Friday, October 16, 2015

Moving on

I first started this blog in June of 2007, two months before I moved to L.A as an eager college graduate working on a spec script of little-known drama FRIDAY NIGHT LIGHTS. Netflix had introduced online streaming just four months earlier. Twitter had recently celebrated its first birthday. Neither the first iPad nor the first version of Instagram would be released for three more years. Of the two studios I now read for, one didn't exist and the other was primarily known as an online bookstore.

A lot has changed, but I'm still here.

I never really planned to be a blogger. But ever since I was a kid, I always found creative outlets online. Buy me a glass of Pinot sometime and I'll tell you about my Goo Goo Dolls fan site with animated rainbow GIFs and my Snoopy Geocities page that was very popular in Singapore. In high school and college, I wrote melodramatic Livejournal posts that eventually morphed into this blog, a real-time account of my path to becoming a writer for TV and film. Once Jane Espenson linked me and put this blog on the radar of aspiring writers everywhere, I realized that people wanted to know more about agencies, internships and assistant jobs -- so I went with it. Writing this blog actually led me to paid blogging jobs, and though I wasn't particularly proud of writing celebrity clickbait, I was happy to leave my low-paying agency job in 2009. I'm also a valuable addition to your bar trivia team, provided you get asked about The Youngest Celebrities To Go To Rehab.

In 2009, I supplemented my blogging income by writing script coverage for production companies and working as an SAT/ACT English tutor. I still do both. In 2010, I also started offering my coverage services to aspiring writers, and that business has grown to a level I never could have predicted. People tell me I could expand the business even more with data collection and employees and advertising and other smart-sounding stuff, but the thing is, I never set out to be a professional script reader. People also tell me I could make more money tutoring if I mastered more subjects and went out on my own, but I never set out to be a tutor, either. You should become a private college counselor or an on-set tutor, they say. But..but...

What happens when you get too good at your day jobs?

One side effect is that I haven't had the time to maintain this blog the way I used to. I've also run out of things to say about the assistant world, internships and networking; when I get questions from readers, I often direct them to old posts. This will be my last post here as I shift my primary online presence to, a more modern-looking site that won't look like such a trainwreck on mobile devices. I will leave all the old entries here for new writers and students - and for long-time readers who may want to reference old posts.

I've also slowed down a little when it comes to writing - turning 30 and working several jobs sometimes renders you unable to do anything except sink into a couch and marvel at the dysfunctional marriages on House Hunters. I wish I still had the energy and completely unfounded confidence I had at 22. But I've written a new comedy pilot and the other day I woke from a dead sleep with an idea for a movie starring Tinmy Feyhler, a combination of Tina Fey and Amy Poehler, so grand success is clearly imminent. I'll be sure to tweet updates.

Thank you to everyone who has read and commented on this blog over the years. It's introduced me to a lot of wonderful people. And in case you're wondering, I've had some writing victories: I developed a feature with a big writer I really admire. I developed a half-hour pilot with a producer who taught me everything I know about pitching. I was paid to adapt a feature based on a magazine article/true story, a project that got me into the WGA. I've worked with directors, actors and digital companies. I'm still not making all of my income from screenwriting, but I'm not giving up yet, either. It's all just happened more gradually than I'd expected.

I will continue to operate my script notes service. For information and updates on that, check out my new website. I will write occasional blog posts there as well. I mean, come on - the new Peanuts movie comes out next month.



Thursday, August 6, 2015

Interview w/ James & Sharla Oliver, the writers of tonight's UNDER THE DOME

James and Sharla Oliver wrote tonight's episode of UNDER THE DOME, which airs at 10/9c on CBS -- and they were kind enough to answer five questions about their experience as writers and assistants. This interview is extra special for me since they met at a networking event they both read about on this blog and are now married!

1. How did you get the chance to write the episode? (What positions did you have first, etc.)  

James: I moved to LA after college and spent several years bouncing around between various assistant jobs.  One day, a friend of ours from our writing group sent me an email that a friend-of-a-friend of his was looking to replace himself as the assistant to Neal Baer, who has an overall deal at CBS Studios.  I sent our friend my resume, and he passed it along (Thanks yet again Jeremy!).  One week later I had my interview with Neal for the job (and thoroughly embarrassed myself in front of Brian K. Vaughan by confessing to dressing up as the main character from Y: The Last Man for Halloween).  That was mid-way through production on the first season of Under the Dome (UTD).  After a couple years of working for Neal on both Under the Dome and his development with the studio, we were heading into the third season of UTD, and Neal offered us a chance to write a freelance episode.  He knew that Sharla and I wrote as a team, so even though she worked on another show, he let her come into the room so we could work on the episode together.

