Script Notes by Chad Gervich

A Letter from WGA President Patric Verone...
Posted by Chad

Hey, folks--

Hot off the press, here's a letter from WGA president Patric Verone... thought you might find it interesting...

May 29, 2009

To My Fellow Members,

It’s been a while since I’ve reported to you about the progress of Writers Guild organizing efforts and the many successes we’ve had in the past two years. Organizing writers who work without a WGA contract is one of the key ways we strengthen the Guild and protect the standards we have all struggled so long and hard to achieve.

Our first priority in organizing is always to defend our core jurisdiction: network and cable dramas, sitcoms (including network primetime animated sitcoms), longform television, talk shows, variety shows, game shows, and live-action features. Beginning with our current contract, our jurisdiction now also includes original and derivative content in New Media. Our second priority is the expansion of our jurisdiction to areas where we currently lack coverage or where non-signatory companies have been operating, including reality television, non-primetime and feature animation, and non-fiction.

With those priorities in mind, here is a recap of our recent efforts:

CABLE TELEVISION

In cable we have focused on Comedy Central because it employs a large number of writers. Working closely with writers on Comedy Central’s main shows, we undertook a strategy of escalating actions, culminating in a short work stoppage. One show at a time, we organized WGA coverage for:

The Sarah Silverman Program
Mind of Mencia
The Showbiz Show with David Spade
American Body Shop
Root of All Evil
Chocolate News
Reno 911!
Michael & Michael Have Issues
Secret Girlfriends
The Comedy Central Roast of Larry the Cable Guy
The Comedy Central Roast of Bob Saget
The Untitled Jeff Dunham Project
Tosh.0
Eddie Portnoy, Boy Producer
Ghosts/Aliens

We continue to build on a positive relationship with the network and recently signed an overall deal covering all future Comedy Central roasts. We hope to achieve a more comprehensive overall deal and are currently engaged in efforts to cover all dramatic and comedy-variety shows produced by Comedy Central.

Elsewhere in cable we have organized and made deals for dramatic programs, quiz and audience participation shows, non-dramatic, and documentary shows. In all these cases, the role of the writers in providing information and assistance, and their willingness to refuse work if necessary were keys to success. Thanks to their efforts we now cover:

Tyler Perry’s House of Payne for TBS
Tyler Perry’s Meet the Browns for TBS
The Cheech and Chong Roast for TBS
Match Game for TBS
The Singing Bee for CMT
Secrets of the Founding Fathers for the History Channel
Spontaneous Human Combustion for the Discovery Channel
The Tunguska Event for the Discovery Channel
Animal Armageddon for Animal Planet

NETWORK TELEVISION

Are You Smarter Than A Fifth Grader?

Last year we signed a WGA deal for this primetime hit game show. Recently we also negotiated a deal to cover the syndicated version of the show.

Sit Down, Shut Up

We assisted the writers of this Sony primetime animated series in a work stoppage aimed at getting WGA coverage. To resolve the dispute, the company offered each of the writers six-figure “blind pilot” deals covered by the WGA and standard WGA terms for their work on the series, although the series (now canceled) nominally remained under an IATSE contract.

The Osbournes: Loud and Dangerous

Despite overwhelming coverage of the network primetime writing work force, writers have still had to struggle for WGA contracts on occasion. One of the essential ways members can protect Guild benefits is by refusing to work for non-signatory companies. Working Rule 8 states: “No member shall accept employment with, nor option or sell literary material to, any person, firm or corporation who is not signatory to the applicable MBAs.” This rule is designed to ensure that the only way entertainment companies can have access to Guild talent is through a Guild deal.

We invoked Working Rule 8 on the Osbournes program after the production company, FremantleMedia, refused to negotiate a fair deal. Guild members heeded the call and refused to write for this non-guild show, which would have been the first non-WGA comedy-variety show in primetime broadcast TV. To date, only one episode has aired, to extremely poor reviews and bad ratings. The remaining episodes may well never be aired. We believe that the failure of this show is a direct result of the company not being able to use Guild writers

NEW MEDIA

The Guild organized and made deals with 26 companies that have become signatory to the WGA MBA for the express purpose of producing New Media content. Web programming produced by these companies includes:

Seth MacFarlane’s Cavalcade of Cartoon Comedy
Dr. Horrible’s Sing-Along Blog
Woke Up Dead
In the Motherhood
1,000 Days
Wainy Days
Back on Topps
Web Therapy

We have also signed contracts for Internet content from New Media production companies Machinima.com and Science + Fiction.

