The Writers Guild Foundation’s Veterans Writing Project

Veterans Wrilting Project group workshop

via TVWriter™ Press Service

The mission of the Writers Guild Foundation’s Veterans Writing Project is to identify emerging writers from United States military backgrounds and provide them with the tools and insights to nurture their passion for writing and successfully navigate the entertainment industry.

We do this in two phases over a yearlong program: A weekend-long retreat, and monthly follow-up workshops and special events. Each military veteran is paired with WGA members. Our writer-mentors represent some of the most beloved movies and television series of the past and present, and are committed to guiding the voices of the future.

ABOUT THE PROGRAM

When is it?
The program’s kickoff event – the weekend retreat – takes place in spring 2019. Ongoing mentorship workshops and networking events will continue each month through spring 2020 on weekday evenings.

Where is it?
All sessions take place at the WGF’s Shavelson-Webb Library in Los Angeles, CA.

How much does it cost?
The program is free. NOTE: those from outside the Los Angeles area are expected to cover their own transportation and lodging costs.

Am I eligible?
We encourage U.S. military veterans and military service members who are interested in the craft and business of screenwriting and storytelling to apply. Applicants must be 21+ years old and a U.S. citizen or permanent resident.

Should applicants have writing experience?
Writing experience is not a requirement — what is most important is that applicants show a passion for the craft and business of writing and a commitment to completing 1 screenplay or TV pilot during the program.

How many vets does it serve?
About 50 veterans are accepted to the program per year.

How can I apply?
The application window to apply to the 2019-2020 Veterans Writing Project is now open. View the application here. Please read instructions carefully before submitting.

What is the deadline to apply?
The deadline to apply to the 2019-2020 Veterans Writing Project is Monday, February 25 at 11:59pm PST.

Will there be an interview?
WGF staff and/or selection committee members may reach out to select applicants for a phone or Skype interview.

I am a WGA member; how can I help?
If you are a WGA member and you are interested in mentoring, please contact Libbie at vets@wgfoundation.org. And please consider making a tax-deductible donation here.

I am not a WGA member or a veteran; how can I help?
Our volunteer needs are currently met, but you may email Libbie at volunteers@wgfoundation.org for more information on how to give your time to the Veterans Writing Project. And please consider making a tax-deductible donation here.

The application window to apply to the 2019-2020 Veterans Writing Project is now open!

VIEW 2019 VETERANS WRITING PROJECT APPLICATION

Please subscribe to the Project’s email list here to receive updates about the program.

How to Become the Most Productive Screenwriter You Know

It’s Valentine’s Day, which means that instead of working your butt off writing your heart out (now there’s a mixed metaphor to be reckoned with!) you’ll probably be making sweet love all day…or being upset because you aren’t.

But tomorrow will come, and with it the siren call of your chosen profession – writing for TV, or films, or even publication. Here’s a Valentine’s Day gift to get your going at en even higher level than you’ve been at so far:

by Script Reader Pro

On the one hand, you’d like to write more to finish that screenplay, TV pilot or treatment (or start one, for that matter) and begin making headway toward your writing goals.

On the other hand…

Most days pass in a blur. You’re dead tired after getting home from work. Then it’s family time. Or you feel like crashing in front of the TV. Or you promised to go see a work colleague’s band play across town. And on and on.

There always seems to be something in the way of just sitting down and writing. Well, that’s about to change.

In this post, we’ve collected together our absolute favorite forty-eight resources that will teach you how to find time to write and create the ultimate writer’s lifestyle—enabling you to truly kick-start your screenwriting career.

We’ll cover hacks on how to find time to write, how to write more efficiently, tips to improve productivity for writers, health, fitness and much more.

In other words, everything you need to develop the optimal conditions in your life so you can give your screenwriting goals the best possible chance of succeeding. So let’s get to it.

Get Inspired to Write All Over Again

Sometimes the reason why we don’t write as much as we’d like is simply because the enthusiasm has dried up a little. After several rejection letters or lukewarm feedback on your scripts, it’s easy to get disheartened.

With that in mind, here are six resources you can use to rediscover your writing mojo….

