You are viewing a clip of this video, click to Join. Members, click to Log in.
|
Now PlayingIs a writer’s work better received if those it is submitted to don’t know the writer is female? Is it advantageous to write under initials or an innocuous name that does not betray your gender?
Nov 25, 2011 |
||||
When you sign up for Storylogue, you will also enjoy:
Can you explain the core event and the core emotion in the epic?
Aug 24, 2014
What is the purpose of jumping back and forth between multiple storylines within a feature film or TV episode?
Aug 17, 2014
What characterizes a sado-masochistic relationship?
Aug 16, 2014
Do you have any tips for writing a treatment that really sells?
Aug 10, 2014
How does writing an episode for a procedural crime show differ from writing a feature film thriller?
Jul 31, 2014
What's the best way to pitch a new story for television? Should I prepare a full script?
Jul 29, 2014
Do I have to be able to tell a story well verbally in order to be a good storyteller in my writing?
Jul 28, 2014
As a comic writer (and of psychological drama) my pissing me off subject(s) is/are:
'Hollywood' and everyone that talks about that 'town' avoid and deny the most important 'factor'. It is a Jewish town. That must have a bearing on the way it does business. Is it a good thing or not? Power in the hands of one source is called a monopoly and is generally thought to be anti-competitive.
(If Ricky Gervais is watching - please get in touch before your next Golden Gloves - I mean Globes.)
Is there a connection with the 'business model' of tv comedy in Hollywood' for instance? Why is it that the driver is to throw money at the problem (how do we get a show from existing known writers that will stay afloat till I get another job) and so many crap shows get aired and fail. It's not a good record. In UK the opposite applies. There, anal retention by 'luvvies' who all live in one area of London and drive little Saabs (the young girlie luvvies drive the little BMW sports) that unless you're a literary genius no one will take a risk.
I do remember the pre-accountant BBC where the head of comedy took enormous creative risks. Michael Grade as head of Channel 4 took big risks. And guess what? They mostly were successes!