BRIEF HISTORY: Once upon a time, writers used to write it all -- drama, comedy, sketch, copy, whatever. Then Cosby happened. Writers began to specialize. Now, she sees a return to the old system. Write it all.
COMMON PROBLEMS WITH SUBMISSIONS:
GENERAL NOTES:
A comedy writer should be funny in person, but not obnoxious. EP looking to "cast room", and they need someone who they share 12 hours a day, 5 days a week with. They need humility, and to be "real".
When writing a spec, look for patterns in the show: number of scenes, their length, what happens before the act break. These are more important that what kind of brad or appropriate margins.
Comedy staff writer positions don't really exist anymore. Because high-level writers are willing to work for less than they once were, staffing is top-heavy. Hence, writers of the senior level are paid as mid-level, and handle responsibilities of both.
Write both multi-camera and single-camera specs. It shows you're versatile.
How does one find the balance between their own unique voice and the pre-existing voice of a show when writing a spec? Allow your voice to shown in the story told. Take a world unique to you, and tell it in the environment and voice of the show's characters.
The character's attitude should change from scene to scene. If it hasn't, it feels stagnant, like we're not making progress.
How long to write a spec? If you're taking six months, that's too long. On a show, they get 2-3 weeks, working in teams. Always be getting faster.
Screenplay competitions in Austin, SXSW, Nichols, Scriptapalooza - Agents troll them.
PROGRAMS TO TRY
Nickelodeon, CBS, ABC, and Fox all have workshops/fellowships (I know, I've applied to them).
The UCLA extension courses are fantastic.
Debbie doesn't recommend Writers Bootcamp
HOW TO BECOME A WRITER ASSISTANT ON A TELEVISION SHOW
Those positions are generally not listed, but check job boards. Pilots are good target. Call the studio, ask for the HR department, and see if they're looking for any assistants.
BOOK PLUG
The WB Workshop, "Starting your Television Writing Career", $11 @ Amazon
We are, however, inviting you to an evening seminar focusing specifically on comedy spec writing. It will be held Tuesday, February 7 at Screening Room 4 on the Warner Bros. lot in Burbank. We will be addressing some tips and tricks on comedy spec writing. This lecture is only for Workshop applicants (no guests, please) and there is no admission fee.
So, I went. It wasn't in Screen Room 4, but it took a nice evening stroll through the WB lot, guided by misinformed security guards, to figure this out. The screening room was on the second floor of building 66, and was about half-full when I arrived. The speaker was a tall-ish, brunet, 40 year-old named Debbie.
Here are my notes:
Comedy TV Writers Workshop @ WB, 2/7/2006, 7 pm
Speaker: Debbie Pearlman, Director of Writers Workshop
Audience: about 100 people -- 85% white guys, 5% minority guys, 7% white girls, 3% minority girls
326 scripts received. 25 writers interviewed. 10 selected. and in all likelihood, 1 will get a job.
The 10 selected: mid-30's median age, all were multiple submitters. Their spec scripts were: 1 curbed, 2 office, 1 bernie mac, 1 scrubs, some other stuff.
FIRST ADVICE TO COMEDY SPEC WRITERS: Write a drama spec. Comedy writers are struggling, and have been for several years. Drama is doing much better. In addition, a drama Executive Producer is more likely to take a risk on a new writer. Drama writers are more mature and inclusive. Comedy writers are like fraternities and sororities. They're cliquish and more insecure. They won't extend the invitation to a new writer.
Good drama specs are: Medium, Boston Legal, Grey's Anatomy, Nip-Tuck, Deadwood
A BRIEF HISTORY: Once upon a time, writers used to write it all -- drama, comedy, sketch, copy, whatever. Then Cosby happened. Writers began to specialize. Now, she sees a return to the old system. Write it all.
COMMON PROBLEMS WITH SUBMISSIONS:
GENERAL NOTES:
A comedy writer should be funny in person, but not obnoxious. EP looking to "cast room", and they need someone who they share 12 hours a day, 5 days a week with. They need humility, and to be "real".
When writing a spec, look for patterns in the show: number of scenes, their length, what happens before the act break. These are more important that what kind of brad or appropriate margins.
Comedy staff writer positions don't really exist anymore. Because high-level writers are willing to work for less than they once were, staffing is top-heavy. Hence, writers of the senior level are paid as mid-level, and handle responsibilities of both.