Read it all at SCRIPTREADERPRO.COM

 

How Does the Script for ‘The Wolf of Wall Street’ Compare to the Film?

The process of transferring a script to the screen always fascinates us here at TVWriter™, and a new addition to YouTube’s “channels” is right up our alley. For example:

We know this is a writing site, and regular visitors know how much we preach about the importance of the teleplay or screenplay before and during production. And yet, our informal survey of TVWriter™’s minions showed that 9 out of 10 thought that the improvisation on set was what made this film the classic it is. (Well, that we think it is.)

What do you think?

More from Script to Screen HERE

Oscar-Contending Writers Talk About The Journey from Script to Screen

Ever meet a writer without an opinion? Or a great story to tell? Didn’t think so. These very fine writers have very definite opinions…and their stories aren’t too shabby either:

Roma and Green Book Moments

by Craig Tomashoff

As it turns out, not all screenplays are created equally. Some are written in a matter of weeks, others over the course of years. Some are meticulously researched in advance, others are written spontaneously. Some are completely the product of deep personal introspection, others are offered up for review at cocktail parties. We spoke to the writers whose scripts were nominated for 2019 Academy Awards to learn what different approaches they took that set their current films apart from their previous work.

‘Green Book’ by Peter Farrelly

Usually when I’m writing, I’ll sit in a room with whomever I’m working with and bat it all out. This time, though, Nick Vallelonga and Brian Currie and I got together for two or three weeks to put down how the story should go and what point of view to tell it from. But then I went off to work on a TV show and they went to do a first draft. When they came back a month later, I thought that was too fast, so I took it for about six weeks to write on my own. Then we got back together for a final two or three weeks to argue over whether we needed to add this or that. I also remember vividly another unusual thing: There was one Saturday around 10 p.m., when I’d finished a nice pass on the script. My wife had six or eight friends over, and they were having cocktails and smoking cigarettes. I said, ‘I think I have a draft,’ and they said, ‘Can we look at it?’ They read until about midnight. Then we stayed up till 4 in the morning, with them giving me notes. I still remember people saying, ‘You’re going to get an Oscar nomination for this.’

‘The Favorite’ by Tony McNamara

What was different about the script was it was a long development over a long distance. I was in Sydney, and [director] Yorgos [Lanthimos] was in London, so we did notes on Skype. Every now and again, we’d meet in London or Rome and spend time physically together. We had Deborah Davis’ script that we took some history from, and we decided early on we wanted to be as free as we could with it. I find some history films get bogged down in detail, and when Yorgos and I first spoke about it, we both wanted it to be a different kind of period film — not polite, more freewheeling and contemporary and, most importantly, funny. The hardest part was making the third act work. Also bringing three protagonists’ stories together into one or two tight, compelling and satisfying moments took a while to get right….

Read it all at HOLLYWOODREPORTER.COM

It’s Quentin Tarantino Week at TVWriter™ Part 4

Not Mr. Tarantino hisself but a very close up and personal friend

Previously on TVWriter™’s Quentin Tarantino week

Previously but not as previously as the above previous video

Previously as in yesterday for Quentin baby’s week

Today’s our last video honoring Harvey Weinstein’s bud, QT. Not an interview but an actual sample of one of his least known works…and unusual in that it was suitable for TV:

NOTE FROM LB: Hold on, gang. I think we’ve got a problem here. Have you checked out this clip at Snopes?

MINION’S NOTE: What? Whatchatalkin’about? Oh…oh…oh crap, boss. That wasn’t really written by Our Hero, was it?

ANOTHEr MINION NOTE: Sorry, folks, looks like we got snookered. Not Snopes but IMDB, the Universe’s Highest Authority On Things That Matter to TVWriter™ And Our Visitors says the writer of this episode wasn’t His Sacred Highness QT but Travis Bowe, one of Seth MacFarlane’s ultra-talented go-to writers. But, hey, he really nailed that Tarantino magic, yeah? Nice goin’ Travis!

Hmm, who should we here at TVWriter™ honor next? Suggestions anyone?