Here are the latest Script Magazine newsletters for my followers to peruse:
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This week's screenwriting tip debunks the
myth that all you have to do is write a great script and you're in. Think
again. Jeanne Veillette Bowerman shares tips for developing the hustle it
takes to navigate Hollywood and find screenwriting success.
Don't miss saving hundreds of dollars with our bundle of products, Start Your
Screenwriting Career in 2019.
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By Jeanne Veillette
Bowerman
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When you’re a screenwriter living outside of
L.A., you’re going to need some extra hustle in your step. But living in L.A.
doesn’t always make breaking in easier. You may not need the airmiles, but
you certainly need to do something to separate yourself from every barista
who has a screenplay to pimp.
These past months I’ve been flying back and forth from NY to L.A. more times
than my wallet can handle. But flights give you a lot of time to reflect.
Maybe too much time, but hey, beats the TSA pat downs. In my global transit,
I came to one conclusion:
Success is an illusion, with
Hollywood being the ultimate palace of smoke and mirrors.
When you put pen to paper to craft your first script, you probably thought,
“All I have to do is write it, sell it, and I’m IN!” Don’t be embarrassed to
admit it. We all wore the same rose-colored glasses. Allow me to remove those
for you…
I am blessed to know many professional writers now, and I am here to tell
you, even after they sold their first scripts, the hustle never ended. EVER!
Not a single one of them watched the money train pull up and an infinite
stream of writing gigs pour in from their agents. They had to keep hustling
on their own too.
Sure, maybe Aaron Sorkin doesn’t have to hustle anymore, but trust me, 99% of
screenwriters inside the velvet ropes still do. The industry has its favorite
handful of writers, and they ain’t gonna let just anyone into their treefort.
How do you set yourself apart? Read More...
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Jeanne Veillette
Bowerman
Jeanne is the Editor of Script and adapted the Pulitzer Prize-winning
book, Slavery by Another
Name. Her screenplays were selected as Top 25 Tracking Board
Launch Pad, CSExpo Finalist, Second Round Sundance Episodic Lab, and PAGE
Awards TV Drama Finalist. Twitter @jeannevb.
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F+W, 10151
Carver Road, Suite 300, Blue Ash, OH, 45242 USA
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Barri Evins’ on using The Art of Surprise in
concept, execution, expectations, and with tension and suspense to lift your
work to a new surprising new level. Read More...
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On this week's podcast, Joseph Culp talks
about his long career as an actor and how that got him ready for his new role
as a writer/director on his latest feature film, Welcome to the Men's Club. Read More...
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William C. Martell explores creating
unlikable protagonists in a likable way, using examples from Can You Forgive Me? and Pollack to highlight the
best approach to adding dimension and interest to your more difficult
characters. Read More...
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Mike Kuciak explains how like editing,
script pacing is something most people only notice when it falls short. Read More...
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By the end of the course, you’ll have your
pilot in hand — and a plan for where you want to take your series in
subsequent episodes. With skills that are applicable not only to this format
but to writing any kind of script — and an understanding of how to keep
viewers coming back for more — you’ll be well on your way to writing your own
viral web series that will stand out from the crowd! Enroll Now...
See full list of self-paced
online courses here.
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Our webinars include both access to the live
webinar where you may interact with the presenter and the recorded, on-demand
edition for your video library. You do not have to attend the live event to
get a recording of the presentation.
See full list of upcoming
live online webinars here.
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Producer Chad Gervich explains that if your
story's characters don't end up in a different emotional space from where
they began, neither will your audience. (Even on a sitcom.) Read More...
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David S. Cohen goes behind the scenes with
Seth Rogen and Evan Goldberg. Superbad,
the script they started on a whim, became a summer release from Sony some 11
years later. Read More...
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Pulitzer Prize-winning journalist and
bestselling novelist Bryan Gruley offers his best tips for writing about
controversial topics—social, political and otherwise—in your fiction. Read More...
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On January 25-27, our 2nd annual 2019
Writer’s Digest Virtual Conference for Novelists will provide expert insights
from SIX award-winning and best-selling authors on the finer points of how to
write a novel. Experience the education, camaraderie, and opportunities
provided by a live writing conference without ever having to leave your home! Read More...
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Jeanne Veillette
Bowerman
Jeanne is the Editor of Script and adapted the Pulitzer Prize-winning
book, Slavery by Another
Name. Her screenplays were selected as Top 25 Tracking Board
Launch Pad, CSExpo Finalist, Second Round Sundance Episodic Lab, and PAGE
Awards TV Drama Finalist. Twitter @jeannevb.
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F+W, 10151
Carver Road, Suite 300, Blue Ash, OH, 45242 USA
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In this week's screenwriting tip William C.
Martell explores creating unlikable protagonists in a likable way, using
examples from Can You
Forgive Me? and Pollack
to highlight the best approach to adding dimension and interest to your more
difficult characters.
Don't miss Jim Mercurio’s January 24th webinar, Perfecting the Set
Piece Scene, on sale until tomorrow! Even if you can’t attend the live
event, a recording will be emailed to you.
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By William C.
Martell
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Not all protagonist's are nice guys and
gals. Sometimes your lead character may be a complete bastard—how do we keep
the audience from hating him?
We only hate those we don't understand... so make sure we understand those
bastards. I always say to “take us inside the character”—to show the audience
the world as the character sees it, so when the character makes a decision or
does something we may find repulsive, at least the audience understands the
reasons behind the actions. They may not do those terrible or crazy or
extremely risky things themselves, but they understand why this particular
character would do them. This is the difference between a movie that the
audience watches and a movie that the audience experiences... and it’s all a
matter of providing the audience with the information they need to understand
the character.
That’s the screenwriter’s job. Read More...
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Jeanne Veillette
Bowerman
Jeanne is the Editor of Script and adapted the Pulitzer Prize-winning
book, Slavery by Another
Name. Her screenplays were selected as Top 25 Tracking Board
Launch Pad, CSExpo Finalist, Second Round Sundance Episodic Lab, and PAGE
Awards TV Drama Finalist. Twitter @jeannevb.
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F+W, 10151
Carver Road, Suite 300, Blue Ash, OH, 45242 USA
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