Fairness/Mercy

You should realize that there is a great reward of personal satisfaction in being first just, next fair, then patient, then kind. And then, on that foundation, if you choose and have it in your heart, you can take the next step and really show mercy; but you cannot exhibit mercy in and of itself. These steps must be traversed; otherwise there can be no genuine mercy. There may be patronage, condescension, or charity--even pity--but not mercy. True mercy comes only as the beautiful climax to these preceding adjuncts to group understanding, mutual appreciation, fraternal fellowship, spiritual communion, and divine harmony.

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Mr. April: Contest Judge of the Month!

Mr. April: Contest Judge of the Month!

Welcome to this month's expose bringing you the inside story on Judges and Readers of the Top Screenwriting Contests in the country. Everything you ever wanted to know about these mysterious creatures but had no way to ask.

These bunnies are willing to bare it all for me, a fellow judge, working producer, screenwriting teacher, friend and colleague, so I can bring you the scintillating scoop on who is reading your contest script and what they really, really want. Use this unique peek into their minds so your next contest encounter will turn these Juicy Judges to putty in your hands.

Then turn the tables! It's your chance to vote for your favorite PlayJudge of the Year. Each writer who nominates the winning PJOY, receives a 10% discount on the BIG IDEAS Screenwriting Seminar, held around the country. You'll learn to create your most successful script before you ever type "Fade In." One weekend takes you from "What to Write?" to "Ready to Write!" and gives you the tools to complete your script faster than you dreamed possible.

And now, Mr. April, a manly manager, with a surprisingly softer side, exposed in this revealing centerfold.

Mr. April's Vital Statistics
I have been a judge in a handful of competitions over the last five years including Scriptapalooza. I don't want to do too many of them, but I like to read fresh voices.

His Reel Life
I am a manager who started my own company. We represent writers and actors predominantly and looking to work with more directors. I pride my self and the company on development of writers as well as creating goals, strategies, and interesting projects for the marketplace in film or television.

Mr. April's Turn Ons
I am always first and foremost interested in the characters on the page. Right now, horrors thrillers, and action films are getting made easier, but I do have a soft spot for Romantic Comedies.

Mr. April's Turn Offs
It is always disappointing to start a script that does not grab you from the first few pages. Screenwriting is a tough medium, but at the core has to be a compelling story that forces me to turn the page. Also, it is tough for me to read a piece by a writer who doesn't go to the movies and understand what types of films are getting made right now. Being educated in film is a prerequisite to being a writer in the field.

His Favorite Position&to Read In
I don't get to do this much except on the weekend, but reading on my laptop outside at my local coffee shop. Nothing beats that.

The Dirty Little Secret Mr. April wants to Share
Great writing is one thing and almost the most important facet of a screenplay, but a close second is a logline and a hook. Films are getting harder and harder to make, so you better be able to tell someone quickly what to expect before they read it. If not, they might never get to it. Have passion for your project, but be practical. Also, know that every word you write is not magic or in stone because screenwriting is a team sport. Many people are involved in getting a film made, and everyone wants to have input, so let's face it, we need all the allies we can get. Good luck out there.

Barri Evins is a successful film producer and a sought after screenwriting teacher. As a producer, she has sold pitches and spec scripts to Warner Brothers, Universal, Disney, Fox, Nickelodeon, New Line and HBO. Her innovative screenwriting seminars teach the same techniques she uses with Academy Award nominated pros to help budding writers get further faster. Her weekend intensive, BIG IDEA TO BEAT OUTLINE, is offered around the country. Students of Barri's approach have won contests, gotten representation, optioned books and sold a pitch in just four hours for six figures. A BIG IDEAS book is in the works.

Join Me on Facebook and be on the look out for my Picture Tells 100 Words Pitch Contest: :
http://www.facebook.com/BigIdeasForScreenwriters

Connect Up With Me:
http://www.linkedin.com/in/bigbigideas

Check Out My Blog:
www.bigBIGideas.com

Contact Barri at Barri@bigBIGideas.com for more info on the BIG IDEAS Screenwriting Seminars.

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Positivity

Positivity - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}PositivityWritten byRont3986754 months ago

Dwelling on positive things give your thoughts power and then shape. However this also works in reverse.

Master Ron Tramontano

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Ozark Foothills Announces Screenplay Competition Results

The Ozark Foothills FilmFest Screenplay Competition has announced their winning scripts from among fifty-three entries submitted.

Gil Seltzer of Brooklyn, NY won the Long Screenplay award for his script The Motorman, a drama set during the 1980's New York subway strike. Kenneth Meyers III of Batesville received the Short Screenplay for his entry, Stranger's Candy, also a drama.

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Raising Confident Kids

Raising Confident Kids - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}Raising Confident KidsWritten by Ront3986752 months ago

Confidence comes to us  through experience and feeling good in our own body- Experience comes about by doing things for our self. If your child asks you to do something you know they have the ability to do by  themself, step back and insist they do it.  Your children will acquire the experience and will truly be excited once you  start to jump up and down shouting to the world how great they have done. Children observe the messages that are played out through their family's beliefs about size, shape, weight and self esteem. Parents can often be alerted to problem signs of low self esteem in their children when their child mentions a falling out with another child at school. Young children will often act aggressively when things don't go their way - they lash out, bite, kick, hit and punch. This is because children learn through observation, there is a close connection between childhood obesity and self esteem issues. Please look here for more information. http://www.itsasaveit.com/pitchpage.html

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Chicago Screenwriters Network Contest Now Accepting Student Entries

The Chicago Screenwriters Network Contest has now started accepting student entries at a discounted fee.