Sharla: And while James has been assisting Neal over on Under the Dome, I have been working as the writers’ assistant on Marvel’s Agents of S.H.I.E.L.D..  Before that, I was the writers’ PA on Spartacus, which is where I met all three of the Agents of S.H.I.E.L.D.’s showrunners.  So when their show was picked up to series, I was lucky enough to be asked to join them as their PA, and from there I moved up to writers’ assistant.  Being in the room every day has really been the best learning environment I could ask for as a new writer.  I know the experience helped me immensely while we were working on our own episode.    

James & Sharla: We were excited when Amanda asked if she could interview us because the two of us actually met at a networking event after we both saw a post about it on our favorite aspiring TV writer blog [Editor's note: Yay!!].  A couple years later we got engaged and suddenly everyone started asking us if we wrote as a team.  We’d been writing separately up until that point, but giving each other lots of notes and using each other to bounce ideas around, so it wasn’t a hard transition to writing together.   Since then we’ve written a bunch of pilots as a team, but this was our first opportunity to write an episode of a show on the air.

2. What was the process of breaking the story?

James: I was fortunate enough to be able to sit in the room for a lot of this season, so I was caught up on where the writers were taking the story this year.  When we were breaking the couple episodes before ours, Sharla was on her hiatus from Agents of S.H.I.E.L.D., so the timing worked out nicely that she was able to come shadow in the room with me to get up to speed.  I was still doing my regular assistant job on top of this, so it was good to know that if I got pulled out for a couple hours to take care of something, Sharla could fill me in later that day.   It was our first time getting a taste of what it would be like to go to work together every day, and it was a lot of fun.

Since UTD is a very serialized show, a lot of the story is broken in the room on white boards.  We decided early on that Sharla would be in charge of writing on the board for our episode, because her handwriting is lovely, legible, and a pleasure to look upon, but my handwriting looks like it was written by an over-caffeinated third-grader.  The writers all sit around the room in comfy chairs bouncing ideas back and forth.  Stories are broken by character, and then woven together in more detail before we head off to outline.  Going into our episode, we knew where all the characters were going to be in the episode ahead of ours, and what had to be set up for the following episodes.  On top of that we knew what sets we had to play with that were already established on the show, which of the actors were available when, and that we needed a fun way to involve Julia’s Prius as part of an integration deal the show has with Toyota.  Once we had a clearer idea of what pieces we could use, we brainstormed various fun ways to fit them all together and brought those ideas to the room.

James & Sharla: Some elements of the story changed a lot while we were breaking the outline, but from outline to script nothing major had to change based on notes, which was a relief.  We were able to focus on revisions and cutting for time, rather than creating a lot of new material at the last minute.

For the actual writing of the draft, we rearranged our kitchen table in the middle of our living room, pulled our desk chairs up to either side, and slid an ottoman underneath where both of us could reach it.  We divided up the scenes from the outline and wrote our first passes separately, then traded things back and forth.

3. Did you get to go to set for the shooting of it? What was that like? 

James & Sharla: We were able to go out to Wilmington, NC for a few days of prep and the first five days of production before we both had to come back to LA and our regular jobs.  It was a great experience, and a lot of the credit for that goes to our director, Sam Hill, who did an amazing job and never treated us like we were "just the assistants." There were several scenes that sadly shot on the days we couldn’t be there, but we knew that everything would come out great, and it did.  It was also really nice for James to meet our North Carolina crew in person, given that he’d been working with many of them for two years without ever meeting in person.

The two caveats we’d offer for anyone shooting in Wilmington are 1) be prepared for shooting to get interrupted repeatedly by low-flying airplanes and/or thunderstorms, and 2) find the most badass bug spray you can and use a lot of it.  The woods out there are known for these tiny bugs called “chiggers” that will crawl up your pant legs, and by the time you realize you’ve been bit, it’s too late.  Our show involves a fair amount of running around the woods, so our actors are painfully aware of how bad they can get.  On day one of shooting, one of the first things Rachelle LeFevre said to us was, “Do you have bugspray?”

It’s a strange thing to be in video village with a headset on, and realize that the crew, and the director, and actors are all creating something we thought up while sitting in our apartment one morning.  And it’s a bit of a rush when it comes time to shoot an emotional scene and the actor just nails it.  There are also times when the actors will come to you with a question about a scene you didn’t expect, or a limitation in the location comes to light, but improvising a solution in the moment is part of the fun.