VIDEOGAMES

We have signed 44 interactive agreements to provide WGA members with pension and health benefits for their work on videogames. Our most recent deals are for Battle CMT and Project 9.

FEATURE FILMS

In the past 18 months we made deals to cover several high-profile feature films, including Into the Wild and Frozen River. Since the beginning of last year, we have made deals to cover 15 low-budget films:

Assisting Venus
The Blue Tooth Virgin
Bob’s New Suit
Children of Invention
Exporting Raymond
Father vs. Son
Herpes Boy
The Red Queen
The Scenesters
Strictly Sexual
The Two Bobs
The Undying
Women in Trouble

FOREIGN PRODUCED PROJECTS

In the area of foreign-produced projects employing WGA members, we have secured WGA deals for Noah’s Ark (an animated feature), The 99 and Bommi & Friends (animated TV series), and Poirot (a live-action series).

REALITY TELEVISION

In reality television, we have pressured the networks and production companies through strikes at America’s Next Top Model and the FremantleMedia game show Temptation. In both cases writers walked off their jobs to protest the companies’ refusal to negotiate WGA coverage.

We pressured the entire reality industry through public exposure of the serious labor law violations by reality television production companies. We conducted a focused exposure of the most important production company, FremantleMedia, the producers of American Idol, with the “American Idol Truth Tour.”

As awareness of the abuses against workers in reality TV grows so does the number of workers willing to take action. Last month a group of FremantleMedia workers independently filed a multimillion-dollar class-action lawsuit against the company for its violations of California’s wage and hour laws. Two lawsuits brought by writers against Next Entertainment and Rocket Science Entertainment are in the process of settling for $4.5 million dollars.

ORGANIZING THE FUTURE

Defending and expanding our jurisdiction do not take place in a vacuum. The gains won as a result of our 100-day strike have helped change the environment in which we undertake our organizing efforts, and as this report reflects, we are making steady progress getting companies to agree to WGA coverage of their projects.

The Organizing and Jurisdiction Department has primary staff responsibility for external organizing, but every department of the Guild has participated in and deserves credit for our organizing successes. None of it, however, would have been possible without the support and sacrifices of you, our members. I would like to personally thank all the brave, committed, and hard working writers who helped with these efforts. Because of you we are all stronger and better off.

The organizing struggle is far from over and there is much important work left to be done. I know the Guild can count on your support and assistance in this crucial effort.

Best,

Patric M. Verrone
President, WGAW

Industry Updates | Reality TV | Screenwriting (Film) | Writing TV

Saturday, May 30, 2009 2:01:50 AM (GMT Daylight Time, UTC+01:00)

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Friday, May 29, 2009

READER QUESTION: Will There Be A Pitchfest in New York?
Posted by Chad

Hey, folks--

Wanted to respond to Rosetta's Great American Pitchfest question from a couple days ago...

"When will an event like this [or at least similar to it] be available in the New York City region?... I learned about this coming event a little too late to plan to attend and would like to know about such future PitchFests."

Well, Rosetta, I talked to Signe Olynyk, the head of Pitchfest, who says that while they eventually hope to do a NYC Pitchfest, it's not on the radar quite yet. The event started in Canada, where they did two Pitchfests just before the Banff TV Festival and another in Vancouver, in association with the Film and Television Expo of Western Canada, but these were much smaller than the LA incarnation. While a New York version would be great, it would likely be much smaller-- both in professionals and attendance-- and they'd probably have to fly in many execs from California.

Having said, that GOOD NEWS!... Here are two well-respected New York events that DO have pitching opportunities, so check 'em out... they may be just what you're looking for!...

The New York Television Festival - September 21-26, 2009

Pitch Your Hit: Women-in-Film's Two-Day Workshop - June 9 & June 15, 2009

Good luck! And here's last year's pilot winner of the New York TV Festival's People's Choice Award, Teachers...

Friday, May 29, 2009 12:29:09 PM (GMT Daylight Time, UTC+01:00)

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Thursday, May 28, 2009

Networking Group of the Week: HWAS (Hollywood Writers' Office Assistant Social)
Posted by Chad

Hey, all--

Just wanted to introduce you to a great new networking group... the Hollywood Writers' Office Assistant Social (HWAS).