Chris Koziel, the group's new co-president went on to explain. "I'm so excited that we are opening up our annual screenwriting contest to students this year. One of our goals at Chicago Screenwriters is to promote Midwest writers in Hollywood. Now we will get the wonderful opportunity to showcase some of the Midwest's newest and upcoming talented screenwriters."

Student screenwriters will have the opportunity to win a grand prize of $500 plus submission to Hollywood production companies, agents and managers.

Last year, the contest awarded over $2,000 in prizes and got the winning screenplays, "No Tell Motel," "Thornbush," "Baghdad Rules" and "Graceland" into the hands of major production companies, agents and managers including Laura Ziskin Productions (Spider-Man 1 - 4, Stealth), Vertigo Entertainment (The Ring 1 and 2, The Departed), Intellectual Property Group, Smart Entertainment, LA and Andrew Kersey Management.

Student writers can enter online at www.chicagoscreenwriters.org for a discounted entry fee of $35. There will also be a late entry fee of $45.

The deadline for entries will be midnight, April 15, 2011, with winners being announced on August 7 at a special ceremony. A full list of participating readers, prizes and rules can be found on the website as well.

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Honesty

Honesty - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}HonestyWritten byRont3986753 months ago

You must first recognize man as your brother, and if you honestly desire to do by him as you would have him do by you, the commonplace dictates of justice, honesty, and fairness will guide you in the just and impartial settlement of every recurring problem of economic rewards and social justice. Urantia

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Bulling Part 2

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Conscience

Conscience - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}ConscienceWritten byRont3986754 months ago

Conscience, untaught by experience and unaided by reason, never has been, and never can be, a safe and unerring guide to human conduct. Conscience is not a divine voice speaking to the human soul. It is merely the sum total of the moral and ethical content of the mores of any current stage of existence; it simply represents the humanly conceived ideal of reaction in any given set of circumstances. Urantia

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Courage

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The ability to do what is right, even though your decision may not be popular, to exhibit indomitable courage in the face of immensity. Note: If we see courage (strength of character) as being desirable? Then must man be reared in an environment which necessitates grappling with hardships and reacting to disappointments. Urantia

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MoviePoet Announces February Short Script Winners

Brian Wind's Emotionless has been named the First Place Winner of the MoviePoet.com February, 2011 Short Script Competition.

"Emotionless" by Brian Wind ~ First Place
Abigail and Betsy decide to show the new breed of vampire fans the error of their ways.

"Fake It 'Til You Make It" by Brian Howell ~ Second Place
A body conscious woman is forced to face her fears when a friend takes her shopping for a new blouse.

"It'll Come" by Kyle Patrick Johnson ~ Third Place
In a dangerous drought, one sister prays for rain while another works for it.

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Transitioning from comics to TV

Today’s First Person article comes from the open call. Jay Faerber is trying to transition from writing comics to writing TV, and is doing so with the help of the Warner Bros TV Writers Workshop.

My name’s Jay Faerber.

I’m 38 years old and I’ve been writing comic books professionally for the past 13 years.

It’s a great, fun job and incredibly fulfilling. But in addition to comics, I’ve got a great love for television, so I’m finally taking the plunge and becoming a TV writer.

This wasn’t a decision I made lightly. In fact, I spent considerable time coming up with reasons not to try my hand at TV writing. I guess I was a little afraid that working in TV could destroy my enjoyment of TV as a viewer. Because despite writing comic books, I read very few comic books these days. The late Robert B. Parker explained it well when he said, “I tend to look at books the way carpenters look at houses.”

Because I didn’t want to ruin my love of TV by writing TV, I was content to let my manager shop around my comic books as movie and TV properties, and attach other writers. One of these writers was a baby feature writer who was adapting one of my comics as a feature spec.

Some writer friends of mine asked why I wasn’t writing the spec myself. After all, they were my characters and this baby writer wasn’t bringing a huge reputation to the table. So why not just do it myself?

And that’s what got me started. I remember very clearly the conversation that ensued, and by the end of it I was incredibly energized about trying to transition from comic books into features and TV. So I wrote a feature spec of my comic, Dynamo 5. Adapting my own work was a great way to make the jump into screenwriting. I was kind of intimidated by the format and “rules” of a screenplay, but the pressure was less because I already knew the characters and story so well. Nothing ever came of it, but it was a great exercise.

The more I thought about it, the more I realized my real interest was in TV, not features. I liked the chance to spend a lot of time — maybe years — with a set group of characters. I also liked that in TV, writers write. Feature writers take a lot more meetings and tinker with the same script for a huge chunk of time. With TV, you gotta get stuff done fast so it can be filmed a couple weeks later. I’m used to that kind of pace because of my comic book background, so it was more appealing to me.

Over the next summer I wrote a pilot that my manager showed to a few producers. We got good feedback on the writing, but we were told nobody would be interested in the premise. What was the premise, you may be asking? It was about Internal Affairs cops. And shortly after we decided to shelve it and try something else, Lifetime bought a pilot called Against the Wall, and it was about … Internal Affairs cops. Which proved that at least my instincts weren’t terrible.

The following spring I decided to try to get into one of the TV writing programs. Most networks and TV studios have them, including

I applied to the first three, because the CBS program is very diversity driven, and as a white guy, I didn’t see the point in applying.

I wrote a Burn Notice spec, just because it’s a show that’s been around long enough that most people at least have some familiarity with it, and it fits in with my sensibilities.

All three programs I applied to required not only a spec, but also some sort of essay question about my background, and what I’d bring to a writers room.

I leaned pretty heavily on my experience as a comic book writer, since there’s a lot of crossover between the two mediums. Both, for instance, involve telling stories visually. In comics, it’s drilled into us to avoid having two characters simply stand around talking. It’s much more visual if they’re doing something while they’re talking.