Write both multi-camera and single-camera specs. It shows you're versatile.
How does one find the balance between their own unique voice and the pre-existing voice of a show when writing a spec? Allow your voice to shown in the story told. Take a world unique to you, and tell it in the environment and voice of the show's characters.
The character's attitude should change from scene to scene. If it hasn't, it feels stagnant, like we're not making progress.
How long to write a spec? If you're taking six months, that's too long. On a show, they get 2-3 weeks, working in teams. Always be getting faster.
Screenplay competitions in Austin, SXSW, Nichols, Scriptapalooza - Agents troll them.
PROGRAMS TO TRY
Nickelodeon, CBS, ABC, and Fox all have workshops/fellowships (I know, I've applied to them).
The UCLA extension courses are fantastic.
Debbie doesn't recommend Writers Bootcamp
HOW TO BECOME A WRITER ASSISTANT ON A TELEVISION SHOW
Those positions are generally not listed, but check job boards. Pilots are good target. Call the studio, ask for the HR department, and see if they're looking for any assistants.
BOOK PLUG
The WB Workshop, "Starting your Television Writing Career", $11 @ Amazon
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Rock and Roll for Writers: John August
Feb. 9th, 2006 | 03:15 pm
Some people pay twenty bucks to hear a band. The music, the booze, the women -- a great night out is a memorable experience. Personally, I'll only drop twenty on occasion. If I'm paying more for a single night of music than I would for a CD I could listen to forever, the show needs be something special.
Tonight, I'm spending that twenty. To listen to a writer: John August (Go, Big Fish). "Writers on Writing" is the topic, and it's put on by the Writers Guild. I'm not sure how his act will be, but I've heard good things (he does have a passing resemblance to Joe Satriani). As for the music, booze, and women -- Halbe will keep the Cristal chilled at home.
Tonight, I'm spending that twenty. To listen to a writer: John August (Go, Big Fish). "Writers on Writing" is the topic, and it's put on by the Writers Guild. I'm not sure how his act will be, but I've heard good things (he does have a passing resemblance to Joe Satriani). As for the music, booze, and women -- Halbe will keep the Cristal chilled at home.
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first draft: finished
Jan. 18th, 2006 | 07:18 pm
This evening I finished the first draft of the screenplay. 151 pages. Due to how this was written in the hurried, "write it down now, worry about quality later" mode, the sub-heading on the title page labels this the "Vomit Draft".
I printed it out and bound it. This thing is thick. About an inch of paper. I'm used to seeing this one page at a time on a computer screen. 151 pages -- it feels odd to see them all at once. As in, I can't believe this all came out of my head. I flipped through it to remind myself it's all there. This is the longest thing I've ever written.
And while it certainly isn't finished finished, this does mark the completion of a life goal: write a screenplay.
I printed it out and bound it. This thing is thick. About an inch of paper. I'm used to seeing this one page at a time on a computer screen. 151 pages -- it feels odd to see them all at once. As in, I can't believe this all came out of my head. I flipped through it to remind myself it's all there. This is the longest thing I've ever written.
And while it certainly isn't finished finished, this does mark the completion of a life goal: write a screenplay.
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128 pages and the pool
Jan. 12th, 2006 | 06:26 pm
Did the Starbucks thing again, from 2 pm till 6. Finished 15 pages, bringing the total to 128.
Passing the magical 120-page mark wasn't as monumental as I thought it'd be. I'm more focused on where I am in the story, which is the real measure of my progress. I'm guessing I'm about 75% to 80% there.
Now I'm going to Adult Swim at the public pool down the street. I tried jogging. I tried biking. Maybe I can get in shape swimming. Unfortunately, I have no idea what I'm doing, so I'm just going to splash around, up and down the length of the lane, and hope for the best.
Passing the magical 120-page mark wasn't as monumental as I thought it'd be. I'm more focused on where I am in the story, which is the real measure of my progress. I'm guessing I'm about 75% to 80% there.
Now I'm going to Adult Swim at the public pool down the street. I tried jogging. I tried biking. Maybe I can get in shape swimming. Unfortunately, I have no idea what I'm doing, so I'm just going to splash around, up and down the length of the lane, and hope for the best.