This is an outstanding group geared toward working writers assistants, TV writers, aspiring writers, and anyone who works in a TV production office.

They not only hold periodic events like mixers, parties, and Q&A's, but they also have an excellent blog, which includes really informative interviews with writers, writers assistants, etc. This week's interview is with Christian Trokey, a story editor on FOX's Prison Break.

Anyway, it's a relatively young group, but they've already done some impressive work and proven themselves a great resource for working insiders and aspirants alike-- so check 'em out, and maybe I'll see you at the next party!

For more information, click HERE!

Books Tools Resources | Career Advice | Events Activities and Things To Do | Writing TV

Thursday, May 28, 2009 7:19:42 PM (GMT Daylight Time, UTC+01:00)

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Wednesday, May 27, 2009

A Quick Post re: Pitchfest
Posted by Chad

Hey, guys--

I've gotten some emails and questions about Pitchfest, so just wanted to respond real fast...

1) Rosetta-- I'm not sure if/when Pitchfest itself is coming to New York... lemme sniff around a bit. I'll also try to round up some info on some other pitch festivals, or similar events, and get it up here. Bear with me... I'll try to get it up in the next few days.

2) Just to clarify-- Pitchfest is free... AND costs money. Basically, the first day of classes and panels is free... but the second day, when you actually get to pitch, costs money... and there are different levels of payment depending on what you want.

Hope that helps, and Rosetta-- I'll try and get your info up here shortly!

Chad

Classes Seminars Workshops | Events Activities and Things To Do | Pitching | Reader Questions

Wednesday, May 27, 2009 8:36:13 PM (GMT Daylight Time, UTC+01:00)

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Monday, May 25, 2009

Sell Your Movie or TV Show... and Say Hello... at Pitchfest!
Posted by Chad

Hey, everyone--

Just wanted to invite you all to next month's annual Great American PitchFest, where I'll be speaking and doing pitch and project consultations.

For those of you who haven't been to PitchFest, it's a two-day festival where writers, producers, directors, and other filmmakers can take classes, network, and pitch their ideas to actual agents, execs, producers, and representatives from studios, networks, and production companies.

Previous participants have sold scripts, gotten jobs, and signed with representation... and last year's festival sold out!

Most importantly... I'll be speaking there at 10:30 a.m. on Saturday, June 13... participating on "Making It Reel," a panel of reality producers including Tim Crescenti (I Survived a Japanese Game Show) and Donna Michelle Anderson (Big Brother, Queer Eye for the Straight Girl).

I'll also be doing pitch and project consultations that afternoon, and signing copies of Small Screen, Big Picture at the Writers Store booth.

Anyway, it should be a valuable, productive, and informative weekend, and I'd love to see you all there!

For more information, take a look at the attached schedule and check out the website at www.pitchfest.com, or...

Just fill out the attached sign-up form and send it in to the address or fax number on the sheet!

Here's all the information...

WHAT:   GREAT AMERICAN PITCHFEST

WHEN:   Saturday, June 13th; 9am-6pm (Free Classes Day & Tradeshow)
             Sunday, June 14th; 10am-6pm (PitchFest Day)

WHERE: Burbank Marriott Convention Center
             2500 N. Hollywood Way, Burbank, CA 91505

OTHER SPEAKERS/PANELISTS INCLUDE: great writers like Shane Black (Lethal Weapon), Pete Briggs (Hellboy), Joe Forte (Firewall), Simon Kinberg (Mr. & Mrs. Smith), Michael Hauge, Blake Snyder, and many more!

And you'll also have the opportunity to pitch to execs, agents, and representatives from Dimension Films (Bad Santa, Grindhouse, Soul Men), Disney's Gunn Films (Race to Witch Mountain, Freaky Friday, The Haunted Mansion), Principato Young (Reno 911), BenderSpink (The Ruins, The Ring), Morgan Creek (Young Guns, Major League, Georgia Rule, Ace Ventura) and management companies or agencies like Untitled (Zachary Quinto, Elizabeth Banks) and Abrams Artists.

Here's the sign-up form...

Pitchfest Registration Form (2009).pdf (263.59 KB)

And here's a schedule of the weekend's events...

PitchFestSchedule2009.pdf (57.65 KB)

Hope to see you all there!

