Want to write for television? Are you gearing up to apply for the Studio Writing Programs and Fellowships? Is your ultimate goal to create your own television show? Aspiring writers need an exceptional spec and original pilot in their portfolio to break in to the business. Make sure you’re armed with the tools you need and give yourself the best shot at success with…

The Televisionary Writers Workshop

Instructor: Tawnya Bhattacharya

In this intensive 6 week TV workshop, writers have the option to focus on a TV spec or an original pilot. Tawnya will guide you step by step through the process of crafting your script from concept to solid first draft using the tools and exercises she created and applies to her own work. This applicable and hands on course will help prepare you for staffing, development and the studio writing program application process.

Classes will cover:

· Hooks/Concepts

· Arena

· Loglines & Pitching

· TV Story Structure

· Strong Act Outs

· Tone & Genre Expectation

· Character Development

· Dynamic Relationships

· Conflict and Obstacles

· Dilemmas & Goals

· Stakes

· Theme

… and more. Writers will learn tools to develop their TV scripts, haveweekly assignments on concept, pitching, character development, outline, drafts, etc.

Additionally, each writer will receive weekly peer feedback and instructor critique and evaluation of weekly assignments and material in a supportive environment.

WHEN: 6 Saturdays starting February 23rd to March 30th from 11:00 am to 2:00 pm

WHERE: Blank Spaces, 5405 Wilshire Blvd., Los Angeles, CA 90036

COST: $595.00

SIGN UP NOW!

Limit 12 writers

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ABOUT TAWNYA

Tawnya currently writes on LIFETIME’S “The Client List” (upcoming Season 2) and recently wrote on USA’s “Fairly Legal” with her writing partner. The team are also in development on their original pilot with Battle Plan Productions and have optioned features, including one being packaged by CAA. The duo, repped by ICM Partners and RAIN MANAGEMENT GROUP, are past NBC Writers on the Verge fellows, winning one of 8 spots out of 1200 applicants. The team were also semi-finalists for the ABC Disney Fellowship before getting a job that took them out of the running. Tawnya was also a FOX Writer’s Intensive fellow where she optioned her semi-autobiographical pilot to FOX.

A distinguished writing instructor at Writers Boot Camp for 4 years, Tawnya helped hundreds of writers at various levels create and develop their screenplay projects through courses and script consultations. Some were beginners, others were executives and producers with decades of industry experience. Several went on to win contests, festivals and fellowships, produce TV, Features and Webisodes, secure representation, sign options, work for hire on assignments and shows, and sell their screenplays and novels as a result. While watching writers struggle through the process, as well as contemplating her own, it became apparent what was missing. So Tawnya created Script Anatomy to fill that gap and give writers practical development, writing and rewriting tools that would serve them throughout their careers. Her professional screenwriting services are designed to help TV and Feature writers elevate their material to the next level and meet their career goals through private consults, workshops and classes.

For more about Tawnya and Script Anatomy, visit www.scriptanatomy.com

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TESTIMONIALS

“Tawnya gives excellent notes to others on their creative process. She clearly understands the craft of writing. Her writing and her ability to connect with others will take her very far in the entertainment business.”

Tawnya is a dream to work with. She is a very talented writer! I believe her creative process will take her very far in this business. Her writing is poetic, lyrical and shows depth and complexity. She is every bit as strong on the page as she is in the room. She gives excellent notes to others on their creative process. She clearly understands the craft of writing. Her writing and her ability to connect with others will take her very far in the entertainment business. I highly recommend Tawnya. — Jen Grisanti, Story/Career Consultant Jen Grisanti Consultancy Inc., Writing Instructor with NBC for Writers on the Verge, author of the book Story Line: Finding Gold In Your Life Story, blogger for The Huffington Post

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“She helped me hone my original vision for a one-hour pilot effectively and efficiently by fine tuning the plot to bring in a boat-load more emotion and heart to the characters – thus elevating my story big time.”

The secret’s out… I have known Tawnya for the past five years and she is a consummate pro. Her superb television writing skills plus story know-how are beyond superlative. She helped me hone my original vision for a one-hour pilot effectively and efficiently by fine tuning the plot to bring in a boat-load more emotion and heart to the characters – thus elevating my story big time. In what can often times be a lengthy and frustrating process creating original work, her patience and guidance made the process fun and exciting. She can do the same for you. – Michael Perri, producer and creator of hit web series, “Citizen Kate” and “Weed Shop”, 2012 Young and Hungry List “Nexxus” pilot, Repped by The Arlook Group, NLMC/NHMC (The National Hispanic Media Coalition Writers Program Fellow 2012

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“I had high hopes walking into Tawnya’s Script Anatomy Televisionary Workshop. My expectations were blown out of the water.”

I had high hopes walking into Tawnya’s Script Anatomy Televisionary Workshop. My expectations were blown out of the water. Tawnya’s class was constructive, supportive and insightful. She isn’t afraid to give you the notes you need to hear. Even better, she supports you with the right tools to squeeze out the talent. I’m truly amazed at how much my writing was elevated after going through her workshop. And when looking around at the other writers she mentors, I’m impressed to see that I’m not the only one. If you’ve got the talent, Tawnya can foster it and bring it to the next level. I seriously can’t express how great she is. I’m so glad I walked into that Script Anatomy workshop and feel so privileged to have Tawnya on my side, helping me through the world of TV writing. – Daireen Galeano, NLMC/NHMC TV Writing Program Fellow

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“Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher.”

What sets Tawnya apart from other teachers I’ve had is her unmatched enthusiasm for the art and craft of writing. She has a deep understanding of what makes stories work, and is great at communicating that to her students. Her class was always warm and open, but also very focused. People were encouraged to speak up, but if things got off topic, she would get everyone focused on writing again. Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher. — Kiyong Kim, 2010-2011 Nickelodeon Writing Fellowship recipient, NBC Writers On The Verge Fellow, blogger @ Kiyong’s Blog of Creative Pursuits

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“Tawnya was the best screenwriting instructor I could have asked for.”

Tawnya was the best screenwriting instructor I could have asked for. I am certainly a better writer for having had her as my teacher and am very lucky to have her continued support. She has a wonderful ability to get to the heart of storytelling with clear insight and determined precision. She has a no-nonsense style with a nurturing heart. I endorse her teaching one hundred percent. — Wendy B., Screen & TV Writer

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“Tawnya Bhattacharya is like a screenwriting personal trainer.”

Everyone has an idea. But to turn that idea into a 100-page screenplay takes dedication, discipline and hours of work. Tawnya Bhattacharya is like a screenwriting personal trainer. She’ll help you to whip that underdeveloped 98-pound weakling of an idea into a full-blown feature-length commercial screenplay. You’ll love the results. — Tim Grant, repped by UTA, Optioned Screenwriter & Blogger @ Post-Mortem Depression

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“I vouch wholeheartedly for her classes.”

