From writing for comedy to making TV history – how did Felicia D. Henderson accomplish all that she has in such a short time, and how can you follow in her footsteps as a writer? Check out “Behind the Screen” in this month’s newsletter to read Felicia’s story and advice for writers.
Many writers exploiting, say, a child’s tricycle as a prop in a scene, would likely place it ribbon-bound under the Christmas tree or abandoned temporarily on the front lawn. Instead of that, how about an active battlefield, the trike’s bell tinkling as the rider pilots it directly into the line of fire between two warring armies? Read the feature article “You Really Like It?” from this month’s newsletter to see why smart writers choose the latter.
Read the newsletter here.
As a young writer, Richard Walter had the opportunity to see, in person – a letter written from Jack London to his agent – read the article in the new issue of the newsletter to hear what London had to say and how it impacts considering yourself a professional writer.
How did rock star screenwriter Paul Castro get his start? And, what’s his advice on getting your own as a writer? Click here to find out – you’ll learn something AND be entertained in the process.
Michael Colleary is a graduate of the UCLA masters screenwriting program, and now one of its most popular professors. He has been a professional screenwriter and film producer for more than 20 years. A frequent collaborator with fellow UCLA alumni Mike Werb, his feature film credits include Face/Off which The New York Times named one of the best 1,000 movies ever made, and Lara Croft: Tomb Raider. In 2007, with Mike Werb and UCLA alum Claire-Dee Lim, Colleary co-wrote and produced the family film Firehouse Dog which has won multiple awards from family advocacy groups. He also recently wrote for the Cartoon Network live-action series Unnatural History.
In 1995 Michael was invited to return to UCLA as a visiting instructor to teach in the Professional Screenwriting Program and in the Masters Program. In 2002 UCLA honored him with the Lew and Pamela Hunter/Jon and Janice Zakin Chair in Screenwriting. Michael and his siblings also sponsor the Bridget and Bob Colleary Award for screenwriting excellence which is presented annually to a deserving UCLA writing student.
Michael got his start in Hollywood by becoming obsessed with movies – read on to see how your obsessions can also lead you to a successful Hollywood career.
Read the Q&A with Michael here.
If you were a casting agent and met a frail, petite waif of a wispy, longhaired blond, who weighed maybe ninety pounds, and on tiptoes stood four-ten, how would you cast her? As a live-action Tinkerbell or a bouncer in a biker bar? Read on to see why the latter is precisely the way to go.
– Richard Walter
Read the July newsletter here.
What Happens When You Turn in a Script 1 Day Late to Richard Walter’s Class?
You may just write a runaway hit, if you follow his advice like Akshat Verma did… and decipher how to not be your O.W.E.
In a humorous recounting of how this writer’s story almost didn’t come to be, Akshat recounts one of his early disappointments in ‘the biz’… getting an A- from Richard Walter for a screenwriting workshop. The reason? He turned in the completed script one day late. Read on for the full piece and to see just why you too, should learn why O.W.E. isn’t an I-owe-you note from Richard, but rather sound advice for how to craft the best stories. And, not let anyone get in your way to do so.
Congratulations Akshat! And write on fellow Bruin screenwriters!
Read the full story, published in Tehelka, here.
Behind the Screen: Getting to Know Paul Chitlik
Screenwriter/producer/director Paul Chitlik has written for all the major networks and studios. He was story editor for “The New Twilight Zone,” and staff writer for Showtime’s “Brothers.” He has written features for Rysher Entertainment, NuImage, Promark, and others. He received a WGA award nomination for his work on “The Twilight Zone,” a GLAAD Media Award nomination, and won a Genesis Award for a Showtime movie. He has taught screenwriting at UCLA;Loyola Marymount University; ESCAC, the film school of the University ofBarcelona; UNIACC in Santiago, Chile; and EICTV, the film school of Cuba. He consults for the government of Chile’s film development process. He has presented workshops and consulted for ScreenWest, Australia; ScreenAustralia and the Australian Writers Guild.
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His book, Rewrite, A Step-by-Step Guide to Strengthen Structure, Characters, and Drama in Your Screenplay is now in its second printing.
Dream of succeeding at writing in Hollywood? Read on to hear how Paul got his start and what he recommends for long term success.
There’s a joke about two television writers. One boasts to the other that his young daughter just spoke her first word.
“What’d she say?”
“Residual.”
Read on and see why this is not really a joke.
- Richard Walter
Read the full issue here: http://richardwalter.com/wp-content/newsletter/newsletter11_June_2011.html
Writers crave opportunities to pitch their ideas to producers. Alas, however, if there is no story, no characters worth caring about, no overarching structure, pitching is worse than a waste of time. Without a solid story, you’re merely one more screen talker.
- Richard Walter
Read the full issue here: http://richardwalter.com/wp-content/newsletter/newsletter10_May_2011.html