4. What's something you learned from the experience?

James & Sharla: It’s really helpful knowing that you have deadlines, and that lots of very professional people are waiting on the result of your labors.  When procrastination isn’t an option, it’s much easier to be productive.  You can’t always predict which parts of the episode are going to be the trickiest.  The scene you’re sure will get noted by the network doesn’t get commented on, and the part you think is ready to shoot will change fourteen times before production.  Given how much is out of our control, it’s a good idea to write with flexibility in mind, just in case a freak lightning storm leaves you in a position where either the scene changes or it doesn’t get shot that day.

James: It was also great to get a chance to be there for editing and the rest of post-production.  I got to go to the final playback on a mixing stage, and there was the episode on a big movie screen, with titles, final visual effects, composed music, and sound effects booming from the speakers.  Seeing that really drives home that this is an actual thing.  Now we’re in the part where we wait until suddenly the number of people who’ve seen it jumps from a few dozen on the show and at CBS to strangers all over the world, and all you can do is cross your fingers and hope they like it.  I follow a lot of the chatter about our show on the internet, so it’s weird anticipating angry tweets in Turkish about something we wrote.

5. What's something you've learned from more experienced writers on the show?  

James & Sharla: All the other writers on staff were really supportive and welcoming.  They were great about sharing from their experiences, both on UTD and on other shows.  Sometimes it’s the small practical things that help, such as, "don’t set the scene in that location, because it’s actually a 40 minute drive in the opposite direction from the other locations and you’d lose half a day on the company move" or knowing which actors are going to work especially well together.  The writers also have experience working with the studio/network, so they were a huge help in breaking an outline that CBS would be excited about.  Our first draft of the script was also long, and since our episodes can’t be any longer than 43 minutes we needed to make cuts.  We were able to trim dialogue and scenes on our own, but there were also cuts suggested by Neal or one of the other writers.  Part of why we like writing as a team is there’s always someone to provide a fresh point of view on a scene, and we were happy to take advantage of a whole room full of smart people with great story instincts.

In one scene in particular, we had filled in some character backstory with some long pieces of dialogue.  We cut it down based on notes, and there were pieces we were sad to lose, but when we were shooting the scene it still felt long.  The final cut of the episode has that scene trimmed even shorter, and it works really well.  It was a very good reminder that often less is more.  We’ve been working on our own pilot in our free time, and after we got back from shooting we went through the outline and made cuts with this in mind.  Hopefully the final product will be much more streamlined now.

Tuesday, August 4, 2015

2015 Disney Channel Storytellers Program open for submissions

Disney Channel Storytellers is a 20-week writer incubator program focused on developing up-and-coming talent who already have professional representation. The primary focus of the program is not staffing, but rather identifying the unique voices who represent the next wave of half hour comedy developers.

Running from November through April, Storytellers will allow four participants to write an original script for pilot consideration, create digital content for the online space, and pitch Disney-centric concepts for network consideration. The highly competitive program will be overseen by key Disney Channel development executives who will provide regular guidance and feedback, all in the name of building the creators and showrunners of tomorrow.

About the program:
  • Four writer entities will be selected. Both teams and individuals will be considered.
  • The program will run for 20 weeks beginning on or about November 2, 2015 through April 2016.
  • Participants are exclusive to Disney Channel for the duration of the program.
  • Participants will be paid at Article 13 scale, and be guaranteed a base salary of $77,000.
  • Participants will be given entrance into the WGA with accompanying benefits. If already WGA, the writer will receive WGA points.
  • Participants must be eligible to work in the US, and must be 18 years and or older.
  • Participants must provide own housing and transportation in Los Angeles.
The application deadline is September 1, 2015. You must submit two live action, half hour comedy samples (one sample MUST be original) and bio or credits via email from an agent or manager. For more information, check out the program's website.

Tuesday, July 28, 2015

What's your favorite line in a movie?

Dialogue lovers: here's a fun new Academy Originals video in which industry pros reveal their favorite movie lines.

What's your favorite movie line?

Monday, July 13, 2015

What to expect in an entertainment internship interview

A.R. writes: As someone hoping to get their first internship doing script coverage, I'm not really sure what questions to expect for the interview. What, in your experience, do employees looking for script interns usually ask? What would be any advice you have for the interview?

Don't stress out too much about the interview. When it comes to internship interviews, employers are just trying to make sure you're an intelligent, responsible person with a good attitude. Show up on time, have a printed copy of your resume on hand and be prepared to talk about your favorite movies. Ideally, you'll like movies that are similar to the ones the company makes (do some internet research to find out what they've released and what they're developing -- they'll be impressed if you can mention a title or two). You don't have to fawn all over the company's films, though. At one of my internship interviews, the creative executive was happy to hear I liked Eternal Sunshine of the Spotless Mind (which wasn't their film); "The last guy said his favorite movie was Weekend at Bernie's, and I didn't know what to do with that," she said.