It’s not enough to hit a simple home run in this business. Your script won’t get noticed unless you hit it out of the park, into the next county and across state lines. Tawnya can help you do that. She possesses a masterful grasp of screenwriting and the passion to share her expertise with anyone willing to work as hard as she does. As her former student, I vouch wholeheartedly for her classes. The feedback is powerful, clear, honest and effective. As her writing partner, I continue to marvel at her fearless approach to the work and her understanding of story. She is an absolute delight to work with, and when you hit your winning pitch, she’ll be cheering for you from the dugout. — Ali Laventhol, writer on The Client List at Lifetime, USA’s “Fairly Legal”, 2010-2011 NBC Writers On The Verge fellow

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“Her class stands out in the overly saturated arena of TV writing classes, books, and seminars.”

“As a working television writer, Tawnya understands the inner function (or dysfunction) of “the writer.” This, coupled with her innate gift for teaching, make her class stand out in the overly saturated arena of TV writing classes, books, and seminars. Not only was her class informational, enhancing both my story and structure skills, but it was inspirational, fun, and offered a supportive environment for every participant. But, what really matters is this: Tawnya made my work better.” — Eva Taylor, attorney and aspiring television writer.

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“The guidance you’ll receive throughout the roller coaster ride is unparalleled.”

Tawnya Bhattacharya’s Televisionary Writer’s Workshop is the place to go if you’re ready to write like a professional. The pace is fast, the expectations are high, the deadlines are real, yet the guidance you’ll receive throughout the roller coaster ride is unparalleled. As a rule, nobody should care more about your script than you do,but Tawnya frequently breaks this rule; whatever passion you bring to your script is guaranteed to be exceeded by her notes, ideas, and suggestions. This course supplies a safe, constructive, yet thoroughly challenging launch pad for any writer who’s looking to grow…and start a career. — Jason Romaine, writer/actor/comedian; current PAGE International Screenwriting Contest Quarterfinalist

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“This workshop is worth its weight in gold!”

The Televisionary Writers Workshop was one of the most valuable, most enjoyable, and most meaningful experiences I’ve had in my writing career. And I promise you that’s not hyperbole. As a working television writer, Tawnya is a wealth of information — information that is current and up-to-the-minute. Tawnya’s years of teaching and private coaching experience are beyond evident, and show up in her deep wisdom, perspective, and savvy. And all of this is delivered with clarity, humor, and an honesty that’s always supportive. This workshop is worth its weight in gold! — Blaed Spence; journalist and tv writer

You endured the rigors of staffing season.  You cheered at the news when some Very Important Person liked your material.  You nailed the meeting and you got the job!  Hooray!  …So now what?

Since we here at Script Anatomy have yet to find the official “staff writer handbook” we decided to concoct a little survival guide based on our experience.  We hope it helps you through what will surely be one of the most fun-slash-scary times of your life.

1) FIND WAYS TO MANAGE STRESS:

If you’re like us, writing on a tv show has been your holy grail for an embarrassingly large number of years.  And just like when any long-time dream becomes reality, the excitement can be coupled with excessive worry.  Although deadlines, creative differences and hallway politics vary in degree from show to show, we suggest you pick up a few of these habits as soon as you sign your contract.

- Do yoga.  Take walks.  Sweat.  Get zen.

- Buy a treadmill.  Burn off the anxiety and a few calories, too.

- Visit your local liquor store.  Red wine is good for your heart, anyway.

- Zone out to the tube.  Cheesy reality tv can remind you that your drama is not as bad as you think.

- Find a good therapist.  Everyone needs to vent and a good shrink will remind you that what you think is happening and what’s actually happening are not the same thing.

- Read.  You might try “Please Meditate.  It’s good For You” by Olivia Rosewood or “The No Asshole Rule: Building a Civilized Workplace and Surviving One That Isn’t” by Robert I. Sutton, PHD or “The Art of Happiness” by the Dalai Lama.

2) THE NEED FOR SPEED:

Now that your mind is in the healthy zone, let’s get down to business.

During your introduction to breaking story with the pros, you may notice ideas flying around the writers’ room faster than you can think.  You will need to speed up your brain.  You will need to fine-tune your fast-twitch muscle fibers and you will need to be ready to pounce.  The days of wandering around your house contemplating a story beat for hours on end are over because a writers’ room is nothing if not fast and furious.  It’s like being on court during a nine-way tennis match with players who hit the ball at 100 mph, and trying and stick your racket in.  So think fast and get in the game.

3) TO SPEAK OR NOT TO SPEAK:

There is an unspoken terror among staff writers that causes many lost nights of sleep: the idea that if one is not speaking enough in the room then one is not contributing and therefore one will soon be unemployed.  Not all staff writers suffer from this affliction, but if it happens to you, don’t feel like you have to speak just to speak.  It’s probably better to say nothing than to say a bunch of dumb stuff.  And by all means, don’t re-pitch (in different words) what was just pitched and agreed upon by the room just for the sake of talking.  Instead, trust that you’ll eventually have a good idea.  Have patience.  Even though you are a staff writer and everyone else may have been writing tv since dinosaurs roamed the earth, you will have valuable ideas, too.  Not that our staff was a day over thirty, but they were ridiculously experienced and accomplished.  Don’t be intimidated.  Know that you can afford to be discerning and wait until that great idea comes.

4) LOUDER!

When you have an idea you really believe in, don’t give up trying to get it heard even if the rest of the room ignores you or steam rolls right over you.  This is normal.  No one is thinking about being polite when they’re trying to get their pitches out.  Being heard is one of the most basic human desires and never is it more on display than in a writers’ room.  So keep trying and don’t take it personally.

5) THE PITCH-SLAP:

If your idea is dismissed (and believe me, this will happen) don’t cling to it, don’t re-pitch it over and over again.  Let it go and move on.  You are there to support your showrunner’s vision of the show, not to campaign for your own.

6) TAKING CREDIT:

So you pitched an idea and they shot it down.  You’ve moved on, you’ve let it go.  (Good job!)  But then…  a few hours later someone else pitches the same thing and the room loves it!  What the–?  Totally sucky, I know.  The worst.  But resist the urge to scream, “Hey I said that, like, 3 hours ago!”  Instead, take a deep breath and remember it’s (probably) not personal.  Sometimes an idea has to marinate before it makes sense.  Or the idea might sound different in a new context.  Or the story may have evolved enough in those passing hours that it now works.  Or, let’s be honest, the person who just pitched it may have articulated it better than you did.  That’s why you’re a staff writer who still has stuff to learn.  You will get better at this pitching thing the more you do it, so let it go and focus on coming up with your next good idea.

7)  SEATING CHART:

Where you sit on the first day matters.  At least in our room it did, because where we sat on the first day is where we sat for the next eight months.  Which, if you must know, was the furthest possible point away from the showrunner.  Yes we were staff writers and the seating was hierarchically driven, but the other staff writers did sit a bit closer.  Why are we talking about something so petty, you ask?  Because when you’re trying to make your voice loud enough to pitch an idea when everyone is talking at once, it is much tougher from the faaaaaaaaaaar end of the table.  Resist the urge to buy a megaphone, if this happens to you.  Just learn to project, or maybe, sit closer on that very important first day.

8) KNOW THE LANGUAGE:

You may be familiar with some of the terms already, like “jumping the shark” and “at first blush.”  But here are a few that were new to us:

“Gilding The Lily” –  Decorating something superfluously that’s already beautiful, or in tv terms, adding more to a story beat when nothing more is needed.