Chad

Classes Seminars Workshops | Conferences and Festivals | Events Activities and Things To Do | Pitching | Screenwriting (Film) | Writing TV

Monday, May 25, 2009 7:04:46 PM (GMT Daylight Time, UTC+01:00)

Comments [1]

Friday, May 22, 2009

READER QUESTION/GUEST PERSPECTIVE: How Do I Break Into Children's Animated TV?
Posted by Chad

Hey, folks--

A few weeks ago, I was teaching a TV spec-writing class, and I recently received an email from a student asking if breaking into children's shows worked the same as breaking into primetime... did you still need specs, original material, etc.?

I've never worked in children's programming... so I asked my good friend Melody Fox, who has written and produced for Stuart Little, Teen Titans, Rugrats, and Dragon Tales (as well as adult shows like Flash Gordon, South Beach, and Skin).

Here's what she said...

"I started my career in animation and have a couple dozen credits. And yes, people usually write a spec animated script or two when breaking in. I only wrote one. Then after that, I used my writer's drafts of my produced eps as samples. Animation writers will often have a sitcom spec too, (or a Simpsons or Family Guy, which are animated sitcoms) and the showrunners will read that as well. I had a comedy feature.

"In my experience, getting in is all about contacts. Many animation writers don't have agents. You get work through contacts and referrals, and recommendations. But the good news is, YOU DON'T HAVE TO HAVE AN AGENT, you can make inquiry calls on your own and no one would think it odd or unprofessional. After a while, you get work off your reputation. There are a couple lit agencies that specialize in animated & children's.

"Most animated shows do not have staffs. Disney and Nickelodeon sometimes have small staffs, like three people. Most work is freelance. If you do a freelance ep for a show that has an order of 26 and they like your work, they will come back to you with more assignments. They want writers who can deliver.

"The showrunner who hires the writers in animation is called the Story Editor. The story editor may also be a producer on the show, but not necessarily. Production in animation has to do with the boards that are drawn, etc. and have specialized producers.

"If the student is in L.A. I highly recommend he/she take the UCLA Extension animation writing class. Not only will there great instruction, there are always guest speakers and that's how the writer can start making contacts. I took the class when I already had several credits and it was still useful and one of the guest speakers hired me to do 2 freelance eps. At least 3 other people in the class went on to get assignments, so the peers in the class are also great professional contacts.

"There's a book written by animation veteran Jeffrey Scott called How to Write for Animation. it's on Amazon and also at Bookstar on Ventura Blvd. (in Los Angeles). I haven't read it myself, but he has a huge number of animation credits.

"Also, [most of] this info only applies to children's TV animation. Feature animation is a whole different ball game, and more artist-driven. Also, [this info] does not apply to animated sitcoms (Simpsons, Family Guy, American Dad, etc.) Those are sitcoms that just happen to be animated. They are WGA and have writing staffs and writers rooms and are staffed like primetime shows.

"One more thing... I hope I didn't make it sound EASY to get into. It's professional TV writing and it's very competitive. It's enormously fun, so of course it's going to be competitive.

"Here's the downside... it does not pay anything close to what live-action union shows pay. There's no residuals. It's either non-union or covered by the animators union called The Screen Cartoonists Guild -- if it's a guild show then you CAN earn medical insurance."

Animation | Books Tools Resources | Career Advice | Guest Perspectives | Reader Questions

Friday, May 22, 2009 9:47:13 PM (GMT Daylight Time, UTC+01:00)

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Thursday, May 21, 2009

CW 2009-2010 Schedule
Posted by Chad

Hey, guys--

Here's the new schedule from the CW, and the final broadcast upfront of the year...

CW 2009-2010 schedule

Industry Updates

Thursday, May 21, 2009 4:58:55 PM (GMT Daylight Time, UTC+01:00)

Comments [1]

Wednesday, May 20, 2009

CBS's 2009-2010 Schedule!
Posted by Chad

Here ya go... new shows and old... from The Hollywood Reporter...

CBS 2009-2010 TV Schedule

Industry Updates

Wednesday, May 20, 2009 3:53:38 PM (GMT Daylight Time, UTC+01:00)

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Tuesday, May 19, 2009

ABC & NBC New 2009-2010 Schedules... with clips!
Posted by Chad

Hey, folks--

Here's the latest from the upfronts, ABC and NBC's schedules...

ABC 2009-2010 Schedule

NBC 2009-2010 Schedule

Also, for your viewing pleasure, some clips from the upcoming shows...

