Nathan Bransford, author of the Jacob Wonderbar series of books, is one of TVWriter™’s go-to guys for writing and productivity tips and tricks. One particularly relevant example of Mr. Bransford’s helpfulness is the article below. Especially to this TVWriter™ minion in particular because, as my partner often says, “Distractions?” You don’t just succumb to them, you create them just so you can do the succumbing.”
Sorry for the TMI. This should make up for it:
Television staffing has become a year round opportunity for writers, but how does a new writer maneuver his or her way through the process of getting hired on a show?
The Writers Guild Foundation brought together a group of TV writers including:
Elias Benavidez (BEYOND)
About three weeks ago, we wrote about the fact that the Writers Guild of America and the Association of Talent Agents hadn’t revisited the contractual relationship between writers and agents in over forty years.
Of special concern to the writers (that’s “us”) were the rules that allowed agencies (that would be “them”) to take packaging fees based on the overall budget of a new series instead of the usual ten percent of the salaries of their clients involved in the creation and sale of the series. This allowed the agencies to make far more money in any deal they negotiated than any of the creative partners.
Time for TVWriter™’s Monday look at our most popular blog posts of the week ending yesterday. They are:
A semester’s worth of film knowledge in 30 minutes, 42 seconds. And that pacing could be a lesson in itself. From Film Courage:
What’s that? You want a preview of what the 10 lessons are? Well, if y’all insist:
1) 0:06 – Story or Character?
2) 0:46 – How To Build Empathy
3) 4:48 – A Participatory Experience
4) 9:20 – Learn From Writers
5) 11:27 – The Great Weakness
6) 13:35 – Value Of An Idea
7) 16:33 – How To Create Suspense
8) 19:43 – Two Ways To Create Subtext
9) 21:51 – The Beginning
10) 25:15 – Action Defines Character