“Hang A Lantern On It” –  When you need to make sure an audience registers a specific piece of info, you highlight it or hang a lantern on it.  In other words, the opposite of subtle.

“Shoe Leather” –  The investigative beats in a procedural. Usually focused on boring evidence.

“Schmuck Bait” –  When you present a big problem at an act break to get the audience to stick around for the commercial, then immediately and easily solve the problem at the top of the next act.

“Too Small World” – when a story component feels too coincidental because every random player in a case just so happens to have personal history with each other.  Like, the client is the witness’s sister’s second cousin and the lawyer is the Judge’s long lost fraternity brother.  True, the world is getting smaller – but not that small.

9) PLAY NICE IN THE SANDBOX:

Not that you wouldn’t normally treat everyone nicely.  This is an just an extra reminder to be kind to your Writers’ Assistant, Script Coordinator, Writers PA and especially the Showrunner’s Assistant – not only because they’ll probably be your boss someday, but because they work their asses off and they know more about what’s going on behind the scenes of your show than you do.

10) YOUR SCRIPT:

If you’re given two weeks to write your script, write it in one.  Then get notes from everyone else on your staff (maybe even the showrunner if she/he offers) during the second week.  Even though they call it a first draft, you may never get the chance to rewrite it.  So try to make your script as shiny and polished as possible.  Because hypothetically, it would be the worst thing in the world to turn it in and then think… “Shit, if only my showrunner knew how well I can really write…”

11) AFTER THE DRAFT:

If you’re lucky enough to write an episode on your first show, understand that you will not necessarily produce it.  You may produce some of it, none of it or all of it.  This includes casting, prep meetings, table reads, being on set, studio and network notes, editing and the rest of post.

If you’re lucky enough to go to set, remember, you are just a staff writer.  Do not give notes to the director or the actors or anyone else for that matter.  Usually, the proper channel to go through is the Supervising Producer.  If he or she is not on set at a particular moment when you notice something awry then you can approach the director.  But do it in a very covert, stealth-ninja manner – i.e. not loudly in front of everyone as this does not prove that you know more than them, it proves you’re an ass. Or worse – “green.”

Be grateful for whatever parts of the overall process you’re invited to participate in, learn as much as you can, pay attention to details, make suggestions and give notes where appropriate and then let the rest go.

12) AND FINALLY, THE THEME OF THE DAY:

Seems to be a theme here, this “letting go” business.  Our showrunner is a very wise man who understands the importance of letting things go.  One afternoon he took all of us down the street to the multiplex where we watched a movie.  Did I mention it was, like, two o’clock on a Tuesday?  Yes we saw the remake of FOOTLOOSE, but still.  The next day in the room, energy was up and creativity was on fire.

So whether your thing is meditation, exercise, a play-date with your kids, a few tequila shots or a matinee of an eighties classic remake, carve out the time to shake things off — then refocus.  You’ll be a better staff writer and you might even learn a few yee-haw dance moves while you’re at it.

Hello writers!

I’m underwater. In a good way. My writing partner and I got our contracts extended for a second time so we’re still working on Fairly Legal and having a blast. Season 2 airs March 16th on USA  – so tune in!

We are group writing episode #212 — it’s called “gang banging” a script. Nice, right? I’m also teaching my TV Writing Workshop at the moment — the class is full and the group is amazingly talented. It’s awesome to be working with great writers in both of my jobs. Anyway, with all of that on my plate as well as private consults and hiking with the dogs in the Hollywood hills, I haven’t been living up to one of my New Year’s Resolutions to blog more. Oops. I hope to step it up come early March when we are on hiatus.

In the meantime, I did take some time to do an interview with ScriptShadow. I’m late in posting it, but if you haven’t read it already, here it is.

Happy Writing!

Tawnya

]]> http://scriptanatomy.com/interview-i-did-for-scriptshadow/feed/ 0 http://scriptanatomy.com/write-more-become-better-get-career/ http://scriptanatomy.com/write-more-become-better-get-career/#comments Mon, 02 Jan 2012 17:23:45 +0000 admin http://scriptanatomy.com/?p=2000 It’s a NEW YEAR, 2012, the Year of the Dragon. The last few weeks of every year and first few weeks of the beginning of the new one, I start to think about my goals for the next. I imagine many of you do the same. And if you boiled your goals down to the essence they might ultimately look something like this:

Write more

Become better

Get career (or build on the one you have)

So let’s talk about how to get there. And while we’re here, let me tell you about 43things. It’s a site where you can list your New Year’s resolutions and life goals. You can add pictures and “journal” to keep track of your progress, get sent reminders of your goals, and even get help from thousands of other goal setters around the world. Or not. You can be as private or public as you want about it.

Okay, back to the plan…

Write more. Become better. Get career.

WRITE MORE 

During my four-year stint teaching at Writers Boot Camp we asked writers to commit to 10 hours of writing a week. I thought that was a pretty reasonable request. How else are you going to get that script finished? But since launching Script Anatomy in the fall of 2010, I’ve taken it a step further.

I ask the writers to do what I asked of myself when starting out: write ten hours a week and then increase that number each year to write 15-20 hours a week, then 20-30 and upward until you hit 40 hours plus a week. Treat writing like it it’s your job until it becomes your job.

I can hear the protests already: “I’ve got a day job! How can I put in that many hours while working full time?”

My answer is: SACRIFICE.

Faulkner wrote As I Lay Dying using an upside-down wheelbarrow for a table while working nights shoveling coal in a power plant. His hours were from 6:00 pm to 6:00 am, but from midnight to 4:00 am he wrote.

Sometimes you have to choose writing over going to a movie or lounging by the pool or meeting friends. Sometimes you have to write when you don’t want to. You have to write when you’re tired. You have to write when you’re “blocked”, a word I don’t believe in (writer’s block is just an excuse for not working through the blood, sweat and tears).

Embrace the struggle. Because sometimes – most of the time – writing is difficult.

Some days you’ll breeze through pages and some days it might take all day to write a line of dialogue. But you must sit down and work through it anyway because that’s what professionals do. And it’s good training. The day might come when you only have two days to write an episode outline or two weeks to write the episode itself. Knowing that you can deliver, because you’ve done it before, makes it just that little bit easier.

BECOME BETTER

You become a better writer by continually writing and rewriting. By putting in your 10,000 hours of deliberate practice. However, it’s not just about the hours. And it’s not just about striving to be better. Growth is an active pursuit.

Here are 4 things you can do:

1)  Read more scripts. You’ll learn more about the craft, about what works and what doesn’t. Check my resources page for links on where to find screenplays.

2)  Study screenwriting. Read books about the craft. Study the scripts you read. Break down movies and TV shows for structure. You’ll learn about what works and what doesn’t.

3)  Get feedback. You can get this from most good classes. You should also have your writer/actor/director/producer friends read your work. Maybe join a writers group. Some of the notes and thoughts you get will be great and others won’t — which is exactly how things go at the professional level too. But you’ll not only build a thicker skin (very important!), you’ll also learn to decipher the ‘note behind the note’.