FOX's Human Target, Past Life, Brothers, Cleveland, and Sons of Tucson

ABC's Cougar Town, starring Courtney Cox

ABC's remake of V

Fun Stuff | Industry Updates

Tuesday, May 19, 2009 5:03:58 PM (GMT Daylight Time, UTC+01:00)

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Monday, May 18, 2009

FOX's New Primetime Schedule
Posted by Chad

Hey, all--

It's upfront week in New York, where all the broadcast networks are revealing their 2009-2010 schedules. FOX went first, announcing this morning...

Click HERE for the full Variety article with all the scoop on new shows and scheduling!

Industry Updates

Monday, May 18, 2009 4:40:53 PM (GMT Daylight Time, UTC+01:00)

Comments [0]

Friday, May 15, 2009

MOVIE TALK: Angels & Demons
Posted by Chad

Hey, guys--

So sorry I've been awol for several days... we upgraded our software, and due to some unforeseen technical glitches, I haven't been able to post!

But I'm glad to be back, and wanted to take today to talk a bit about Angels & Demons, Imagine and Ron Howard's sequel to The Da Vinci Code which opens tonight.

The movie picks up a couple years after The Da Vinci Code (unlike Dan Brown’s book, this movie is a Da Vinci sequel, not a prequel), and follows symbologist Robert Langdon as he races to unlock another Vatican-centric puzzle. This mystery takes place almost entirely in Rome, and Langdon has six hours to track down four kidnapped cardinals and stop a terrorist from blowing up Vatican City with an antimatter bomb. Like its predecessor, he must find the priests by find the hostages and their captors by solving ancient religious codes, symbols, and hidden texts. (I’m guessing we’ve all read The Da Vinci Code or know how it works…)

Well, I hated the first Da Vinci Code movie. And this made me miss it.

There are a million things wrong with this particular movie, but there was one thing in particular that it made me think about, especially from when it comes to screenwriting…

I HATE IT WHEN WRITERS DON’T THINK ABOUT THEIR STORIES FROM THE BAD GUYS’ PERSPECTIVE.

I find this happens most with mysteries and thrillers (probably because they’re so logic-based and procedural), and here’s what I mean…

Writers devise an intriguing, complicated mystery for their protagonist to solve. The clues all lead to one another. The puzzles engage the audience and make them think. It all makes sense… except for: the antagonist who perpetrates the whole thing has no logical reason to set the mystery in motion.

In other words, the mystery exists solely because the writer wanted to create fun puzzles for the hero to solve, not because those puzzles stem from the bad guy’s relatable human behavior.

This happens in Angels & Demons in two disturbing ways… (and before you read on: I will try not to give away anything major that happens in the movie, but if you’re dying to see it and don’t want anything revealed or hinted at—DON’T READ THIS)…

1) The antagonists, who are either the ancient Illuminati (an omnipotent secret organization of anti-Catholic scientists and scholars) or someone framing the Illuminati, are threatening to blow up Rome so they can either make a power grab for the Papacy… or discredit it. Either way, they lead Langdon and the police through an obstacle course of ancient codes and puzzles, trying to kill them every step of the way.

BUT WHY??? Looking at this from the bad guys’ perspective, there’s almost no rational motivation for them to do any of this! Let’s look at this from each perspective…

First, say the bad guys have gone to all this trouble simply to frame the Illuminati. Surely, there’s an easier way to destroy the Vatican than by constructing a mind-boggling mystery singling out an ancient organization.

I mean, why bring any attention to yourselves at all? Wouldn’t it be easier to leave as few clues as possible? Just kidnap the priests and blow up the Vatican. What’s the point of creating a giant red herring? And second of all, what if it fails? What if Langdon and the detectives never crack your clues and realize you’re framing the Illuminati? (Which very well could’ve happened) Then you’ve gone to all the trouble for nothing, and the group you were trying to frame never gets framed.

Not to mention… if the antagonists went to all the pains to construct this nearly-impossible obstacle course—why are they trying to kill Langdon and the cops as they try to solve it? If they don’t want the cops to solve it… DON’T CREATE IT TO BEGIN WITH! And if they DO want the cops to solve it, in order to frame the Illuminati, WHY ARE THEY KILLING THEM OFF?

