by Caroline McMillan (Lifehacker.Com)
by Caroline McMillan (Lifehacker.Com)
Written by TVWriter™’s boss – Larry Brody, a writer-producer with 40 years of experience in every aspect of television – Television Writing from the Inside Out is a true Insider’s Guide that offers his unique expertise and an outlook that’s the direct result of having written and produced almost 1000 hours of television of all types, from daytime serials to animated children’s series to syndicated, cable, and U.S. and European network primetime series, pilots, and Movies of the Week.
This book examines the entire procedure not only creatively but in terms of how television actually operates. TV as a medium is both creative and commercial, but this really isn’t a fact to be bemoaned. Instead, Television Writing from the Inside Out shows how to make the situation work for you by using creative elements for commercial ends–and commercial elements for creative ones. In fact, it’s so practical that it tells you what neighborhoods to live in when you move to L.A., how to dress, even what kind of car to drive.
Oy! As if there wasn’t enough pressure to perform in the room. Now along comes Deadline.Com with this terrifying news: (Unless you’re a pitching expert, in which case go ahead and laugh)
Movie Profits Driven By Stories And Directors, Not Stars, Academics Conclude – by David Lieberman
Movie making is often an insane business. But moguls turn out to be pretty rational about it according to a chapter in an upcoming economics text and a recent article in an academic journal. Researchers say that studios wisely bet on stories and directors. Star worship “is all but a myth,” writes S. Abraham Ravid — a finance professor at Yeshiva University — in The Economics Of Creativity, to be published next month. “Stars can still sell magazines, but not movies.” Why do studios pay big bucks for Academy Award-winners? It’s part of a strategy, along with co-financing, to reduce the risk of making big-budget films — especially R-rated ones, which represent the biggest gambles. Stars should draw at least some fans, even to a stinker of a movie, the theory goes. “In an industry where a big failure is much more dreaded than a big success is wished for, insurance is worth its weight in gold, or in eight-figure salaries.”
This thought seems so simple, so obvious…and yet there’s so much to disagree with. (He said with cautious creativity…Or was it creative caution? Hmm.)
Designer and Author George Lois once said “You can be Cautious or you can be Creative (but there’s no such thing as a Cautious Creative).” Basically, you can never innovate without taking a little risk. If you’re being truly creative, there’s always a chance your fresh idea will flop, or won’t be doable, or otherwise won’t succeed. If you’re working on something that’s a guaranteed success, it’s unlikely you’re creating anything new and different. If you really want to create something new, brace yourself and grow those wings on the way down the cliff.
…Especially if you’re as impatient and demanding as we are!
by Sian Beilock
It’s well known that there are circadian or daily rhythms in basic physiological functions like body temperature or digestion. Interestingly, these circadian rhythms extend to our psychological abilities too. Simply put, we tend to have more brainpower at our peak circadian arousal time, which leads to success on activities that require us to concentrate and mentally ‘buckle down.’
Morning types (i.e., people who are most alert in the morning) excel on a whole host of cognitive tasks when they complete these tasks early in the day. This is especially true for tasks that require working memory, like systematically reasoning through a problem or juggling numbers in your head. Working memory is our flexible mental scratch pad. It’s the brainpower that helps us keep what we want in mind and what we don’t want out. On the other hand, evening types, those who are most alert at night, tend to perform at their best on demanding cognitive tasks later in the day.