4)  Take my screenwriting class or TV workshop. It sounds cheesy, I know, but it’s true — taking classes is a great way to discipline yourself to write, to advance your project, to keep learning, and to get feedback from myself and other writers. A class is great for motivation and sometimes for networking too. Sign up here!

GET WRITING CAREER

If you’ve worked hard and have great material, the next step is getting it out there. And putting yourself out there. This business is about relationships. But don’t worry. Not everybody starts out with “connections.” Contacts and relationships are something you can grow and build. It takes time. So start getting out there now. Join that writing group or meet-up group, take a class, attend Pitchfest, join Women in Film, if you’re an agency/manager/production company assistant then join the JHRTS (Junior Hollywood Radio and Television Society), go to WGA events & panels, submit to reputable contests and fellowships (see my resource page for a list of some and then Google a few more).

With a lot of hard work, a lot of faith and dose of help and a little bit of luck, anything can happen. And it will. If you keep on writing.

Here’s to your writing success in 2012. Cheers!

THE FRESHMAN CLASS OF 2011

Last year in anticipation of staffing season, I read about thirty of the pilots in production. How exciting it was to imagine the potential those pages carried! There were many that I loved and would’ve been thrilled to write for, but three stood out as favorites: THE PLAYBOY CLUB, A GIFTED MAN and HOMELAND. Were I a betting woman, my money would’ve been on this stellar trio to rise above the pack and become hit shows. However, THE PLAYBOY CLUB was cancelled after three episodes, A GIFTED MAN proved underwhelming, while HOMELAND continues to be a huge success.

So what happened? What can we learn from looking at the journey of these three pilots from script to screen?

Let’s start with the script that had the whole town buzzing. This was the meeting to get. The ultimate victory. The Golden Ticket. The script that had agents telling their veteran writers to “Get in line!”

THE PLAYBOY CLUB: the pilot script

I was already amped up about the early 1960s when I read this pilot, having just done extensive research for a MAD MEN spec. The revolutionary spirit of the era permeated Chad Hodge’s script and the scope of social change the series would likely cover made me all tingly. The pilot promised serialized storytelling anchored by an ensemble of female characters: The Bunnies. These women had secrets. Goals. Ambitions. Varied backgrounds. And there was a murder before page 8. Some of the Bunnies were naïve, some calculated. Most were brave, talented, straight, one gay – but all were glamorous and iconic. And if by reading the script you concluded that the Bunnies were sexually liberated pioneers or sexually exploited objects, I couldn’t really argue with you either way. It was both, and that’s the kind of grey area that helps build thematic layers and interesting shows. But sadly, for PLAYBOY, it was not to be.

THE PLAYBOY CLUB: the series

Perhaps the show was doomed before it ever hit the air. Most audience demographics hold strong opinions about the Playboy brand based on the magazine and current state of the mansion. My guess is those opinions go something like: crass, trashy, inane – and therefore prevented the show from its fair chance at bat. There were other problems, too: An inauthentic look resulting from actors, costumes and sets that felt like the year 2011 dressed up for Halloween. Additionally, in the script the writer chose to fill at least seven entire pages (out of a 62 page draft) with song lyrics. Lesson learned: when you’re introducing a sizable ensemble cast and establishing core conflicts, that’s just too much real estate to waste on fluff. Characters rule in pilot scripts, and every word on the page is key to setting them up.

A GIFTED MAN: the pilot script

As a medical show fanatic, I had high hopes for Susannah Grant’s A GIFTED MAN in all of its uniqueness, intensity and heart. A beautifully written medical procedural with a twist, the script centers on neurosurgeon Michael Holt, focused, brilliant and completely thrown as he begins to “see” his dead ex-wife, Anna. On the page, Michael is an easy character to root for and invest in. He’s both a hard-ass and sympathetic, and he’s facing a brutal dilemma. Of course he pulls his hair out trying to pinpoint the cause of his otherworldly (or are they?) visions. Maybe he has a brain tumor or an aneurysm, a la ELI STONE? Or perhaps he’s suddenly able to communicate with the departed? It is in the intersection of science and spirituality that the script finds incredibly moving, dramatic and thematic moments. I’ll admit, I cried. Watching Michael, a left-brained, emotionally detached doctor, consider the possibility that there are some questions in life that science can’t answer – made for a very thought-provoking read.

A GIFTED MAN: the series

The pilot script left me wanting to know more, especially about Anna. Who is she? What is she? Is she the embodiment of Michael’s nervous breakdown? How is she affecting him? As a person? As a doctor? Do they have unresolved business? Does she need something from him in order to “cross over?” And how is she able to interact with this living guy in the first place? Well, the series seems far less concerned with any of these questions as it focuses almost solely on its somewhat uninspired medical cases. Anna has little purpose in Michael’s life, and in turn, little purpose on the show. Unfortunately, where the pilot teed up something really interesting, the series shrugged its shoulders and walked off the field.

HOMELAND: the pilot script

This script pretty much has it all. Conceptually, it’s genius. You can’t really get higher stakes than an imminent terrorist attack on US soil. And while it functions as a smart, engaging, intense thriller, at its core HOMELAND is a character piece. Carrie Mathison and Nick Brody have more layers than a mutant onion. Carrie, a CIA agent obsessed with hunting a terrorist named Abu Nazir, secretly suffers from bipolar disorder, takes anti-psychotics and has a bad habit of homewrecking. While she disobeys her superiors, her actions are well-meaning. Ultimately she’s driven to save lives and serve her country.

If Carrie is fascinating, Brody is even more so: a Marine and Iraqi POW held captive for eight years and presumed dead by his wife and two children, Brody returns home a hero with deep physical and emotional scars. The reunion with his loving wife who has unfortunately moved on, is awkward and heartbreaking. And while the government surrounds him with fanfare, Carrie suspects he’s been turned and is working for Abu Nazir to execute the next deadly attack. The lesson here is all in set-up and in character work. Doing your homework really pays off…

HOMELAND: the series

…because this is a case of a fantastic pilot script turning into an even better series. Week after week, the twists and turns are powerful and surprising – an edge of your seat ride from fade up to fade out. The writers are masters at misleads, parceling out information at the perfect pace. But the depth to which they’ve built both flaws and redeeming traits into their characters is really what feeds this series. With raw and impactful scenes, it’s amazing to watch a show deliver skillfully as a thriller and as a truly emotional drama. I won’t give specific examples as to avoid spoilers, but believe me – this is tv at its best.

Bring ‘em on!

The making of a hit tv series is certainly no exact science. Once all the winning ingredients are in place – concept, writing, direction, casting, acting, marketing and a showrunner with an unshakable vision – there’s still an unquantifiable magic that only seems to happen when the planets align just so. A kick ass pilot script is a great foundation but no guarantee for success. And yet, I can’t wait to read the Freshman Class of 2012.

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ALI LAVENTHOL currently writes on USA’s FAIRLY LEGAL. She is a past NBC Writers On The Verge Fellow, has done visual effects for countless films and recently co-produced the award winning short film, “Part Time Fabulous.”

He asked excellent questions like -

“How many scripts did you write before you were accepted?” 

“How did you get your agent? Any advice?”

“What’s it like to be in the writers’ room and actually work on a show?”

and more.  If you would like to read my answers to those questions and others,

click here to be directed to the interview!