You can also talk about any previous internship or script coverage experience, if you have any. If not, don't worry -- the questions should be pretty simple where-are-you-from? kind of questions. The interview might even be a formality; the employer might be ready to hire you and just want to convince you to come on board or discuss scheduling. Interns often go on many interviews and have their pick of positions (it's vice versa when you're looking for a paid job). Some internship positions will be more competitive than others -- so if you want the position, be sure to send the person you interview with a succinct thank you email or card afterward. You might also be asked to submit some sample coverage -- take your time and make sure it's free of errors. (For more on script coverage, check out this post.)

Lastly, take the time to prepare a question or two. It can be awkward if the interviewer says "do you have any questions for me?" and you say "Nope." You can ask about what made other interns successful (or what made them annoying), what the company looks for in coverage (if this hasn't been covered), etc. You can also ask about the person's own history -- people love talking about themselves. What does she wish she knew as an intern?

Monday, June 8, 2015

Get $50 off an Austin Film Festival conference badge

The 2015 Austin Film Festival will run from October 29-November 5 and feature panelists such as Norman Lear, Shane Black, Jack Burditt, David Wain, Kelly Marcel and Terry Rossio (along with other writers, industry agents and creative executives).

If you're interested in a Conference Badge for this year's festival, you can get $50 off here with the promo code CON300.

For more info about the Austin Film Festival in general, check out its main site:

Tuesday, May 12, 2015

Fellowship & contest deadline alert: Austin and WB

Austin Film Festival Screenplay & Teleplay Competition
Final Deadline: May 20

For the first time ever, AFF will provide Reader Comments to ALL entrants in the Screenplay & Teleplay Competition for FREE!  In addition, all entrants receive registration discounts, with even bigger discounts when you place in the competition. Unlike other screenplay competitions, your experience with AFF doesn’t end after making the first cut. Second Rounders (the esteemed top 10-12% in each category), Semifinalists, and Finalists attend special panels, programmed specifically for them and not open to regular badge holders.  This year, AFF has an exciting line-up of sponsored award judges including AMC for the One-Hour Pilot category, the Writer’s Guild of America East who will provide three established WGAE screenwriters to judge the Final Round of the Drama category, Enderby Entertainment who will be looking for scripts with an original concept and distinctive voice that can be produced under $5 million, and Frank Darabont’s Darkwoods Productions who will be reviewing this year’s top Sci-Fi scripts. AFF is also now accepting short and digital series scripts!

Warner Brothers TV Writing Workshop
Final Deadline: May 31

For over 30 years, the Warner Bros. Television Writers’ Workshop has been the premier writing program for new writers looking to start and further their career in the world of television. Every year, the Workshop selects up to 10 participants out of almost 2,000 submissions and exposes them to Warner Bros. Television’s top writers and executives, all with the ultimate goal of earning them a staff position on a Warner Bros. produced television show. Selected writers will attend lectures, work in a simulated writers' room and get connected with staffing opportunities. To apply, submit a resume, one or two spec scripts (from WB's list of accepted shows), a one-page statement and a submission agreement.

Tuesday, April 21, 2015

NHMC TV writers program open for submissions

Created in 2003, the NHMC Television Writers Program is an intensive scriptwriters workshop that prepares Latinos for writing jobs at major television networks. Modeled after the previously successful Hispanic Film Project, the program is a direct response to the lack of diverse writers in primetime network TV. To take NHMC TV Writers Program graduates to the next level, NHMC has also created the NHMC Pitching Lab and the Latino Scene Showcase.

The television scriptwriters workshop is designed to familiarize participants with the format, characters and storyline structure of specific shows that are currently on the air. The five-week, total immersion workshop is mentored and guided by former NBC V.P of Script Development, Geoff Harris and is conducted in Burbank, CA. A total of 10 writers are accepted nationwide from an established network of non-profit agencies, schools, universities, guilds and media organizations. The goal is that the writers garner the skills necessary to obtain employment in the industry.

During the five-week program, you'll write a half-hour comedy or one-hour drama that will be read by network executives. Those writers whose scripts show promise will be interviewed and mentored by the network executives with the objective of placing them on a show.

A stipend of $250 per week will be given to each participant. Southwest Airline vouchers, housing, and meals will be provided to accepted participants who hail from out of state. If accepted into the program you must be willing to take a leave of absence from work or school as the program is a full time commitment Monday-Friday. Those who reside outside of Southwest’s flying regions will have to get to an airport that flies Southwest, AT THEIR OWN COST, and then catch a Southwest flight to Burbank.

Submissions for the 2015 program will be accepted from April 6 - August 3. The program takes place October 5 – November 6.

To apply, you'll need a writing sample, resume or bio, statement of interest, application and completed release form. Apply and get more info here!