The Writers Guild of America Awards winners were announced last night in a virtual ceremony online, and, man there were a lot of them.
No, we’re not being snarky, we’re being honest. Similarly, we’re being honest when we say that all the nominated scripts were superbly written by true artists, and the winners were, when you get down to it, just a teeny-weeny bit moreso.
THE USUAL NOTE FROM LB: From the summer of 2002 to the spring of 2010, Gwen the Beautiful and I were the proud and often exhausted owners of a beautiful Ozarks property we called Cloud Creek Ranch.
In many ways, the ranch was paradise. But it was a paradise with a price that started going up before we even knew it existed. Here’s another Monday musing about our adventure and the lessons we learned.
Good morning! Welcome to another new week at TVWriter™. Today we begin with a look at our most popular blog posts and resource pages during the last 7 days.
They are, in order:
We love this analysis of Al Pacino’s career and give our sincerest thanks to writer-researcher Stephen Follows for sharing not only his insight but his fascinating methodology. (Which is so unlike Mr. Pacino’s, erm, method of managing his acting career.)
In an interview last week, Al Pacino revealed that he enjoys starring in bad movies as he views it as a challenge to improve them to the point of mediocrity.
The unreliable narrator has long been a common device in literature, but it’s only recently that it has reared its challenging heard in our wonderful world of TV writing. Here’s some advice about how to watch and interpret some of the medium’s hottest new shows.
Narratives have long used framing devices when it comes to telling stories. What is “Arabian Nights” if not Scheherazade introducing the concept of episodic storytelling under the guise of staying her own execution?