Note: For this Q & A most of the questions were compilation from followers curious about the process of creating their own web series.

SA: Why ANYONE BUT ME? As in, what incited the decision to create the series and then how did you come up with your concept?

TCW: I had been working on an independent feature film for some time and it happened to fall through.  I was pretty heart broken over it and a friend, Steven Alexander, suggested doing a web series.  It was 2007 and not a lot was being made yet, but I rolled the thought around and then came up with a thought on what it would be.   I was struck by the fact that today’s teenagers are growing up in a post 9/11 world and that they had no idea what this world was like before we were attacked.  So the idea came from that thought.  I fleshed out the characters and storylines.  And with Steve, wrote the first ten episodes of “Anyone But Me”.  From there I sought someone with more experience in episodic than I and luckily found Susan.  We did some re-writing of the first 10 episodes and went forward from there.

SA: Did you intend to sell the series or was it more about putting out your work and seeing what kind of response you got?

TCW: There was never any thought that this would be created to sell the series to TV.  It was written for the web.   It’s always fun to explore new mediums.  And I’ve always enjoyed writing and directing short films and I liked the idea of short episodics.

SA: Was there consideration given to how your show could convert to a TV ready format?

TCW: Not really.  Early on we had some talks with some possible distributors about it but it never got so far that we really had to start devising a plan.

SA: Speaking to format, a big question in the minds of SCRIPT ANATOMY readers is how many minutes should each episode be in this attention deficit digital world? Some believe that webisodes should come in under three minutes, and yet some of ABM’s episodes run up to 12 minutes. What informed your decision to go with longer episodes?

TCW: I think it’s all up for grabs.  I’ve heard that you should live below 5 minutes or after 10 minutes according to information gathered by You Tube metrics.  When we first started the show, we went with the advice of “Quarterlife” Producer/Writer Marshall Hershkovitz to live around 8 minutes.  It’s varied for us throughout the seasons, but it’s mostly about budget for us.  We’d love to do longer episodes but right now our scripts come in at 8 pages.

SA: What stands out about ABM is how authentic the characters are and how organically the story unfolds. It reminds me of John Hughes movies which resonate even today because they touch on stereotypes, belonging, identity, self-acceptance and acceptance of others. Those themes can be identified in ABM too – theme feels integrated into the story beautifully without being telegraphed. How much did you and Susan discuss theme and overall direction of story during before the writing process?

TCW: I know for me as a writer.  I always start with characters I connect to.  I don’t like forced moments nor have we ever wanted to be a show about issues.  It’s a show about real kids going through real things.  So it makes it easy to relate.  Susan and I just stick to the characters and what’s true for them and they then tell us their stories.

SA: ABM didn’t force a big “cliff hang” at the end of each episode to tempt viewers to come back. Why did you choose not to go that route? And for those out there who are looking to create their own web series, what are some tips for keeping your audience engaged?

TCW: I actually think we do leave with some sort of cliff-hangar at the end of our episodes.  There’s always something at the end our episodes that gives the audience a tease to comeback for more.  Whether it’s an action or an emotional revelation. There’s always something leading to the next episode. And I think it’s essential to do, especially for drama.

SA: There’s quite a large cast and crew on ABM. How did you get people involved? Was it a matter of friends and contacts? How did you get other producers on board, and cast the show etc?

TCW: The cast we just did it the old-fashioned way and put out casting notices and then brought in people to audition.  There were a few people that Susan knew from working with in the past, Alexis Slade, Barbara Pitts and Dan Via.  But they came in to audition just like everyone else.  And we got extremely lucky.  As for the crew and Producers they were pretty much all brought in via posting for positions.  We’ve had a number of people come through these last few seasons, but we’ve had some great crew members.  And I’ve been lucky enough to find a Director of Photography that I really like who lets me be the hands on director I am in Ava Berkofsky.

SA: The big question everyone wants to know is money, money, money. How did you fund your web series?

TCW: We’ve been lucky in finding someone that believes in the show and wanted to fund it for two seasons.  For our third season we were able to crowd source $33,000 and have just finished filming.  Going forward we have some people in place that are looking for corporate sponsorships for us.  They’re confident they’ll make it happen.

SA: Hindsight is 20-20. Knowing what you know now, what do you think are some of the best ways to raise money to produce your web series?

TCW: If I knew the answer to that question I’d be selling it on eBay for thousands of dollars.  Raising money stinks honestly.  I’m not too shy to say it.  But the thing is a lot needs to be done before you go looking for funding.  You have to make sure your project is the strongest it can be and you know exactly who your audience is, how you’re going to reach them and how you’re going to the series.  Because even if you get money, if you haven’t done your homework your series may not go anywhere.

SA: I read that you will be launching a WEB-A-THON to raise money for Season Three.  Just the name web-a-thon sounds cool, but can you explain what that is exactly and how it will work? OR did work out?

TCW: We wanted to try something different to help raise funds for Season 3.  Our producer P.J. Palmer threw out the idea of a web-a-thon.  Going with the idea of a telethon but for the web.  From there we ended up filming 90 mins of new material that we launched over three consecutive days.  We also did an auction of ABM items that raised a good amount of money.  It was a lot of work, but we feel it was successful.  $33,000 is nothing to sneeze at.

SA: For those aiming to create a quality web series like Anyone But Me, what can one expect they’ll need budget-wise per episode?

TCW: The budget question is a tough one.  I feel like everyone gets hung up on our budget because our show looks good.  When really our budget is quite small comparatively.  More than money, you need to find people that know their craft so that you show looks and sounds the best it can on any budget level.

SA: ABM looks fantastic. What type of equipment did you use? What’s the most important element to spend money on? Lighting? Sound? Editing? Do you have recommendations for anyone just starting out who may be on a lower budget?

TCW: Seasons 1 & 2 were shot on the HVX200/HVX200A. We used the Brevis adapter, which enables you to shoot through good glass, which is absolutely key.  Lighting and sound has not been anything you wouldn’t find on any other production.  Again, it can come down to hiring people that really know their job and spending as much as you can on them.  In terms of editing, I’ve pretty much been the editor of the show with a few exceptions.  I worked in post for early on because I believed it would help me learn as a director and it has.

SA: Are there unions for the web media? Do I need to follow those rules? I really enjoyed the Q&A webisodes with the cast and I think it was Aster who mentioned “guerilla filmmaking” in Battery Park and being on the down low whenever anyone official strolled by. I assume you shot without permits?

TCW: Our show is SAG and WGA union show.  Both unions are recognizing the growth of the web series industry and make it easy enough for anyone to use their union members.  With permits, we try to get them.  There’s nothing worse than trying to work with the idea of maybe you’re going to get kicked out hanging over your head.  The whole thing with Battery Park was circumstantial; normally we’re all about permits.  And in New York it’s not too hard.

SA: Do you film episode per episode or do you film the whole season and kind of break it up after?

TCW: It’s more economical to film the whole season at once.  We shoot as many episodes together as we can in the same way you’d film a movie.

SA: How many days/weeks did you shoot per season and can you talk about what a typical shooting day was like for you on ABM?

SA: Did you promote your series before you shot anything? And if so, what’s the best way to do that?

