No one wants to hire the person who claims they’ll be ready if they’re offered an opportunity; employers want to hire the person who’s ready NOW, already exuding competence and preparedness.

There’s really no such thing as a children’s film or a kids’ book. There are just good movies and bad movies, good books and badly written books. And that is the most important secret of writing movies or books that children, tweens, or teens can enjoy. If you want to write this kind of entertainment, here are some of Staton Rabin’s best tips.

One thing Jeanne Veillette Bowerman has learned over the years is a single plan is never enough.

If screenwriting is not a “calling,” if it’s just something you’ve thought about trying when you have some spare time… then I say, “don’t bother.” Because you will be trampled by hordes of other screenwriters—of all ages—who want it more badly, and are willing to do more to get it, than you do.

If critics can let Michael Bay get away with raping scripts for his Transformers films and allowing them to be passed as mindless entertainment, El Guapo can do the same for Tron.

Script magazine is pleased to invite you to a special screening of Disney’s Tangled on Tuesday November 30, 2010 at 7:30 p.m. at the Aero Theater in Santa Monica. Following the film will be a Q&A with screenwriter Dan Fogelman. Script contributor Peter Hanson (Tales from the Script) will moderate the Q&A.

Andrew Jacobson (left) is from Wisconsin. Adam Jay Epstein is from New York. They came to Hollywood over a decade ago to be interns during a summer off from college. After meeting in a parking lot at UCLA, they became friends and started a writing partnership that would plant them in L.A., permanently…

I don’t want to be pigeonholed as “reformed crook does good,” or worse… scare some showrunner out of giving me a shot.

If you’re writing a retelling of Oedipus from Jocasta’s perspective, you’re probably safe. If you’re retelling Rocky III from the point of view of Clubber Lang, you’re probably not.