Now, let’s say the Illuminati are real, and they’re actually trying to destroy the Catholic Church. This is an ancient underground society of thinkers and researchers who “worship” only science and fact. So, A) Wouldn’t they be smarter than to leave an intentional trail of clues? And B) They’re scientists and thinkers living in 2009, not 1609. Why aren’t they using computers, technology, email? They’re scientific geniuses trying to commit a crime… the LAST thing they would do is concoct some bizarre, solve-able sideshow indulging in religious symbols and rituals.

So those are the first reasons the story makes little sense from the bad guys’ perspective, and secondly…

2) Robert Langdon, world-renowned symbologist, solves this mystery in about five hours. FIVE HOURS. And we’re to believe that while it takes Langdon only FIVE HOURS to unravel half the ancient secrets of the Catholic Church…

A) No one else has been able to do this in hundreds of years,
B) These puzzles are so mind-rattling no other detective in Europe could figure them out, and
C) The criminals themselves were able to solve all these mysteries FIRST in order to “reconstruct” them for their wild goose chase.

Sorry, Dan Brown, David Koepp, and Akiva Goldsman—I just don’t buy it. I do thank you, however, because you guys have reminded me of one of the important rules of storytelling…

THE BAD GUYS HAVE TO BE AS UNDERSTANDABLE AND RELATABLE AS THE GOOD GUYS.

Bad guys can’t do things simply because they’re “evil” and the writer wants to give the hero a nice challenge. Bad guys have to do things because they’re people… with rational human behaviors and motivations… not merely puppets of someone telling a tale.

So next time you’re outlining your next blockbuster thriller, and you’re choreographing the bad guys’ moves, ask yourself: Do these moves genuinely help the antagonist achieve his/her goal… and how? Is this what you would do if you were performing this crime… and why or why not? Is there an easier way to accomplish what the villain is trying to accomplish? Is this the best way to achieve their goal?

And now, folks, to either entice or frustrate you, here’s the trailer for Angels & Demons…

Movie Talk

Friday, May 15, 2009 2:04:41 PM (GMT Daylight Time, UTC+01:00)

Comments [2]

Wednesday, May 06, 2009

Onion Star Trek Spoof!
Posted by Chad

If you haven't seen the Onion "News Network"'s hilarious Star Trek commentary-- beam yourself up!...

Trekkies Bash New Star Trek Film As 'Fun, Watchable'

Digital Media and Web Series | Fun Stuff

Wednesday, May 06, 2009 10:43:56 PM (GMT Daylight Time, UTC+01:00)

Comments [2]

Blog Maintenance!
Posted by Chad

Hey, guys--

Just wanted to let you know that starting tonight, this blog-- and all the other Writers Digest blogs-- will be undergoing maintenance that will last till Friday. I *think* most of the content will stay up, but some of the features won't be working all the time... like the comments section. So feel free to try stuff, and to check in, but just know that we won't be fully functional for a couple days.

In the mean time, we've got tons of great stuff coming up... movie reviews, more contests, book reviews, Pitch Workshop submissions, reader questions, and more!

CG

Wednesday, May 06, 2009 6:24:07 PM (GMT Daylight Time, UTC+01:00)

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Tuesday, May 05, 2009

Writers-- and employees of all stripes-- unite!
Posted by Chad

Hey, folks--

Just wanted to invite you all to an important event tomorrow... it concerns not only Hollywood's writers, but employees everywhere!

Join WGAW President Patric M. Verrone, WGAW members and the Los Angeles Federation of Labor as Los Angeles workers fight for the Employee Free Choice Act.

Patric will be addressing a crowd that is gathering to tell Senator Dianne Feinstein that she should support the Employee Free Choice Act. If the act passes, it will greatly help reality writers, animation writers, alternative writers, and thousands of other employees-- writers and otherwise-- who aren't currently able to get health care, fair wages, or other standard working conditions!

This historic piece of pro-worker legislation will dramatically change workers right to join the union of their choice without employer interference, and could help writers in reality, animation, videogames and other genres gain Guild-coverage.

Wednesday, May 6th
Noon – 2pm
Federal Building, 300 N. Los Angeles
Downtown Los Angeles

PARKING INFORMATION:
Joes
Til 7 PM - $5 flat rate
Commercial and Alameda
(1 1/2 blocks from site)

City Lot #2
Til 4 AM - $8 flat rate,
Across from Edward Roybal Building
255 East Temple St.
(1 block from site)

LA Mall City Lot
Til 6 pm - $13.20 max.
225 North Los Angeles Street

For more information, click here...

