There’s no getting around it. This is how I feel sometimes a lot of the time occasionally pretty much all the damn time!
From the fertile brain of Charlie Hankin. See more of his work HERE
Latest WGA vs. CAA Update
It appears that the Writers Guild of America and Creative Artists Agency have finally agreed on terms that will allow CAA to represent members once more.
Welcome back to the fold, CAA. Glad that you saw the error of fucking around and got serious about being in business with the best writers in the world at last.
Cartoon: ‘Onstage’
TVWriter™’s all-time favorite artist/philosopher, Grant Snider, explains the writer’s place in the theatrical/showbiz scheme of things. He’s right, of course.
See more of Grant Snider’s extraordinary perception of human creativity at Incidental Comics, HERE
Alexander Chee on Overcoming Writers Block
This excellent article presents a very interesting – and new – way of regarding that old bad boy of writing – Writers Block.
by Alexander Chee
Ideal with writers’ block several times a year, usually in the form of other people’s writers’ block. Specifically, I find myself every year with a few students trying and failing to write their stories for class. Teaching creative writing inside of a liberal arts institution means putting creativity on a clock — the quarter or semester — and over the 25 years I’ve been teaching writing, I’ve learned my blocked students are usually high-achieving young people who are used to being able to power their way through a paper, get the answers, get the grade and move on. Fiction writing doesn’t really work that way.
That said, we know clocks can work. To wit: the number of people who say they thrive on a deadline.
Larry Brody’s TV Writing Tips & Tricks #4
Characterization
by Larry Brody
When writing for television, the key to creating a successful series is creating characters the audience wants to come back and see again and again. This means they have to be interesting—maybe even quirky—and realistic.
Many writers—and most development executives—think this means the characters have to be likeable, but television history belies this. Any Sippowitz may be everyone’s favorite “fascist” cop, but is he likeable? And what about Archie Bunker?