TCW: We shot some promos first before episodes and got those out there.  But we did most of our push once the episodes came out.  I think if you can promote as early as you can the better.

SA: How important is branding your series?  Was that a big part of building your site, pr and marketing? And did you and Susan deal with most of that or hire someone to help on that end of things?

TCW: Susan and I have always been the two-man band.  We’ve done everything there is to do for ABM.  Luckily we now have people that have jumped in to help with marketing/pr and fund raising.  But it is very important to know your audience.   If you don’t know your audience, you won’t know where to find them.  We knew we had a niche audience and went after them.  From there, we grew outward.

SA: I heard somewhere that ANYONE BUT ME has 4 1/2 million viewers. Wow. That’s more than the critically acclaimed Mad Men. How did you promote ABM/reach your audience and grow your followers?

TCW: We’re close to 7 million views now across all episodes.  I’m sure Mad Men gets that in a couple episodes.  I think they’re still doing a little better than us.   Our viewers have grown over time.  You have to have patience with a web series and you also have to be ready for long hours of social networking to get those followers hooked.  Making your web series is only half the job, other half is marketing.

SA: I noticed there were commercials before and after the webisodes. Does the site/series make money from those? What are ways you recommend to monetize your product and site?

TCW: We do an ad share with blip.tv . We get a 50/50 split of the CPM.  They bring in the ads.  It’s really a win, win situation for the web creator.  You post your series, they get ads for it and it starts making money.  We’ve also sold the DVD for the first season of ABM and sell merchandise.  Each has brought in money.  Not enough to fund a series but enough to manage the business expenditures that you incur along the way.

SA: In the process of creating and producing ABM, what are some of the unexpected things you learned the hard way that you can pass along so that we might prepare for them?

TCW: The biggest is how much marketing was needed to be done, with production I came from an indy filmmaker background so I already knew how hard that was going to be.

SA: What’s next for you, aside from Season 3 of ANYONE BUT ME?

TCW: More stories.  That’s all I can say right now.

Visit ANYONE BUT ME to watch the series!

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TINA CESA WARD is a writer and director for the screen and web, and also directs for the stage. Her stage work earned her the Jean Dalrymple Award for Best Director in 2002. Her 2003 short film In Their Absence has screened in over a dozen festivals around the world and was awarded five times both domestically and abroad. Two other short works, Thank the War and Salutatorian, have each brought home festival awards. In  2004, Tina directed the successful New York premiere of Colin P. Delaney’s The Red Mollies, which Tina adapted into her first feature film Red Molly.

Currently she is the executive producer, writer and director of the award winning web series, Anyone But Me in which Tina has been nominated four times for her directing and has been awarded several times for her producing and writing work along with producing/writing partner Susan Miller. Including the first ever Writers Guild of America Award for Original New Media.  Between the stage and screen Tina has been awarded over a dozen times.

The Televisionary Writers Workshop

Instructor: Tawnya Bhattacharya

In this intensive 6 week workshop, writers have the option to focus on a TV spec or an original pilot. Tawnya will guide you step by step through the process of crafting your script from concept to solid first draft to prepare you for staffing, development and the studio writing program application process. Lectures will cover:

• Hooks                                                                     
• Arena
• Loglines & Pitching
• TV Story Structure
• Tone & Genre Expectation
• Character Development
• Dynamic Relationships
• Conflict and Obstacles
• Dilemmas & Goals
• Stakes
• Theme

… and more. Additionally, each writer will receive weekly peer feedback and instructor critique and evaluation of weekly assignments and material in a supportive environment.

WHEN: 6 Saturdays starting April 23^rd to May 28^th from 11 am to 2 pm

WHERE:   The Writers Junction at 1001 Colorado Ave, Santa Monica, CA 90401

COST:   Only $395.00 for Writers Junction Members. (regularly $595) * This special offer is available to non-writers Junction Members who sign up for the class through Eventbrite by 3/23/11.

RSVP: http://televisionarywritersworkshop.eventbrite.com

* Don’t miss out – Limit 10 writers.

TESTIMONIALS

“She strikes the perfect balance between supportive and honest, always offering nuts-and-bolts solutions along with her insightful feedback.”

There are a lot of different screenwriting theories out there.  Tawnya’s well-rounded background as both a screenwriter and writing instructor allows her to pick the most useful bits from the most successful approaches and put them to work making a good script great.  Her dry sense of humor makes her a natural for comedy, but she’s just as comfortable with an action setpiece or a character drama.  And her experience in front of the camera gives her first-hand knowledge about how to write pages that engage actors.  She’s strikes the perfect balance between supportive and honest, always offering nuts-and-bolts solutions along with her insightful feedback.   — Kevin Lee Miller, screenwriter with an optioned feature at Sony, Grand Prize Winner Final Draft Big Break Competition; 2-Time Winner, Worldfest-Houston Int’l Film Festival

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“Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher.”

What sets Tawnya apart from other teachers I’ve had is her unmatched enthusiasm for the art and craft of writing. She has a deep understanding of what makes stories work, and is great at communicating that to her students. Her class was always warm and open, but also very focused. People were encouraged to speak up, but if things got off topic, she would get everyone focused on writing again. Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher. –Kiyong Kim, 2010-2011 Nickelodeon Writing Fellowship recipient

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“Tawnya was the best screenwriting instructor I could have asked for.”

Tawnya was the best screenwriting instructor I could have asked for. I am certainly a better writer  for having had her as my teacher and am very lucky to have her continued support. She has a wonderful ability to get to the heart of storytelling with clear insight and determined precision. She has a no-nonsense style with a nurturing heart. I endorse her teaching one hundred percent.    – Wendy B., Screen & TV Writer

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“Tawnya Bhattacharya is like a screenwriting personal trainer.”

Everyone has an idea. But to turn that idea into a 100-page screenplay takes dedication, discipline and hours of work. Tawnya Bhattacharya is like a screenwriting personal trainer. She’ll help you to whip that underdeveloped 98-pound weakling of an idea into a full-blown feature-length commercial screenplay. You’ll love the results.    – Tim Grant, Optioned Screenwriter & Blogger @ Post-Mortem Depression

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“If you really want to learn what it takes to craft story, you’d be hard pressed to find a better instructor.”

Tawnya is an outstanding screenwriter and instructor.  Period.  I can honestly say if you really want to learn what it takes to craft story you’d be hard pressed to find a better teacher.  Tawnya’s approach, input and critiques are both insightful and astute.  No matter what, she gives it to you straight.  And in this business a straight talker is a rare gem.    – David Angel Rodriguez, Screenwriter

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“I vouch wholeheartedly for her classes.”

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“This will be the one part of your week that you will schedule everything else around.”

“You will be inspired, you will be challenged, you will write pages and you will get better! If you have the writer’s blues and you don’t want to pay for therapy take this class. You will leave feeling better than when you got there.”    – Will Mazor, Screenwriter & Austin Film Festival Screenplay Finalist

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“If you follow her instruction, you will become a better writer.  Thanks again Tawnya, and I look forward to your input in the future.”

Tawnya told me exactly what I needed to hear, the TRUTH!!!  She does not beat around the bush and I truly learned more from her than any other teacher I had.  I value her input and am blessed to still be in contact with her today.