That’s why all those old Chris Claremont X-Men stories featured so many scenes of the X-Men in the Danger Room. Most of those scenes were really just exposition scenes, but they were much easier to swallow when the X-Men delivered them while fighting big robots or whatever. And while comics use caption boxes and, to a lesser extent these days, thought balloons, they’re still mainly dialogue driven — just like TV.

In fact, I find certain aspects of screenwriting to be easier than comics. With a comic book script, you have to be constantly mindful of how much an artist can fit into a single panel, or a single page. With a screenplay, you don’t have those constraints.

But you have others. In comics, it doesn’t cost any more to show a planet exploding than it does to show two people talking. (In fact, your artist will likely have more fun drawing the exploding planet!) In film and TV, there’s a huge difference between the two.

Honestly, I kind of thought if I got into any of the programs, it would be the NBC/Universal Writers on the Verge. Two reasons: One, I wrote a Burn Notice, which is an NBC/Universal show. And two, one of my comics (Noble Causes) was optioned by NBC/Universal a few years ago. But the NBC/Universal notification period came and went and I never heard a peep.

A few weeks later, I was completely surprised by a phone call from Warner Bros, asking me to come in for an interview. I was living in Seattle at the time, so I hopped on a plane to LA, where I had an interview with Chris Mack, the head of the workshop. A WB Current Executive was also present in the interview. We talked for awhile about my background, and why I like TV, and what shows I watch, that kind of thing. All in all it was a pretty casual, low key kind of interview.

I flew back to Seattle the next day and spent the next two weeks ticking days off the calendar, since Chris had said to expect an answer in two weeks. And it was exactly two weeks later when he called to said I’d been accepted.

I then had another two weeks to get myself relocated to LA in time for the first workshop. I know John has had entire blog entries devoted to moving to LA, so I’ll keep this brief.

I think having such a time constraint actually helped in this case. I just threw my two cats in my car, packed a few things, and drove south. I jotted down a few addresses from Craigslist and literally took the second apartment I looked at on the day I arrived in LA. I settled in Sherman Oaks, since I have friends in the area and it’s an easy commute to Burbank. I attended the first workshop, then flew back up to Seattle the next morning, packed up the rest of my belongings, and made the long drive south again in a moving truck and was back here in time for the following week’s workshop.

The workshop meets once a week, on Wednesday evenings, for about three hours. There are nine of us in this year’s group, although there are really only eight spots (since two guys work as a writing team). There are seven men and two women, and we range in age from mid-20s to late 30s. We’re all white, except for one African-American.

In terms of backgrounds, it’s much more diverse. We have one former child actor. A few people have worked (or are working) as writers assistants on various shows. One has previously written and acted in a cable show. One is a playwright. Two people work as copywriters at an ad agency. One works as a producer on a reality TV show.

I’d say the one thing we all have in common, aside from our love of TV, is some sort of previous experience in entertainment or writing of some kind. I doubt that’s a coincidence. While the workshop doesn’t require previous experience, it sure looks like it’s helpful.

I’ll also point out that I’m the only one in the workshop who relocated from another part of the country. I don’t know how many applicants they received from across the country, and I don’t know if I’m considered an exception or not. But I made it abundantly clear in both my application materials and the interview that I was ready and willing to relocate.

Once the program got under way, each of us wrote a new spec in a simulated writers room-type environment. We got notes from everyone in the group, plus our instructors, and had to hit deadlines for our beat sheets, outlines, first draft, second draft, etc.

Writing our specs took up about half the time of the program. The other half has been lectures on all aspects of the TV industry, from various guest lecturers with firsthand experience.

We’re encouraged to go out for drinks each week after the workshop and bond as a group. And we really have bonded.

As I write this, we’re at the tail end of the program. It started the first week of November and ends the first week of April. We’re starting to get sent around on meetings (which are arranged by the head of the workshop).

One of my classmates has already been staffed, and I’ve been sent on one showrunner meeting and one general meeting so far. It’s an incredibly exciting time.

Sometimes I need to pinch myself when I think of how much my life has changed in the past four months. I went from sitting in my home office in cold, rainy Seattle, writing comic books, to driving onto the Warner Bros lot each week, where I get to talk TV with some amazingly talented writers.

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Responsibility

Responsibility - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}ResponsibilityWritten byRont3986752 months ago

We all have Responsibilities to do the things, we say we will do. I have said this little quote for years “ You are only as good as your word ” if your word is no good then you are no good. That may sound harsh at first but the truth is often eye opening.

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Superman

Self-Esteem Gain for Overweight Children

What we do everyday in the Martial Arts!   And why MA is the perfect vehicle for an overweight

child.

1. The martial arts will get them in shape.

2. It will change how they feel about who they

are.

3. It will teach them how to project themselves to others.

I can remember growing up in The Bronx. At the time, we lived in the projects on Castle Hill Ave. All during the week, Monday through Friday, I would rush home from school making sure I was in the house by 4:00pm to watch Superman, Clark Kent, Jimmy Olsen, Lois Lane and yes, Perry White (Great Cesar's Ghost!).

 I didn't miss an episode. Even today, I collect digital comic book covers and some Superman

memorabilia. Saturday mornings, it was Superman cartoons; that was the routine at our house.

Sunday's  however, was different. If you remember, there were no cartoons on Sundays. We would

have to wake up early and get dressed for church. Mom would give us all a quarter for the church

basket and send us off. I was the oldest, so I was in charge of my younger brother and four

sisters. The church was across the street, St. John Vianney. I remember sitting in the pew,

praying every Sunday, for God to grant me the powers of Superman. I promised him “God”  I would do good and help people all over the world. This was the prayer each and every Sunday for many years.

After Church, we would then go to my Grandparents to eat with the rest of the thirty or so other

family members, Aunts, Uncles and Cousins.

I can look back now I find it funny, because I go to work everyday, and I put on a uniform that empowers me to be the best I can be every time I wear it and in front of anyone I teach; whether it's a child or an adult, male or female; it doesn't make a difference. Astronaut or C.E.O. of a major fortune 500 company, it's a magical feeling to be empowered by putting on a uniform. Superman can fly. Never did I ever make a conscious decision to become a pilot because Superman can fly, and I wanted to be like Superman. However, I am a pilot, and I do fly. Superman can see far.  As I approach my older years, my eye sight starting declining,  I went and had Lasik surgery. When your sight starts to fade, due to old age, and you can't see well, getting your sight back makes you feel empowered. Superman can bend steel with his bare hands. I can punch through three half inch pieces of wood stacked on each other. So when anyone asks, what is a Black Belt? I smile to myself and know it is me and everyone else that puts on that martial arts uniform.

P.S. Oh, and be careful of what you pray for.

Master Ron Tramontano

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Brett Loewenstern The Next American Idol

Brett Loewenstern The Next American Idol - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}Brett Loewenstern The Next American IdolWritten byRont3986752 months agoWe here at West Boca Karate would like to wish one of our Black Belts, Brett Loewenstern, all the best as he moves forward towards his dream of being The Next American Idol. Great job Brett.

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Dear Black Belt Magazine

I applaud and thank all the people who have taken part in providing and creating the history, year by year in your last two issues of BM. However, I feel you have left out a very important part of the history of the martial arts that took place in the 90’s up to today. The Martial Arts Network http://www.martial-arts-network.com  as it was known to the world when it launched online in Nov. of 1995. Now www.tman.com and a new social media site at http://social.tman.com  have been created to move forward in an effort for this community to have our own 24/7 television network. We here at TMAN “The Martial Arts Network” feel someone out there will take the reins and run with this great idea. This became the first ever martial arts website dedicate to what we do.  Our welcome to the many dedicated martial arts practitioners “upward of a million a month at one point” around the world that frequent our website read. “Welcome to The Martial Arts Network On-Line, one of the world's first and largest electronic forums dedicated to promoting the future of martial arts. Our web site is the cyberspace headquarters for many unique services that are now becoming available to the martial arts community. Since 1995” I hope you will look at this, take the time to view the videos that document the efforts made by The Martial Arts Network on http://social.tman.com/ and on www.tman.com

Thank you for your time

Master Ron Tramontano

561-482-9049 Boca Raton School

561-629-6005 Cell Phone

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Screenwriter Takes All Announces February Winners

Marc DeLamater's screenplay Triton has been named the winner of the Screenwriter Take All Screenwriting Competition for the month of February.

Tim Noonan's Good Neighbors has been named the short script winner.

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One sample, cont’d

Several readers questioned my advice to write a TV spec:

I’m just curious as to why you suggested they write a TV script, since he had mentioned the only thing they’d written is one feature and I saw no mention of an interest in writing for TV.

TV scripts are shorter and faster to write. Jason and his writing partner need more writing samples, stat. This will be a quicker way to get something else on paper that shows their chops.

But in a bigger sense, of course they should consider writing television. So should every aspiring screenwriter. In 2011, the best writing happens in TV, not features. There are more opportunities, and better finished products.

Across the board — one-hours and half-hours, network and cable — we’ve never had this kind of quality. Why would you sit out?

Agents and managers are looking for clients that can work. While staffing is tough, television quadruples the number of chances to get their clients gainfully employed. Yes, there used to be a bias against hiring TV writers for features. I think that’s all but evaporated. Many if not most screenwriters play in both sandboxes.

So unless Jason and his writing partner are features-or-bust, they should be thinking television in addition to features.

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Screenwriters don’t simply adapt, they adopt

Daniel Wallace, who wrote the book Big Fish, on movie adaptations:

The best adaptations are inspired by the source material, not dictated by it. The screenwriter doesn’t work for the author; he takes possession of the story, and owns it as much as the novelist does. If not, if there is even a hint of subservience, the adaptation and the movie it hopes to become will suffer, and sometimes die a grisly, unliterary death. And if you’ve never seen an unliterary death it’s a sad thing to watch.

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Juggling paid work and specs

I’m still sorting through emails from readers who wrote in offering up their experiences for the First Person series. The blessing and curse is that there are far too many to choose from. Over the next few weeks and months I’ll be featuring a variety of them, possibly bundled in theme weeks. (We have a lot of married writing teams and reality TV producers.)

The first article of this new batch comes from Allison Schroeder, a young-new-baby screenwriter who works in both features and television. She exemplifies something I’ve seen again and again: a career is shaped by talent, luck and very hard work. It’s like trying to start a campfire in a rainstorm. You can do it, but it takes persistence.

I don’t know Allison, but after reading her article, I realized how many friends and colleagues we had in common. When I asked about it, she wrote back:

Ironically, you’ve been there for a lot of my big moments probably without realizing it! That Career Fair where I met my mentor, you were one of the organizers. Al Gough’s birthday right before I was staffed on 90210. And Dara’s BBQ the week MG2 was greenlit. You’ve been good luck!

I don’t think it’s kismet or coincidence. She was putting herself in the right places for luck to happen. These were situations that wouldn’t have happened if she didn’t live in LA.

I’m a working writer in Los Angeles. Those are beautiful words to say. Now there’s a lot of doom and gloom rants, discouraging statistics and articles regarding women in the industry — if you want that, don’t look at me. I love being a female writer in Los Angeles!

Now like all love stories, there’s been some heartbreak and tears, some highs and lows, but rarely have I ever felt my gender was holding me back. In fact, at times, it’s helped me. Execs, producers, actors, and directors want to hear a unique voice that feels authentic. And I write quirky, strong female characters, often drawing from personal experience. One of my very first spec scripts Stickgirls — which I wrote as both a pilot and feature — followed two young teenagers, essentially a Stand By Me for girls. That sample led to my first staff writing position on the new 90210 and later to my first feature, Mean Girls 2. But before my big break, I worked, and worked hard as a PA, an assistant, and writer-for-free.

I graduated from Stanford University for undergrad and after two years as a consultant, I returned to school at the University of Southern California for my MFA in the Film Production Program.

Everyone has a different opinion on film school; all of us who started together left USC with different impressions. Would I do it again? Yes. Why? First, I understand how a set works which helps a lot when I’m writing a screenplay as production nears. I know what the AD means when she asks for changes. Second, the alumni and my friends. I don’t have a manager, so my friends give me notes. I never turn in a script without someone reading it first. I call it the “stupid check” — as in, am I a talentless hack that will embarrass myself by turning in this draft? They say no, I breathe easier, and hit send.

After graduation, it took some time to find a job in the industry (I tutored during those months) but I finally landed as a PA on Pineapple Express. Everyone on the film was incredibly open to questions about the process, about writing. They honestly wanted to help me with my career – and I think this had a lot do with the fact I took pride in my job. I was the best damn grocery shopper they’d ever seen. Seriously.

I know writers who fear getting a job in the industry because they won’t have enough time to write. And I understand that, I do. But I feel that to work in the industry, you, well, need to work in the industry. Don’t be above getting people coffee!

During this time, I met a mentor at a USC Career Event. I started developing with him and his writing/producing partner. I wrote two pilots and a feature on spec, but the writer’s strike didn’t exactly help the odds of a sale.

I continued to work as an assistant, replying to a USC job posting and moving to Smallville as a Writers’s PA. Until one day, about a year later, I was manning my boss’ desk at Smallville and I got the call.

My mentor casually asked, “Hey, do you want to be a staff writer on 90210? We’re the new showrunners.”

Uh, yes please.

And that was it. I met with the network soon after; they read Stickgirls and approved me. I met with UTA that same day; they became my agents ten minutes after I walked out of the network meeting.

It happened “overnight.” Well, if “overnight” means after two years of hard work, building relationships, and endless writing.

People often want to know how much I wrote during my assistant years. In terms of time: many hours a week. In terms of material generated: two original pilots, one TV spec, two features, a novel, and a pile of tossed out pages. I meet many aspiring writers who haven’t finished a single script. That’s not going to be a path to success.

I now work in both features and television.

After 90210, I created a pilot for MTV with Wilmer Valderrama, called Brooklyn Sound. It didn’t get picked up but it was a great experience. They had absolute faith in my abilities regardless of my gender or experience, and I will forever be grateful for that.

Compliments are far more rare than criticism in this industry. One of my successful writing friends (who I met when she was an assistant, I her intern) told me silence means you’re doing a good job. When I have self-doubt, I remind myself of that. No news is good news.

A lot of my scripts will never see the light of day. So when one’s actually greenlit, the game changes.

Budget, logistics, stunts, company moves, clearances, censorship can rapidly change a script. Coming from film school, I knew all the steps involved to make a script come to life. I had built sets, hung lights, set-up craft service, held the boom mic, loaded film, managed budgets, rented costumes. When I showed up on the Mean Girls 2 set (directed by the fabulous Melanie Mayron) and saw the lead character’s house decorated for Halloween, the gravity of the moment hit me.

I had written the words almost too casually: FLASHBACK – HALLOWEEN.

Which meant a team of art department geniuses had transformed the exterior of the house into a Halloween fantasy. As a screenwriter, you’re writing the blueprint for hundreds of people. It’s made me consider my words far more carefully as I write now. Am I giving enough information for all the departments? Am I clearly stating the tone, mood, and action of the scene for the director? Am I filling the silence?

After Mean Girls 2, I was hired for Mean Girls 3 and an MTV television movie. Plus I was developing a pilot and finishing the first draft of my spec feature. Ah multi-tasking!

A lot of my friends work in teams or focus on either television or features. I work alone and like to do both. So I make sure to prioritize according to deadline. I don’t miss deadlines. I am not late.

Many writers miss deadlines. Yes, we’re creating “art.” But this is business, a job, and I don’t take that lightly.

But I will call and ask for a few more days if I need them. I called MTV yesterday and said, “I could turn this in today but I feel this first act isn’t working.” The executive and I brainstormed for an hour, and I’m taking the week to do an overhaul. You want everything to be the best it can be, but I’m also mindful of their production schedule.

I’m still very much starting out my career. Which means I have to constantly be working on spec scripts — both features and pilots — to make people see me differently, hire me for something besides teen comedies. I have to be strategic, balancing assignment work and my own projects.

For personal projects, I normally send my agents a handful of ideas and they point me at the ones that might work. Because I don’t have a studio hounding me, it’s all about discipline.

Paid projects always take precedence, followed by projects that I’m doing for a specific production company or a producer that showed interest, followed by passion projects. My specs are always personal in some regard. Write what you know has worked well for me.

Sometime, your brain hurts from all the juggling. Switching from teenage slang to old Southern rhythms in my pilot, from two teen stories — one all about guys, one all about girls — plotlines could get confusing. But you manage. I alternated weeks on the teen stories based on deadlines. I wrote the pilot when my mind needed to jump into an alternate world. And then I took a break. After a massive writing spree, I need at least a week to decompress.

My writing teacher at USC said this profession is a marathon, not a sprint.

I’m always looking for the next job. Always. As I move forward, I’m pushing myself to take chances. I don’t feel pigeonholed as a woman or a teen writer. I feel it’s up to me to write what I want to be hired for.

Here’s a little secret. Female action writers, especially in television, are in hot demand. So to continue to expand my writing career, I need to step outside my comfort zone. That doesn’t mean I plan to turn my back on teen work. I love it. It comes naturally to me. But to move to the next level, to theater-released features, to television development, I must continue to write new samples.

Writing my own work often takes longer than when I’m on assignment. One of my feature specs, I’ve been stuck on for years. It’s personal, it’s autobiographical, it’s hard to write. Other specs are finished within weeks. I try not to beat myself up too much, but there are dark days where I sit in my pajamas, stare at my cats (no judgement please) and wallow.

I am only allowed to wallow for twenty-four hours. It’s a rule. Then I have to get back at it.

And no matter what the project, when I write, you can always hear my voice — maybe not literally in all cases, but my sarcasm here, my Southern roots there, even a line or moment of dream fulfillment.

My biggest obstacle to overcome as I move forward has less to do with outside forces, and more to do with me vs. the blank page. I have a poster that reads: “Type or Die.” That pretty much sums it up.

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If we played by the rules right now we’d be in gym

I have read countless things about what makes a screenplay sell, however, when I look at a film like Ferris Bueller’s Day Off I can’t help but wonder how a screenplay like this sold.

All I’ve heard from the experts is that you need character arcs and all that jazz but I just don’t see that in Ferris Bueller’s Day Off. He wakes up and gets back in bed the same person, right?

Obviously it’s a great film, an instant classic but it just seems to defy everything a “great screenplay” should have by today’s standards. Any thoughts?

– Nick
Rhode Island

You could spend a semester studying what makes Ferris Bueller such a classic, but the character arc thing is easily answered:

Ferris doesn’t change. Cameron does. Cameron is the reluctant protagonist, literally dragged along by Ferris. By the end of the story, Cameron has changed a little, with plans to stand up to his father. Arcs don’t have to be epic.

As I’ve said before, the main character doesn’t have to protagonate. Yes, in most movies, your hero is the protagonist and it’s all cut and dried. But it’s not the only way a story can work.

If you’re ever confused, refer to Michael Goldenberg’s advice: The protagonist is the character that suffers the most.

In this case, that’s Cameron.

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Gimme Credit Announces Cycle IX Winners

Let The Games Begin by Stephan Vladimir Bugaj has been named the 1st Place Winner of Cycle IX of the Gimme Credit Screenwriting Competition.

Features:

1st Place
Let The Games Begin by Stephan Vladimir Bugaj
(Family, Comedy)
Nerdy video game entrepreneur Dave's perfect geek world is turned upside down when his teenage daughter, Star Castle, turns out to be the perfect jock. How can these arch nemeses find harmony in this Klingon-conversing household?

2nd Place
Something Resembling Sleep by Kyle Novak
(Drama)
Pumped with antidepressants for over a decade, John spends much of his free time finagling prescription medication by way of feigned illness, aimlessly loitering around the local mega-mall, and spying on the daily activities of strangers &until a chance meeting changes his perspective.

3rd Place
Below the Waist by R. Ian Simpson
(Drama)
A high school girl, paralyzed by a car accident at the hands of her best friend, grapples with being forced into adulthood while still struggling with all of the problems of a teenager.

Artistic Vision
Brock Daniels: The Last Master of Death by T.K. Kelly
(Comedy)
A fading action star on the wrong side of his career, Brock Daniels is drowning in a sea of fruitless auditions, financial troubles and booze. His fame may be slipping away, but he isn't letting it go without a fight.

Shorts:

1st Place
Rehab by Mary Haarmeyer & Melissa Pawelek
(Dark Comedy)
The story of two brothers, one good and one bad. Who will outsmart who?

2nd Place
Jennifer: A Field Guide by Elissa Vann Struth
(Drama)
How does a girl copes with a clueless mom? With a field guide.

3rd Place
Gossip Girls and the NoMoSexual by Randy Gillis
(Comedy)
Gay? Straight? Or just not interested. A group of office workers try to find out.

Artistic Vision
Case #02-121591 by Paul J. Williams
(Found Footage Drama)
A day in the life of one Highway Patrolman &told through his dashcam.

Super Shorts:

1st Place
Santa's Little Helper by Sara Bovolenta
(Comedy)
When little Jess finds two burglars in her house she knows exactly how to set them straight.

2nd Place
The Great Sambini by Scott & Paula Merrow
(Family, Drama)
Why doesn't anyone want to adopt eight-year-old Sam? Maybe he needs some stronger magic!

3rd Place
Interview by Mike McGeever
(Comedy)
A female executive subjects a would-be suitor to a formal job interview before granting him a date.

Artistic Vision
The League by Chuck Duffie
(Comedy)
Little League parents go too far -- way too far.

Genre Finalists:

FEATURES

DRAMA
The Promised Land by Sabir Pirzada
The Lucky Star by Thomas Pace
Below the Waist by R. Ian Simpson
Little Red Lies by Alina Petrescu
Scattered Thorns by Gary Talarino

COMEDY
Diary of a Hit Mom by Dan Loschack
Mariachis of Mazatlan by Ted Gurich
Brock Daniels: The Last Master of Death by Tommy Kelly
Bad Penguin by Phil Clarke Jr.
The Extra's Extra by Mary Haarmeyer & Craig Beeman

OTHER
The Other Man by Matthew Dressel
Something Resembling Sleep by Kyle Novak
Dianah by Ben Radatz
Guilt by Michael Kourabas

MUSICAL
None in this category.

SCIENCE FICTION
Ark by Vincent Noto
Dear Life by Rohit Kumar

ACTION
Outrider by Daniel D. Molinoff
Big Bad Wolfe by George Nicholis

HORROR
Macau Twilight by Tony Shyu
Blood Secret by Sam Tsembides
The Keepers by Mike Doyle
Be My Friend by Sergio Jablon

FAMILY
Bug Boy by Erik Gernand
Let The Games Begin by Stephan Vladimir Bugaj
Turf War by Diane Johnson

SHORTS
Breaking Buddha by Chuck Duffie
The Sin Gene by Chuck Duffie
Defenceless by Dave Herman
The Dirty Spoon by Louis Farley
The Vanity Plate by Louis Farley

SUPER SHORTS
Four Minutes by Sean Ryan
Plans by Mike McGeever

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How Do Children Handle Fight Or Flight Response?

How Do Children Handle Fight Or Flight Response? - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}How Do Children Handle Fight Or Flight Response?Written byRont3986752 months ago

 

Children and Adults alike handle Fight Or Flight Response in much the same way. However, as life teaches us, it's not what happens to us that is important. Things will always happen to us.  It's what we do with what happens to us that is ultimately the deciding factors as to our success or failure. Fight or flight is our body's primitive, automatic, inborn response that prepares the body to "fight" or "flee" from perceived attack, harm or threat to our survival. What are the signs that our fight or flight response has been stimulated or activated?. When our fight or flight response is activated, sequences of nerve cell firing occur and chemicals like adrenaline, noradrenaline and cortisol are released into our bloodstream. Blood is shunted away from our digestive tract and directed into our muscles and limbs, which require extra energy and fuel for running and fighting. In short, many of the major stresses today trigger the full activation of our fight or flight response, causing us to become aggressive, hyper vigilant and over-reactive. To protect ourselves today, we must consciously pay attention to the signals of fight or flight. For example, in times of emotional jeopardy, the fight or flight response can sharpen our mental acuity, thereby helping us deal decisively with issues, moving us to action. If you end up in a fight, you'll hit harder, jump higher and think and dodge faster than usual. We often forget how much of a problem overwhelming anxiety can be. Panic attacks, social anxiety, generalized anxiety and obsessive compulsive disorder all have the potential to be quite disabling. A child who is not well adjusted, possibly having low self esteem and being overweight, has little chance of being successful. It's in my opinion that there can be no better activity to address this type of concern other than Martial Arts. Please check our Blog's.

 

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Respect

Respect - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}RespectWritten byRont3986752 months ago

Respect is a term many of us use but few of us understand. Many times we fall into the trap of using this word and directing it to a title or a position, instead of a person. A person, who has a title or a position, deserves and should get our attention, because of the knowledge they have acquired on a particular subject. It is only after a person has been shown to possess the qualities and attributes we admire, would they earn our respect. The key word here is earn.

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ScriptVamp Announces DreamQuest Feature Script Winners

ScriptVamp has announced their Grand Prize Winners in all genres.

Action / Adventure

Grand Prize Winner
"Future Strike" by Thomas Benedikt

Honorable Mention Winner "Black Jack" by Stephen Curran

3. "A Toucan Amazon Adventure" by Donna Lisa Rothstein
4. "The Super Adventures of Hansel Minus Gretel" by Mike Wong
5. "With Deadly Purpose" by John Wood

Comedy

Grand Prize Winner
"Novel Aspirations" by Ian Van Den Hurk

Honorable Mention Winner
"The Cohen Brothers" by Paul Burgess

3. "H-O-R-S-E" by Matt Larkin and Ian Van Den Hurk
4. "The Leaner" by Dana Garrity
5. "Yours... Forever" by Donna Adams

Drama

Grand Prize Winner
"Forever and For Always" by Mariann Danko

Honorable Mention Winner
"Through Laura's Eyes" by Donna Adams

3. "Season of Mists" by Kevin Brodie
4. "Angels of Mass Destruction" by Bert Emrick
5. "The Lucky Charm" by Melvin Kling Jr.

Epic / Historical

Grand Prize Winner
"Black Jack" by Stephen Curran

Honorable Mention Winner
"Two Worlds for Diomedes" by Guillermo Gomez

3. "Whydah" by Tara Lubich
4. "Lightening in the Sand" by Zoe Ford
5. "Tomorrow's Forgotten" by Darlene Foster

Horror / Thriller / Sci-Fi

Grand Prize Winner
"Controlled" by Craig Cambria

Honorable Mention Winner
"The Sleeping Deep" by Jeffrey Palmer

3. "Future Strike" by Thomas Benedikt
4. "Redemption 37" by Edward Mann
5. "Infected" by James Schannep

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Making the original Prince of Persia

Jordan Mechner, my friend and collaborator on several projects, has a terrific post-mortem on his original Prince of Persia videogame over at the GDC Vault. If you’re interested in game design, it’s definitely worth checking out.

The videogame world is still so young that the study and analysis of its history is largely in the hands of its creators. I wonder how long that will last.

Here’s the test, I guess: Who will be the first person to make a living as a full-time videogame theorist? Not a reviewer or industry pundit, but the guy who creates context in articles entitled, “The Side-Scroller and the Dissolution of Self.”

Videogames are certainly a legitimate field of critical study. But I wouldn’t want to lose the primacy of hearing pioneers talking about what they did and why.

Flag for Spring Cleaning

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Spring Cleaning results

I’m making a note here: HUGE SUCCESS. It’s hard to overstate my satisfaction with our first-ever spring cleaning challenge. Readers have spotted issues with roughly one-third of our 1,440 posts, which we’ll be resolving over the next few weeks.

We’ll be keeping the spring cleaning flags available another week or two, but I consider the contest portion complete. More than 40 different users submitted reports. Thanks to all of them.

In the end, our top ten spring cleaners caught 92% of the bugs:

Lauren Ocean and Tyler Leisher were the top two throughout, pulling far ahead of the pack. They’ll both get Related Schwag Prizes, with Lauren getting first pick.

The biggest issue readers encountered was link rot. Many utilities can detect when a link is dead, but it takes human eyes to recognize when a functional link is now pointing somewhere unintended, such as a general catch-all page. This often happens when a domain is sold, or the underlying CMS changes.

In most cases, we’ve simply removed the bad link. Other times, we’ve found a better source for what was there.

A thornier issue was what to do with posts that were out of date. A one-sentence post from 2008 explaining that I was too sick to picket doesn’t seem have a lot of value. No reader is likely to find that useful on its own. But as part of the larger context of all my posts about the WGA strike, it has some historical value. So I’ve kept it.

Some older posts had formatting issues arising from a long-ago change in character encoding. These are the happiest problems, as global search-and-replace can work wonders.

Several users wanted the opportunity to rate articles, so that other readers might come across the “greatest hits.” That’s certainly something we’ll try.

It’s also clear that the site’s blogginess can make it harder to find answers to very basic questions, like “How long is a screenplay?” I have some ideas for addressing this Screenwriting 101 material in ways that won’t dumb down the site for normal readers.

Sincere thanks again to everyone who participated in helping polish the site.

Flagged for Spring Cleaning

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L.A. Comedy Scripts Announces Finalists

Finalists have been announced for the 2011 L.A. Comedy Scripts Competition:

Escaping Phoenix by Dani Lyman (Feature)
Brother of the Bride by Helen Castles (Feature)
Most Likely to Conceive by Patrick Hasson & Aitan Spring (Feature)
High Noon-ish by Bob Yates (Half-Hour TV Pilot)
Morley and Leslie by Thomas O'Connor (Half-Hour TV Pilot)
Those Qaddam Arabs by Ayser Salman (Half-Hour TV Pilot)
The Curse of Don Scarducci by Chris Fondulas (Short)
Validation by Berenice Freedome (Short)
Thugs, The Musical by Kevin Avery (Short)

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What’s More Dangerous to a Child than a Stranger with Candy?

Boca Raton Martial Arts Master on a mission to defeat childhood obesity

FOR IMMEDIATE RELEASE

PR Log (Press Release) – Sep 22, 2009 –

Childhood obesity is an enemy that relentlessly pursues children every day. From processed foods at home to fatty school lunches to children parked in front of computer games at night, the odds are against children being healthy in mind and body. Obesity threatens the lives of America’s children.

“If a real, live person were after your children, determined to give them a life-threatening disease, I do not believe you would stand by and let it happen,” says Martial Arts Master Ron Tramontano. “All it takes to make a difference in the life of an obese child is a parent with a personality.”

Tramontano has developed a weight loss program for obese children that combines the self-esteem boosting effects of Martial Arts training with plating/calorie-saving techniques. In his newly released book, It’s Not a DIET, It’s a SAVE-it, he defines strategies that parents and obese children can use, together, to achieve serious weight loss and self-esteem gain. In It’s Not a DIET, It’s a SAVE-it Tramontano describes how to

Approach the idea of weight loss with a child
Explain the SAVE-it Weight Loss Program in an exciting way
Motivate any child
Employ the tenets of the Tang Soo Do Martial Arts form as a catalyst for change

Ron Tramontano has used the SAVE-it Weight Loss Program for over 25 years in his West Boca Karate Center in Boca Raton, Florida, to help obese children and their parents overcome the enemy of obesity.

He is on a mission to defeat childhood obesity and has launched a series of Comcast cable commercials to create interest in his program. His “take a free month and get a free book” commercial has resulted in soaring enrollments. His website challenges Fortune 500 companies and our nation’s leaders to get on board and become part of a solution that will wipe out obesity in America.

Tramontano is the chairman and founder of both the North American Tang Soo Do Federation and The Martial Arts Network Online. At West Boca Karate he oversees the instruction of over 800 students and 160 Black Belts a week.

Ron Tramontano, West Boca Karate Center
(561) 482-9049 (phone)
(561) 482-1896 (fax)
(561) 629-6005 (cell)
RonT398675@aol.com

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Let's Move Event in Boca Raton

Sorry, I could not read the content fromt this page.

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Caring

There exist a differance in caring for someone and caring about someone. The later requires a commitment that enbrases both types of caring, while the other exists in words and feelings. Exhibiting concern for others; is what I call right thinking and will led you to be known by the least of your fellows.

Master Ron Tramontano

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Who Bullies?

Who Bullies? - Boca Raton, FL, United States, 33428 - The Martial Arts Network Blog post The Martial Arts Networkhomemy homevideosaudiophotosblogssetsmembersgroupsmessage boardchat add a blog postmy blogmost recenthighest ratedmost viewedtop favoritesmost comments log injoin nowforgot password advanced video audio photo blog member group message sets pages .ka_letterboxComment {background-position:center !important}Who Bullies?Written byRont3986752 months agoWho bullies?

 

Students who engage in bullying behaviors seem to have a need to feel powerful and in control.

Boys tend to use physical intimidation or threats, regardless of the gender of their victims. Bullying by girls is more often verbal, usually with another girl as the target. Cyber-bullying by both boys and girls - in online chatrooms, e-mail, and text-messaging - is increasing. Direct bullying seems to increase through the elementary school years, peak in the middle school/junior high school years, and decline during the high school years. Although direct physical assault seems to decrease with age, verbal abuse appears to remain constant. Whether the bullying is direct or indirect, the key component of bullying is physical or psychological intimidation that occurs repeatedly over time to create an ongoing pattern of harassment and abuse. Stay tune to this blog as we delve into a parents worse nightmare. Bulling

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