Feeling unappreciated? We’ve found just the thing for you!

This TVWriter™ minion absolutely will not rest till I have made this baby mine, mine, mine! (Add evil laughter here.)

“Mom, Dad, meet my significant other. My permanent BFF!”

WGAW 2018 Feature Writers Access Project Now Open

by TVWriter™ Press Service

If you qualify for this project, this is a hell of an opportunity. Definitely worth checking out for writers with the required relationship to the Writers Guild of America West.

Sounds awkward, yeah, but keep reading and you’ll understand:

Dear WGAW Member:

We are now accepting submissions for the 2018 Feature Writer Access Project. The project seeks to identify outstanding minority writers, writers with disabilities, women writers, writers age 60 and older and LGBTQ+ writers and make their scripts available to entertainment industry decision-makers, including producers, studio executives, agents and managers, in order to help raise their profile and generate potential employment opportunities. This program is modeled on the success of the TV Writer Access Project for mid-level television writers.

PLEASE NOTE: At the time of submission, a Project participant must be an Associate, Current Active (including Lifetime Current), Post-Current Active or Associate Caucus member in Active status of the WGAW. If submission is made by a writing team, both writers must be an Associate, Current Active (including Lifetime Current), Post-Current Active and Associate Caucus member in Active status of the WGAW.

The deadline for submissions is Friday, August 3, 2018 – 6:00 p.m. (PST)

The Feature Writer Access Project guidelines, application and release form can be accessed at: https://www.wga.org/fwap

Please e-mail or call the Diversity Department if you have any questions about the application process at: diversity@wga.org or 323-782-4589.


Tery Lopez
Director, Inclusion and Equity Department

What’s Up with Apple’s TV Programming?

In case you’ve been wondering whether or not Apple’s push into TV is real, here’s what those crazy, zany gearheads have in store for us so far:

Apple’s TV Programming, a Comprehensive Guide
by Lesley Goldberg

Since tapping Sony’s Zack Van Amburg and Jamie Erlicht to lead worldwide video programming over a year ago, Apple has been on a spending spree for high-end TV series. Meanwhile, Apple’s plans for how — and when — it will to roll out its star-studded content remain shrouded in mystery.

As the iPhone maker and world’s most valued company continues to aggressively pursue top creators and TV packages with its $1 billion budget, here’s a guide to keep track of who’s running the show and all of Apple’s originals.


Jamie Erlicht and Zack Van Amburg serve as heads of worldwide video and chief content officers. The duo were hired June 16, 2017, and effectively started Sept. 1 after their deals with Sony Pictures TV expired. They report directly to senior vp internet software and services Eddy Cue. For the past year, the duo have quickly built an impressive executive team (as well as programming slate).

Matt Cherniss, formerly of WGN America, is head of creative development (domestic) after buying multiple series from Erlicht and Van Amburg during their tenure at Sony.

Morgan Wandell serves as head of international creative development after serving in a similar position at Amazon Studios.

Kim Rozenfeld is head of unscripted and current programming, reuniting with Van Amburg and Erlicht, under whom he held a similar position at Sony TV.

Tara Sorensen oversees kids programming, joining the Apple team after serving in the same position at Amazon Studios.


Amazing Stories  Apple’s first official scripted order, the individual episodic anthology is a reimagining of Steven Spielberg’s original series that transports viewers to worlds of wonder through the lens of today’s most imaginative filmmakers, directors and writers. Edward Kitsis and Adam Horowitz (Once Upon a Time) serve as showrunners, having taken over for Bryan Fuller and Hart Hanson. The series hails from Universal TV and Amblin TV, with Spielberg attached as an exec producer.

Are You Sleeping  The 10-episode drama offers a glimpse into America’s obsession with true-crime podcasts. It challenges viewers to consider the consequences when the pursuit of justice is put on a public stage. Octavia Spencer, Lizzy Caplan and Aaron Paul star. Nichelle Tramble Spellman (The Good Wife) penned the script and serves as showrunner. Reese Witherspoon exec produces the drama from Hello Sunshine and Chernin/Endeavor Content. Peter Chernin and Jenno Topping also exec produce….

Read it all at Hollywoodreporter.Com

Stop Sabotaging Yourself

Even the most successful among us – whatever your definition of success may be – have moments where our fears rear their unreclaimed little heads and screw us over, and as writers, we’re especially prone to this situation..

So here’s Tony Robbins his very self on how to conquer our worst enemies…ourselves:

More videos about everybody’s favorite productivity problems HERE

Sometimes It Really Does Take a Village…of Parents

There’s a certain thing that happens when you become a parent. A softening, an increase in empathy. Ever wonder how that affects your creativity? Here’s an interesting discussion of the matter featuring one of our favorite as yet all-too-undiscovered writers, Ms. Cara Winter:

from Moms-in-Film

Cara Winter is the writer and co-director of Division, a short film currently crowdfunding on IndieGogo about a young, interracial couple who find themselves in a long-distance relationship… even though they live in the same city.

Moms-in-Film chatted with Cara about

Cara Winter & son Avery

the film, how she made the leap behind the camera and how childcare affects productions of every shape and size.

What’s your role on Division and how did it come about?

Division is a short film I co-wrote (and I’m also co-directing it, with my collaborator George Ellzey Jr.), and it is my first foray into producing my own work. Division is a short film about a young, interracial couple who find themselves in a long-distance relationship… even though they live in the same city. We think anyone who’ve ever had to sit in traffic for over an hour to see someone who lives less than 5 miles away will relate!

Why do you feel it’s important people see this story now?

In the film, the two main characters (who fall in love) happen to be from different ethnic backgrounds, but that isn’t the main thrust of the film?—?not at all. In fact, I don’t think we ever mention it! This was very much on purpose; to us, diversity is normalcy. All too often, in the great romantic comedies (from When Harry Met Sally to Garden State, to more recently La La Land) the main characters are usually white. (And if one of the them is non-white, it’s a major plot point.) With Division, we felt it was important for people to see two PEOPLE fall in love, who just happen to be from different ethnic backgrounds. But it’s NOT a plot point; they’re just people, falling in love, then trying to make a go of it.

Have you always been a writer/director?

No, I was an actress first; I got my undergraduate degree in Theater from NYU, and then I went on to have a stage career. I wasn’t a parent back then, and I travelled a ton? – ?national tours, summer stock, the works. Then, I got married and had a baby, and right away I was like, “I gotta do something else; I don’t want to travel all the time, I want to read to my son every night!”

Were you writing as well as acting at that time?

Writing was always something I’d done on the side, for fun, but once I became a parent, I started to put it more front-and-center. I wrote a play that was produced in New York, and my friend Howard Emanuel came to see it; he was an actor-turned-writer, as well….

Read it all at Medium.Com