I wholeheartedly recommend Tawnya to anyone who wants to be a good writer.  She has guts and intelligence and is not afraid to use either one.  If you follow her instruction, you will become a better writer.  Thanks again Tawnya and I look forward to your input in the future.   —  John Ziomeck, Screenwriter

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“Tawnya is tireless in her desire to help people not only learn new concepts but also solidify them so they can be used naturally and effectively again and again.”

I was amazed at how skilled she was in moving me and my fellow classmates along in our processes. Her grasp of the screenwriting process is inspirational to say the least. Tawnya is tireless in her desire to help people not only learn new concepts but also solidify them so they can be used naturally and effectively again and again. I recommend Tawnya as a teacher, guide and mentor to screenwriters at varying levels. She is a woman of myriad talents and anyone would be lucky to find her in their creative world.   –  Julia Ransom, Screenwriter & Photographer

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“You’ll learn how to exploit the weapons you have, and add a few to your arsenal.”

If you’re looking for armor to shield your ego from the beast that is Hollywood, go somewhere else. If you’re serious about making a go of it, and are ready to get bloody along the way then you’ve found your mentor. Come grease your pistol, sharpen your sword, and tune up those hand-to-hand combat skills. Tawnya is well versed in the screenwriting craft and possesses a keen understanding of the greater marketplace. You’ll learn how to exploit the weapons you have, and add a few to your arsenal. If you can’t survive out there, and maybe even prosper, it won’t be for lack of knowledge and preparation.    – A. Ladd, Screenwriter

But being “likable” isn’t the only way to get a reader or an audience hooked and invested. Sometimes, humanizing and creating sympathy for an extremely flawed character is a more interesting way to go. In my opinion, a protagonist can be “unlikable” as long as:

1) they feel real and three-dimensional.

2) they’re unique and fascinating.

3) we understand why they do what they do.

For example, consider THE SOCIAL NETWORK. One of the best films of the year and lets face it, the main character is a total jerk. Mark Zuckerberg is a genius, whose work basically changed the world. He’s complex, layered, unpredictable, brave, exceptional… but he’s also a downright despicable human being. Yet, we’re compelled to watch his movie.

Since most of you don’t have the luxury of writing about the genius billionaire who came up with Facebook, how do you go about creating a compelling hero in your script?

The first step is to write an awesome INTRODUCTION. An introduction that makes your character come to life. It should be pithy. Fun to read. And packed with essential info. What kind of info, you ask? Well here at SCRIPT ANATOMY we’ve assembled some TIPS ON WRITING EXCELLENT CHARACTER INTRODUCTIONS just for you!

(extra points if you can name the movie or television show from which these examples are plucked)

#1 For a basic intro, give us physical description:

It isn’t until she rounds the corner at the end of the block that we see her entire figure and appreciate why everyone is so goggle-eyed. Eye-catching is an understatement. All those folks who say Barbie’s proportions are unrealistic have obviously never met ERIN BROCKOVICH.

#2 The next step is to drop a hint of psychological make-up:

FRANKIE drops to one knee and we see his face. It’s a face that could only have been cast by generations of potato eaters, the kind of face that survives famines and frustrates invaders. Look deep into his eyes and you can see this man has been knocked to his knees, but he’s always come up before the count. Always will. Frankie picks up the kit and goes to work on Big Willie.

#3 Why not get a head start on answering the oft asked question: what drives your main character?

Where we find ADAM BRAVERMAN (41).  Beneath this affable, humane, good looking guy there is an insane lunatic, driven beyond reason to have a normal, happy family.  Adam, dressed in his coach’s jacket and baseball cap, kneels next to his son, adjusting his uniform which is a little askew as usual.

#4 Consider telling us how your character is perceived by the rest of the world:

MELVIN UDALL in the hallway… Well past 50… unliked, unloved, unsettling. A huge pain in the ass to everyone he’s ever met. Right now all his considerable talent and strength is totally focused on seducing a tiny dog into the elevator door he holds open.

#5 Notice how most of these examples introduce their character in the middle of an action that tells us more about who they are:

CAROLYN BURNHAM tends to her rose bushes in front of the Burnham house. A very well-put together woman of forty, she wears color-coordinated gardening togs and has lots of useful and expensive tools.

#6 Write your intros with tone in mind. If you’re writing a comedy, make your intros funny:

REVEAL CHARLIE (now 30) and CAROL his current girlfriend. Charlie has a boyish charm and an infectious grin. He’s the kind of friend who would donate his liver so you could have another drink.

#7 And if you’re writing Action, well… make your intros intense and fast-paced:

A HEARTBEAT, working overtime. Like a symphony, other instruments join in:  Rapid BREATHING, POUNDING footsteps.

CLOSE ON THE FACE OF A WOMAN, late thirties.  Running. Her name is ANNIE FROST.  And if you’re wondering why you’re instantly drawn to her, it’s probably because she’s a Texan.  Wholesome.  Open.  Lethal –

Cowboy boots pounding the dirt like a machine.  Nothing else in the world except whatever she’s running from.  Or towards.

#8 For fun, you can add some contradiction or irony:

CHUCK BASS, 17.  Future Senator or cautionary tale.  With two girls in tow, KATY and ISABEL, 17.  Rosencrantz and Guilderstern in Jimmy Choos.  Drinks in hand.

#9 You can also introduce two main characters together, giving us a clue into their relationship history:

At an outdoor table sit JARED FRANKLIN, 20’s, manic, a little overweight, a lot oversexed and STEVEN BASH, 20’s, handsome in an innocent, likeable way.  Lifelong best friends, they haven’t really evolved since 10th grade.  They’re dressed casual, while eating breakfast burritos at their power table.

#10 Another way to introduce your Main Character is through the use of VO. Of course there are people who love this method, and those who despise it. So if you do decide to do it, do it really well -  and prove all those VO naysayers wrong:

(Note – this intro is for one of the most compelling, arguably “unlikable” characters on television. It gives us SO much information about who she is, about theme, tone, and about her dilemma – without being on the nose.  Aaaaah, yes. Beautifully done, Liz Brixius and Linda Wallem. Bravo!)

INT. ROOM – MORNING

The buzzy hum of long fluorescent lights fill the air.  We’re

floating over a white linoleum floor.

JACKIE (V.O.)

Let us go then, you and I, when the

evening is spread out against the

sky, like a patient etherized upon

a table…

Sprawled and askew, in the middle of the floor, lies a woman,

on her back.  She wears a crisp, white, nurse’s dress.  This

is JACKIE, 40′s.  She’s absolutely still, but her eyes are

alive, insistent, a little wild.

JACKIE (V.O.)

T. S. Eliot.  10th grade English.

Sister Jane de Chantal.  What a

champ.  She’s the one who told me

that the people with the greatest

capacity for good are the ones with

the greatest capacity for evil.

Smart fuckin’ nun.

CLOSE on her hand, clutching a pill bottle.

JACKIE (V.O.)

L3,4 herniated disc…feels like a

bulging disc frag.  Fuck.  What do

you call a nurse with a bad back?

(beat)

Unemployed!  Ba-dump-ump.

