Marty Lang explains how the recent Writer's Guild negotiations garnered screenwriting lessons for beginning screenwriters and filmmakers. If you studied the way this negotiation played out, there are some undeniable truths that can help you in your work.
Howard A. Rodman, president of the Writers Guild of America, West, about the complex challenges the WGA faces, how Hollywood really works, and much more.
Most TV shows are written by staffs, so they're not actively looking for new scripts, writers, or story ideas. But that doesn't mean they never take submissions.
Negotiations: Secrets you need to know when there’s money on the table. The folks with the money are going to keep it their own pockets as long as possible.
Staton Rabin's blog drilled down into the shortage of "diversity" in Hollywood movies. In Part 2, she tells you what you as a writer can do about it.
Why was there so little "diversity" in the Oscars awarded this year? Staton Rabin drills down into the diversity in Hollywood controversy, and comes up with surprising answers.
Characters are engines that drive ideas into a story. Each of the major character types plays a specific role in that process. Third is THE LOVE INTEREST.
Lisa Alden debates the idea that creativity is a battle. Through her own experiences, she discusses writer's block and how to access your intuition.
This summer, I judged The Hollywood Player Pitch Contest at NATPE’s PitchCon. For the past couple of years, I’ve helped TV Pitchers develop their materials and prepare for their pitches. I thought it might be helpful to share some Do‘s and Don’t‘s of what ought to be in your proposal when pitching a script. DO: Know WHAT your...
“We were more interested in the idea of systemic problems, not the idea that if you get rid of one bad cop, or if somebody has their appropriate emotional catharsis, all will be well.” –David Simon, creator of HBO’s The Wire, from The Revolution Was Televised by Alan Sepinwall === Brian is one of...