EFCA_vigil_Los_Angeles.pdf (600.06 KB)

Events Activities and Things To Do

Tuesday, May 05, 2009 9:57:56 PM (GMT Daylight Time, UTC+01:00)

Comments [2]

FOX & the NY TV Festival - Comedy Pilot Contest!
Posted by Chad

Hey, all--

Thanks to Erica for letting me know re: the upcoming deadline for the 2nd Annual Comedy Script Contest from the New York TV Festival and FOX! This is a pretty reputable festival, and quickly becoming a destination for TV networks, studios, and producers!

Click HERE for all the details... good luck!!

Jobs Contests Opportunities | Writing TV

Tuesday, May 05, 2009 7:04:43 PM (GMT Daylight Time, UTC+01:00)

Comments [2]

Sunday, May 03, 2009

SHARLA'S QUESTION: Are web scripts useful writing samples?
Posted by Chad

Hey, folks—

Today’s reader question comes from Sharla. First of all, I have to say—Sharla, MAJOR THANKS for your super-nice comments on Small Screen, Big Picture! I can’t tell you how much I appreciate it… and I’m glad you found it helpful!

As for your question… here it is:

“I’ve been hearing everywhere that original work is now basically an essential part of any aspiring writer’s repertoire. As I start to work on my next project, I’m wondering, would a season of a web series be a valuable writing sample to have? I’m very interested in scripted web shows, and I had an idea for a series – I think the story would probably take ten to fifteen 4 minute episodes to tell. I don’t (yet) have the resources or knowledge to produce the show myself, but I’m wondering if this collection of short scripts could serve as a good sample of original work. Of course, I’d like to work my way up to where I could actually make the series and get it out on the internet, but for now, I’m wondering how this material might work solely as a writing sample.”

This is a really interesting question, but I think the answer is: while an original TV sample (i.e. an original pilot) or a screenplay is usually optimal, YEAH—original web scripts could work… ESPECIALLY IN COMEDY.

Most shortform Internet comedy is basically some kind of sketch, and those kinds of pieces are very usable in television… not only for genuine sketch shows, but for late-night stuff like Conan, The Tonight Show, Jimmy Kimmel, etc. They can also be helpful to get jobs writing for “alternative comedy” projects, which may include things like The Soup and Best Week Ever, or even stuff like South Park and Adult Swim.

If you idea is more dramatic, then it may be tougher… drama doesn’t tend to be as successful online, and I’m not sure how shortform drama would read on the page. Having said that… I’ve seen people use essays, short stories, plays, even lists of jokes as original material. If it’s strong writing, it can be used.

What’s most important is that a reader can look at your material and get a sense of who you are as a writer… your unique voice and vision, what you’ll bring to a TV writers room. Often, the best way to do that is with something intended for the same medium: television. But if you have a powerful short story, or a very moving play, or a brilliantly written web series… use it!!

I hope that helps, Sharla—please don’t hesitate to email if you have more questions!

Career Advice | Digital Media and Web Series | Reader Questions | Writing Advice | Writing TV

Sunday, May 03, 2009 2:16:49 AM (GMT Daylight Time, UTC+01:00)

Comments [2]

Friday, May 01, 2009

WEBSITE OF THE DAY: Blambot
Posted by Chad

Hey, guys--

Props to loyal reader Charlie for submitting today's website of the day... which, admittedly, is kind of random and seemingly off-topic, but I thought it was so cool and interesting-- and, hopefully, helpful-- I wanted to pass it on to you all.

So, for all you comic book writers and graphic novelists, or filmmakers using chyrons and on-screen text, or writers/producers making online content...

Check out Blambot, a site specializing in downloadable comic book fonts, thought/dialogue bubbles, and sound effects. Most of these are for sale, but some are for free. Personally-- and I'm not a huge comics reader, although I like them-- I found it interesting just looking around the site and seeing some of the different "behind-the-scenes" elements of comic book storytelling (there's a list of interesting articles about comic-writing). Plus, they have links to some other fun comic resources, blogs, etc.

Anyway, check it out... it may not be useful for everyone, but I thought it was kinda interesting to poke around...

Books Tools Resources | Digital Media and Web Series

Friday, May 01, 2009 3:12:02 PM (GMT Daylight Time, UTC+01:00)

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