Jackie shakes the pill bottle like a rattle.

JACKIE (V.O.)

One left.  That sucks.

So there you have it. Now sit yourself in front of your keyboard and write some kick-ass character intros. Follow it up with characters so interesting they force your reader to turn pages. Who knows, your work might end up having a significant impact on the world… just like Mark Zuckerberg.

HAPPY WRITING!

~Ali

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SA Contributing Blogger, ALI LAVENTHOL, is an ex-visual effects compositor turned writer living in Los Angeles. She studied screenwriting at Writers Bootcamp and UCLA, and was most recently accepted into NBC’s Writers On The Verge program with writing partner, Tawnya Bhattacharya. Tawnya and Ali also optioned their Rom-Com feature to producer Amy Salko Robertson and are currently penning the webisode series, THE BRIGHT SIDE. When not writing, Ali can be found walking her dog Mavis or staring endlessly into her refrigerator for the answers to life’s most mysterious questions. Which in turn, causes her to go to yoga, sometimes, too.

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Answers:

#1 ERIN BROCKOVICH by Susannah Grant

#2 MILLION DOLLAR BABY by Paul Haggis

#3 PARENTHOOD by Jason Katims

#4 AS GOOD AS IT GETS by James Brooks

#5 AMERICAN BEAUTY by Alan Ball

#6 GOOD LUCK CHUCK by Josh Stolberg

#7 CHASE by Jennifer Johnson

#8 GOSSIP GIRL by Josh Schwartz and Stephanie Savage

#9 FRANKLIN & BASH by Bill Chais & Kevin Fall

#10 NURSE JACKIEby Liz Brixius & Linda Wallem

5 REASONS YOU SHOULD KEEP WRITING

1) A WRITER WRITES. That’s what you do. It’s who you are. You can’t NOT write – your passion and inner need demand it. You write therefore you are. So write.

2) PRACTICE MAKES YOU A BETTER WRITER. Basketball players don’t just play in the games, they show up to practice. Woody Allen said, “Eighty percent of success is showing up.” He didn’t do so badly for himself. Show up. And write.

3)  “WHAT ELSE DO YOU HAVE?” Writing is subjective. Someone may not like one of your scripts, but love another. Have an arsenal. Then keep growing it. Besides, we’ve all heard the stories of the writer who got a ton of buzz off one script but then having nothing else to show, disappeared. Have something else. Write.

4) 10,000 HOURS. It takes 10,000 to become an expert at your sport/craft/job/what-have-you. If you haven’t read Malcolm Gladwell’s book, OUTLIERS, do it. Then put in your 10,000 hours and write.

5) DO OR DIE. No, this isn’t about how you’ll die if you don’t write because you’re so passionate about it. That’s reason #1. Do or die means you woke up at 30, 40, 50… plus… and realized, “Holy #*!% – I have no other skills! I’ve gotta make this happen. Or else…” Make it happen. Write.

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WHY YOU SHOULD NOT DWELL ON COOPER ROAD, MISSOURI

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When rejection happens, don’t dwell on it. Keep writing. There’s an old Chinese saying that translates to something like, “Failure is the mother of success.” As a writer you will experience rejection. Even after you’re successful. You can’t win with every script. So don’t worry about rejection. Don’t fear it. Understand it. Embrace it. Know that success is around the corner, and it only takes one yes to change your life.

I’m pretty good at remaining positive despite circumstances, but it’s easier said than done. Recently, I got a good reminder about not dwelling on bumps in the road.

My writing partner and I had been on a bit of a roll and after a string of positive responses over a few of our recent projects, we received a less than stellar reaction over a new script we wrote from an “important industry guy.” This same script had also garnered a lot of positive feedback by the few who had seen it, which only made the fall harder. We were really excited about the important industry guy reading it and of course were hoping for all things great and fabulous to come from it. So when we heard that the important industry guy wasn’t as enamored with the script as he had been with the first one, naturally we succumbed to…

THE FIVE STAGES OF WRITERS’ GRIEF:

1. GUT-WRENCHING DISAPPOINTMENT - Our hearts sink. Not what we were expecting. At all. Bummer. Jumbo bummer. Pass the Pinot Noir.

2. HYSTERICAL PANIC-SLASH-FEAR - Oh God, we shouldn’t be going out with this script. We need to fix it. Tomorrow. Now. How soon can you get here? Maybe we should just write a brand new script. Let’s fix this one first. Okay. Oh no. What? Maybe it’s not fixable. What are we gonna do? Our lives are over. Our script sucks. We suck. What if everyone hates our script? What if everyone hates US. I hate us. Seriously, open that Pinot Noir.

3. SINKING INTO THE DEEPEST DARKEST PIT OF DEPRESSION – All that hard work and for what? Why bother? Maybe we should just close our laptops, move to Colorado – you become a Sherpa, I’ll open a chakra charging station – we’ll change our names, live off the land. Wait. I’ve never been to Colorado. Me neither. I heard it’s beautiful. Let’s Google it. Mountains! Lots of ‘em. You know I can’t sleep at high altitudes… This Pinot’s pretty good.

4. REASONING & BARTERING WITH WHOMEVER WILL LISTEN – It’s one person’s opinion. It’s subjective. Jury’s still out. Let’s wait and see what else we hear back. We might need to go back in and fix a few things. But for now, maybe this important industry person will like the other project we send…

At about that point, the thought of sending important industry guy another project spurs another cycle, albeit hypothetical, of Disappointment, Hysteria, Depression and Reason.

However, in between the entire above gamut of emotions, my writing partner and I send off the other project… as well as a slew of emails with a trusted advisor. And our advisor did not see this development as grimly as we did. Here’s what she said, in a nutshell:

You are on a roll. This was just one small bump in the road.

After cycling through four of the five stages a few more times I went to bed. I was still a bit bummed in the morning. But whatever - I took my two dogs, Onion and Cujo for a walk to clear my head and re-read that line about the bump in the road on my iphone. Bizarrely, “bump in the road” was linked in the email, and I accidentally clicked on it. And in an instant, my imap pops up and pinpoints the bump in the road as located on Cooper Road in Missouri.

In my mind, I expected Cooper Road to look like this…

Turns out it’s in a pretty lush, woodsy area…

… which doesn’t look so bad. Which is dangerous. Sometimes it feels good to dwell on the negative. Bad idea. We were 1,729 miles off course.

At any rate, I had to laugh. Cooper Road, Missouri! Really? That’s where our bump in the road is? Screw it. America’s big. We’ll just go around the bump or find a new road.

And that’s when the final stage came…

5. ACCEPTANCE – What’s going to happen is beyond our control. All we can do is our best. We’re going to keep writing. We’re not going to rewrite the script just yet. We’re not going to start a new “panic” script just yet. We’re going to stick to our game plan… finish what we’re currently working on… And see how this plays out. There’s always another road.

Coda: The next evening while my partner and I were writing we got another email:

Important industry guy likes your other script much more…. Very happy with it.

My advice to you is to do the same. If you run into a bump along your path, don’t dwell on it. Go around it. Or get off Cooper Road altogether. Whatever you do, keep on going. Keep on writing.

It only takes one yes to change your life.