And now the kind of love story we understand.
An analysis of a writer’s love of storytelling. A hero’s journey indeed.
by Loren-Paul Caplin
Why the f*%K do we do it?
And now the kind of love story we understand.
An analysis of a writer’s love of storytelling. A hero’s journey indeed.

Why the f*%K do we do it?
by John OstranderNone of us are the same person all the time. We change according to the people we are around; they draw different aspects of us out of ourselves. A sibling may draw us into the role of younger or older sibling automatically. A guy talking with other guys may talk and act one way and, on seeing a pretty girl, turn around and talk and act completely differently. Have you ever said or felt that a certain person brings out the best or worst in you? It’s probably true. You do it to others as well.
What’s true in life should be true in our writing. One of the major purposes of supporting characters, major or minor, good or bad, is to draw out aspects of the protagonist. There are differences between who we think we are and who we actually are and it’s other people and/or difficult situations that draw these out and reveal them to ourselves or to the readers of our stories.
Nothing reveals a character more than contradictions. The deeper the character, the more profound the contradictions. Let’s do an exercise. Take a sheet of paper and on one side in a vertical column write attributes or virtues that a character may have. For example, our character Jimmy Bill Bob is friendly, courteous, kind, obedient, cheerful, thrifty, brave, clean, and reverent. That’s right – a real Boy Scout. Now, draw a line down the center of the page and in a column opposite the first attributes, write their opposite. Be creative. You can’t use un – as in unkind or ir- as in irreverent. Find words that you feel mean the opposite of the word on the left hand side of the line. I’ll wait.

I’ve been trying to avoid it, but it’s no use. I screwed up. I screwed up and now I’m paying for it.
Back during pre-production of BROKEN HEARTS CLUB I should have spent more time with the schedule and location prep. I should have hired a 1st AD to take care of those things for me. I didn’t. Now I’m paying for it.

TVBizWire reports that Don Payne, co-executive producer of THE SIMPSONS, has died at 48 of cancer.
Payne, who earned four Emmys with “The Simpsons” after joining its writing staff in 1998, wrote 16 episodes of the series. One of them, “Fraudcast News,” was awarded the 2005 Writers Guild Paul Selvin Award.

And why the hell not?
Here’s what the Peabody Awards Committee had to say: