#televisionwriter

[headlinelogline]

Beach Bums

After graduating high school in a small Florida beach town, laid back best friends Becca (Rebel Wilson) and Ali (Janelle James) decide to forgo their college plans and turn their after school jobs as snow cone sellers into full time careers. But now, years later,  a fancy hotel is buying their beach's land to expand their resort, threatening their life of easy living. The pair is forced to think quick in order to stop the rich chain or risk losing their perfectly lazy life forever.

Feature Film

Genre: Screwball Comedy

Tone: Old School meets The Castle

(headline posted 5/7/23)

[taqato-alim]

Analysis of: Memorandum of Agreement for the 2023 WGA Theatrical and Television Basic Agreement (September 25, 2023)

PDF-Download: https://www.wgacontract2023.org/wgacontract/files/memorandum-of-agreement-for-the-2023-wga-theatrical-and-television-basic-agreement.pdf

Here is a summary of the key points discussed in bullet form:

The CBA establishes fair and balanced standards for wages, benefits, credits and working conditions through good faith negotiations.

Rights and duties are reasonably balanced between unions, workers and employers with meaningful obligations on all sides.

Dispute resolution processes promote transparency, accountability and protection of due process rights.

Provisions support the financial security, job stability, bargaining power and professional recognition of writers.

Residual structures and payment formulas provide ongoing compensation linked to works' lasting value and adaptation.

Healthcare contributions and pension funding secure important benefits for writers' wellbeing.

Staffing/development guarantees foster stable working environments ideal for creative output.

Considerations are made for the legitimate interests of all stakeholders, including production companies.

Quality control is indirectly encouraged through provisions enabling focus on merit-based work.

Overall the agreement demonstrates high-quality reasoning aimed at mutual understanding between bargaining parties.

Here is a summary of the key points:

Term of the agreement is from September 25, 2023 to May 1, 2026.

Incorporates the provisions of the 2020 WGA - AMPTP Theatrical and Television Basic Agreement and the 2020 WGA - Network Theatrical and Television Basic Agreement, as amended by this Memorandum of Agreement.

Resolves any inconsistencies in favor of the terms in this Memorandum of Agreement.

Allows the Guild to divert up to 0.5% from certain salary minimums in 2024 and up to an additional 0.5% in 2025 to increase pension or health fund contribution rates.

Increases most minimum salary rates by compound annual increases, generally 5% in the first year, 4% in the second year, and 3.5% in the third year.

Increases residuals bases and other payments by varying percentages each year.

Establishes terms for contracts entered into during the term of the agreement covering new media productions, SVOD programs, virtual MVPDs, and other areas.

Modifies various articles covering areas like arbitration, credits, derivate works, foreign markets, and more.

Sets an expiration date of May 1, 2026 but allows certain provisions to continue applying to works produced during the term.

Based on its content and purpose, this document is a collective bargaining agreement (CBA).

Some key evidence that points to it being a CBA:

It is an agreement negotiated between a labor union (the Writers Guild of America) and multiple production companies represented by their bargaining agent (the Alliance of Motion Picture and Television Producers).

It establishes terms and conditions of employment for writers covered under the agreement, including minimum salaries, residuals, credits, union dues, healthcare, and pension contributions.

It has a set duration or "term" of several years, as is typical for CBAs negotiated in the entertainment industry.

It references and modifies existing CBAs between the parties to establish new baseline terms.

The language and formatting resemble other CBAs, with contract language clearly denoted and provisions numbered for easy reference.

So in summary, given its context as an agreement negotiated between a union and employers to govern wages, hours and working conditions, this document falls squarely into the genre of a collective bargaining agreement.

Here are the key stakeholders affected by this collective bargaining agreement and an evaluation of how it addresses their interests:

Writers: The CBA primarily aims to protect writers' interests by setting baseline standards for pay, benefits, credits and working conditions. It clearly prioritizes writers' wages and job protections.

WGA Unions: The agreement empowers the unions to collectively bargain on behalf of all members and establishes processes for dispute resolution that promote members' interests.

Production Companies: Terms are balanced to also consider companies' economic interests through provisions on derivatives works, foreign markets, etc. Dispute resolution ensures streamlined compliance.

Actors/Directors Guilds: As other entertainment unions, they have an indirect stake, but this CBA focuses just on writer interests without encroaching on other guild contracts.

Consumers: Quality control and ethical standards could positively influence the art and media being produced. Transparency promotes confidence in the output and its funding.

Shareholders: Employers' economic interests are reasonably taken into account to avoid excessive cost burdens that could impact investment returns.

Overall, while primarily aimed at directly representing writers, the CBA demonstrates a balanced, fair consideration of other key stakeholders' legitimate interests through establishment of expected norms, processes and parameters of negotiation.

Here is an evaluation of the rights and duties established in the document:

Rights:

Workers have right to union representation and collectively bargain compensation/terms.

Unions can advocate for members and ensure transparency in credits and disputes.

All parties have due process rights in dispute mediation/arbitration.

Duties:

Employers must meet minimum pay standards, benefit contributions, working conditions.

Unions must fairly represent all workers and maintain professional conduct.

All parties must negotiate in good faith and follow terms of final agreements.

Dispute processes have timelines that obligate timely resolution/information sharing.

Credit, derivative work and residual rules outline obligations around attributions.

The rights and duties presented seem balanced and reciprocal. Obligations require substantive actions but also procedural fairness. No extra-contractual rights or out-of-scope duties are established. Protections are granted alongside meaningful responsibilities. Overall, an equitable establishment of interrelated entitlements and expectations between stakeholders is exhibited. No obvious concerns regarding overreach or gaps in rights/duties were identified.

There are several key benefits established by this collective bargaining agreement:

Financial security - Minimum pay rates, healthcare coverage, pension funding ensure a basic standard of compensation.

Job protections - Credit processes, prohibitions against circumventing rules promote stable work opportunities.

Recognition/attribution - Credit, derivative works and sequel policies uphold appropriate professional recognition.

Bargaining power - Collective negotiations through unions empower workers in setting industry-wide standards.

Flexibility - Exceptions, modifications allow tailoring provisions reasonably based on specialized circumstances over time.

Stability - Establishing mid-to-long term agreements promotes predictability versus constant renegotiation.

Transparency - Defined dispute/credits mechanisms promote understanding outcomes rather than arbitrary decisions.

Efficiency - Incorporating/modifying past CBAs builds on established practices versus reinventing processes.

Experience - Industry expertise helps craft balanced, practical guidelines informed by talented professionals' knowledge.

Overall, these union-negotiated benefits secure workers' livelihood needs and professional interests through recognized, standardized frameworks - goals yielding mutual benefits between labor and employers. No concerns about unintended or unduly burdensome outcomes were noticed.

Here is an evaluation of how the document addresses the interests and needs of writers as key stakeholders:

Financial Security: Minimum pay rates, health benefits, pension funding directly support writers' livelihood needs.

Recognition: Strict credit requirements uphold proper attribution for writers' creative works.

Fair Compensation: Residual formulas offer ongoing payment tied to works' enduring success/value.

Input Value: Requirements for assigned material pay reflect writers' upfront contributions fairly.

Workplace Protection: Prohibitions against circumventing rules promote stable, respected employment.

Authorship Rights: Policies around derivatives, sequels protect writers' ongoing interests in built worlds.

Bargaining Representation: Unions collectively advocate on behalf of all writers versus individuals.

Balance of Interests: Terms seem reasonably balanced between labor and profit considerations.

Transparency: Dispute/credits procedures promote open awareness of outcomes affecting writers.

Consistency: Incorporating past accords builds predictability around established industry practices.

Overall, while technical, the agreement's focus and provisions advance writers' core interests in stability, fair compensation, proper attribution and respect as creative professionals. No conflicts with writers' key needs or goals were identified.

The document establishes several provisions that directly promote financial security for writers:

Minimum pay rates for various roles/works provide baseline income standards. Rates increase each year.

Healthcare contributions ensure access to medical coverage, an important benefit.

Pension plan funding helps secure retirement income through employer contributions.

Residual structures like reuse formulas continue generating income from enduring works.

High budget/premium pay scales for major projects provide potentially substantial incomes.

Staffing/development room guarantees offer multi-week income stability from employment.

Expanded platforms like New Media establish residual frameworks for emerging revenue streams.

Dispute/arbitration avenues help ensure terms around compensation are properly followed/enforced.

While an individual contract could modify some terms, the agreement substantively empowers writers' long-term financial security through mandated wage standards, benefit structures, revenue-sharing policies and negotiating leverage afforded by collective representation. No apparent conflicts with supporting financial stability were identified. The focus clearly promotes this important goal.

The document directly addresses healthcare contributions for writers in a few key ways:

It mandates that employers contribute to an industry-wide health plan on behalf of covered writers.

The contribution rates are set at fixed percentages of minimum salaries that increase each year of the agreement, ensuring greater funding over time to support the plan.

It allows the unions to divert a small percentage of minimum salaries in some years specifically to increase healthcare contribution rates, prioritizing this important benefit.

By establishing writers' access to healthcare through employer contributions as required by the agreement, it helps secure workers' ability to obtain medical coverage.

The health plan is part of the industries' overall system that provides coverage to thousands of entertainment industry professionals.

Collectively bargaining over these provisions helps maximize funding for the plans to support high quality, comprehensive care services.

In summary, the healthcare contribution structures embedded in the agreement clearly prioritize secure access to healthcare services as a core worker benefit achieved through good faith negotiations between unions and management. This provision directly enhances writers' health and financial stability.

Here is an evaluation of how the document addresses residual structures for writers:

It establishes rules for payment of reuse/residual fees whenever original works are exploited through repeats, spin-offs, or derivative use.

Residual formulas are set as a percentage of salary based on type/length of reuse, ensuring ongoing return linked to continuing value.

Platform-neutral definitions of categories like New Media foreseeably apply residuals to emerging revenue streams.

Rules aim to close interpretation loopholes by clarifying qualifying uses such as foreign or promotional airs.

Dispute procedures allow challenging non-payment or underpayment to enforce residual rights contractually owed.

formulas and terms are periodically re-negotiated to update rates keeping pace with marketplace changes.

Residual structures acknowledge that works retain value over time as part of overall compensation package.

By contractually guaranteeing writers a portion of subsequent income, the agreement substantively supports their long-term financial interests through an ongoing stake in works' enduring success and adaptation to new platforms - key goals advancing intermediary residual rights and protections.

The document addresses residual formulas for writers in the following ways:

It establishes royalty rates and formulas for different types of work reuse/exploitation through repeats, derivative works, foreign and new media platforms.

Formulas are tiered based on original work format (film, TV, digital media etc.) and length of reuse to determine equitable percentages owed.

Rates are regularly negotiated upwards to keep pace with evolving revenue streams and inflation.

Clear definitions of covered reuse scenarios aim to prevent exploitation loopholes.

Formulas apply platform-neutrally to capture future monetization models.

Residuals continue paying writers for the life of a work, reflecting ongoing value created.

Terms help ensure writers share fairly in continuing success of their intellectual property.

Dispute processes enforce payment adherence to formulas contractually guaranteed.

By locking in residual formulas through collective bargaining, the agreement establishes ongoing revenue participation as a core part of compensation - a key goal in providing ongoing rewards linked to works' enduring value well after initial payment. Formulas substantively support long-term interests.

Here are a few ways the document addresses staffing/development room guarantees for writers:

It mandates minimum terms of employment for writers engaged as staff writers or in development rooms.

Staffing contracts are guaranteed for either 26 weeks or 52 weeks, providing stable income blocks.

Development deals mandating 6-month or 12-month employment support new work incubation.

Guaranteed roles and timeframes allow writers to fully focus on creative work without precarity.

Stability promotes quality output by facilitating long-term collaboration and continuity.

Standardizing deals industry-wide strengthens individual bargaining power.

Employment rules curb potential abuse of short contract cycles to circumvent benefits.

Disciplinary/cause termination procedures prevent arbitrary firing during guarantee periods.

By locking in baseline employment terms, these provisions help sustain writers' livelihoods while cultivating environments ideal for creative work - important support goals for the writing profession through negotiated guarantees. Stability and protections are key aims advanced here for stakeholders.

Evaluating how the document addresses Production Companies' interests:

Cost Control: While guaranteeing stable costs like healthcare/pensions, inflation-tied minimum increases ensure predictability.

Equity: Dispute mechanisms promote equitable, fact-based resolution against arbitrary union demands.

Flexibility: Industry expertise helps craft balanced, practical rules informed by experience of both sides.

Predictability: Multi-year format establishes mid-long term planning allowances versus constant interruptions.

Adaptability: Exceptions/modifications enable tailoring coverage reasonably based on unique factors.

Economic Factors: Provisions thoughtfully account for profitability factors like foreign/new media earnings.

Creative Autonomy: Guidelines focus on authorship/economics only without restricting story/production decisions.

Representation: Negotiating through the centralized Alliance empowers management leverage in process.

While prioritizing core worker needs, the contract demonstrates efforts to craft comprehensive yet balanced terms factoring profitability needs into an equitable agreement with built-in mechanisms ensuring flexibility and accountability on both sides. No conflicts with Production Companies' legitimate business interests were apparent.

The document establishes several provisions that can positively influence quality control and ethical standards during production:

Credit procedures uphold proper attribution, encouraging quality work deserving of recognition.

Minimum pay rates help attract and retain skilled talent, benefiting creative output.

Basic compensation/benefits support workers' wellbeing and ability to focus on quality craft.

Staffing rules promoting stable crews enhance continuity and collaboration vital to high standards.

Transparency in disputes/credits promotes confidence that merits alone will determine attribution.

Balanced negotiations respect all parties' legitimate needs, preventing corners from being unduly cut.

Protections against circumventing intent discourage tactics that could compromise integrity.

Regular renegotiations allow periodically updating rules as needed to address new challenges.

While not directly creative directives, these workplace standards help enable conditions where quality work consistent with ethical aims can reasonably thrive. Creatives are empowered and incentives prioritize merits over arbitrary factors or harmful compromises. Overall the agreement prioritizes an environment favoring control and conduct upholding high production values.

Here is an evaluation of the ethics presented in this collective bargaining agreement:

Fairness: The agreement establishes a process of good faith negotiations between equal parties and sets standards around wages, benefits and working conditions that appear to represent a good balance of interests and treat all workers fairly.

Transparency: Key terms are clearly defined upfront. Dispute resolution and credits processes promote transparency in outcomes. Certain limitations on inspections of data seem reasonable given commercial interests.

Inclusiveness: The CBA represents all union members, not just some, and sets universal standards rather than special exemptions to any membership group.

Accountability: Mechanisms like deadlines, notices and credits arbitration ensure obligations are met and workers can challenge any disputes through agreed channels and oversight.

Respect: The agreement establishes an atmosphere of mutual understanding and respect between unions and employers through professional language and recognition of each party's interests.

Integrity: Rules appear aimed at upholding the integrity of negotiations, credits and employment standards over time rather than enabling ways to circumvent the spirit of rules.

Overall, based on establishing due process, balancing interests fairly and upholding high standards of conduct, the content and aims of this agreement promote ethical practices and outcomes between workers and their representatives. No obvious unjust, harmful or deceptive provisions were noticed.

While the document does not explicitly reference the supreme law (Constitution) of the United States, its purposes and provisions appear consistent with Constitutional principles in several ways:

Freedom of Association: By allowing collectively bargained agreements between unions and employers, it protects the 1st Amendment right of workers to join together to advocate for their interests.

Due Process: Establishing clear dispute resolution procedures upholds due process rights under the 5th/14th Amendments to challenge grievances through an impartial process.

Equal Treatment: Terms apply universally versus creating special classes of workers, respecting 14th Amendment equal protection.

Contracts Clause: Continuing past agreement terms without retroactive changes respects the Constitutional protection of private contracts.

Interstate Commerce: Covering an industry engaged in multistate/international trade, it regulates labor matters within the Congress' interstate commerce authority.

Labor Laws: Collective bargaining promotes national labor relations/policies that Congress is authorized to regulate through legislation like the National Labor Relations Act.

While the CBA governs private actions, it aims to establish reasonable, balanced procedures and consistent baselines promoting stable expectations between parties - goals consistent with upholding rule of law and Constitutional protections for workers. No concerns about violating supreme law were identified.

Upon reviewing the document, I did not find any obvious logical fallacies.

Some reasoning presented could be scrutinized further, but appears generally sound given the context of negotiating a complex collective bargaining agreement between multiple stakeholders. Here are a few thoughts:

No appeals to emotion or popularity were noticed that could constitute Fallacies of weakness (e.g. ad populum, ad misericordiam). Tone remained professional.

Provisions establishing terms did not seem to rely on questionable premises that could reflect non sequiturs or equivocations in reasoning.

Definitions laid important groundwork and appeared self-consistent without circularity or ambiguity that might enable fallacious arguments.

Incorporation of past agreements was done reasonably vs. enforcing past decisions fallaciously.

Exceptions to rules were explained and limited without creating true fallacies of exclusion.

Dispute structures promoted impartial facts/logic over prejudices or regressions to questionable priorities.

Rationale was presented neutrally vs. apparent biases that could enable persuasive definitions, accident or ad ignorantiam fallacies.

Overall, while extensive negotiations could enable more fallacious thinking unintentionally, the document demonstrated efforts at accurate, comprehensively reasoned positions supported coherently on their own stated logic and merits. No conclusive logical fallacies were evident. Care and diligence seemed applied.

Here are the usual evaluation criteria for determining the genre of a document and my analysis of this document based on each criterion:

Intended Audience: CBAs are intended for labor unions and employers/management. This document is clearly intended for the WGA unions and AMPTP member companies.

Organization/Structure: CBAs follow an expected structure of establishing terms, referencing existing agreements, defining key terms, outlining dispute resolution processes, etc. This document closely mirrors that structure.

Language/Tone: CBAs use legal/contract language to outline obligations and technical language around industry norms. This uses such language throughout with "contract language" clearly denoted.

Purpose: CBAs aim to establish standards around pay, benefits, credits and working conditions. This document modifies an existing CBA to set baseline terms for writers' employment.

Subject Matter: CBAs cover subjects like compensation, healthcare, pensions, job duties/definitions. This addresses those subjects along with residuals, new media terms, credits and more.

Cross-references: CBAs often reference earlier/related CBAs to build out terms over time. This modifies and incorporates terms from prior WGA-AMPTP CBAs.

Based on evaluation against these typical criteria, all evidence strongly supports that this document falls into the genre of a collective bargaining agreement between a union and employers. The intended structure, legal tone, reference to existing agreements and aim of establishing employment terms align it clearly with this genre.

Overall, the quality of reason demonstrated in this document is quite high. Some evidence:

Goals are clearly outlined upfront related to establishing baseline employment terms through a transparent negotiation process between represented parties.

Key terms are logically defined at the outset for consistent understanding and application.

Modifications are reasonably explained by referencing problematic ambiguity or changing industry conditions to promote fair, effective rules.

Obligations on both sides are presented as balanced and neutral rather than biased, self-serving or illogical. Mutual understandings are emphasized.

Dispute resolution mechanisms encourage addressing disagreements rationally and fact-based rather than arbitrarily.

Standards cover expected topics through detailed yet organized provisions considering reasonable reader interpretation.

Qualifications or exceptions to rules demonstrate internal consistency with overall aims rather than appearing arbitrary or aimless.

Outside references incorporate outside knowledge or consensus as applicable to inform provisions reasonably.

While detailed and complex, the document thoughtfully explains its positions and establishes accountable, practical guidelines through language emphasizing objectivity, consistency and resolution of conflicts reasonably agreeable to represented parties. Overall, a strong efforts at quality reason is exhibited.

In evaluating the quality of this document as a collective bargaining agreement, here are some observations:

Structure and Organization: The structure and organization of the document are very clear and logical. Key terms are defined upfront and provisions are numbered for easy reference. This follows expected conventions.

Grammar and Style: The language uses appropriate contractual/legal style and grammar throughout. Contract terms are denoted. Technical industry terms are clearly explained or summarized for the reader.

Completeness: As a Memorandum of Agreement meant to revise an earlier CBA, it clearly incorporates what it modifies and outlines a comprehensive set of baseline terms spanning multiple areas of relevance.

Consistency: Terms are defined consistently and provisions reference each other cohesively. No obvious internal inconsistencies were noticed.

Clarity: While detailed, the intent and obligations established in provisions are written clearly for the intended audience of labor/management. Legal jargon is kept to a minimum.

Accuracy: As the ratified agreement between the parties, it appears to accurately establish the terms agreed upon based on the evidence.

Overall, the document demonstrates a high quality in its structure, organization, consistency, comprehensiveness and clarity as a genre-appropriate CBA meant to govern an industry. The language, definitions and incorporation of prior agreements are rigorously professional. This suggests a well-executed quality of drafting.

GQ7UdFUFR4HuFviUQX95

[phukheadz]

5659 JEPH LOEB

#jephloeb #comicbookwriter #televisionwriter #batmanthelonghalloween #spidermanblue #loyalorderofphukheadz #sculpey #polymerclay #artmovement #megaconorlando #megacon2023

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[scriptwriters-network]

SWN’s Television Outreach Program (TOP) ~ Regular Deadline: 7/31.

Submissions are now OPEN!

Regular Deadline: July 31, 2020

The Television Outreach Program (TOP) is a Scriptwriters Network program to support undiscovered television writing talent. The program’s objective is to help writers improve their craft so that they may achieve their goals of obtaining representation, script development, mentoring and career counseling services, landing writing assignments, and/or selling their work.

For more detailed information, please click here.

[writerlyn]

I'm currently writing a Spec Script for an Episode of Riverdale, (a bit cheesy I know..) and is writing a Spec Script a good idea?? And are there any tips? I guess it just feels weird cause I go from typically writing an original characters to pre-written characters.. Is it good practice?? Pls help.

(fuck yeah Riverdale)

First of all, there are a few different schools of thought on Spec Scripts, but regardless, I am of the opinion that there is no bad writing done.  It might not be useable, but it is writing, so therefore it is a good idea and good practice.

And I guarantee you that the advice I give will change in like five years cause this is crazy cyclical.

The biggest use of spec scripts right now is for fellowships, so being able to write a kickass one will only GREATLY HELP YOU get into one of those.

However, when sending around writing samples, people rarely look at Specs.

So.

YMMV.

As for tips as to how, I would challenge you to rewatch episodes, and pause it each time a character changes tactic in a scene to get what they want, then write down what the tactic change was.  Do that for as many episodes as you have patience to do.  That’s the biggest tool I have for getting into their heads.

(Also if you can get your hands on any of the shows scripts, do it!)

[blfoxley]

Small screen goals. #blsherrington #vulgar #tvseries #pilotepisode #specscript #specscriptwriting #fantasytv #fantasytelevision #tvshow #amwritingfantasy #amwriting #television #televisionwriter #tvwriter #netflix #amazonprime #hulu #youtubered #televisionwriterinthemaking

[centerednscholared]

SHE CHRONICLES: "bang bang" a poem by Nikki Skies for "Rebel Yell"

SHE CHRONICLES: “bang bang” a poem by Nikki Skies for “Rebel Yell”

“Got me  / living life like a suicide note found every morning at 7a.m. bang! bang! can’t remember anything else but staying steady, ready / like mother’s equipping their children with breakfast bars   backpacks    and  dash cams bang! bang! bang! bang!” – by Nikki Skies for “Rebel Yell” Click the link and enjoy!

[jadefilms]

Just the the Agents vs. Managers panel hosted by my school Tisch School of the Arts, NYU. Networked with one of the panelists and expressed my thoughts about the industry. So she told me to email her. There's a beacon of hope somewhere. #pocdeaftalent #deaftalent #tellingourstories #JadeBryanFilms #contentcreator #televisionwriter #neverthelessshepersisted #stayfocused #timeforthemtoseeus #producing #spreadingawareness

[caseysbell]

Your business cures our writer's block. #writer #author #creativewriter #playwriters💥 #screenwriters #screenwriter #poet #poets #playwriter #weuseyourbusiness #televisionwriter http://bit.ly/2M7q7mm

[headlinelogline]

Quid Pro Bro

Desperate for the authentic college experience, socially awkward Damien (Jacob Batalon) enlists the help of his former high school classmate and big man on campus Troy (Algee Smith) to help him rush his dream fraternity. Troy agrees, so long as Damien helps him get a part in the school's production of The Tempest, where his crush is sure to be cast. The two form an unlikely bond as they realize that college is less about the things you accomplish and more about the people you spend it with.

Feature Film

Genre: 90's-Style Comedy

Tone: 10 Things I Hate About You meets Rudy

(headline posted 10/21/23)

[betweenthelineswriter]

Shonda Rhimes TV Writing Masterclass review

I first took Shonda Rhimes Masterclass when it came out a few years ago. I decided to go back for a “refresher” and inspiration as I continue working on my own pilot script. 

A glimpse into Shondaland

Image courtesy of Masterclass

Shonda Rhimes Television Writing Masterclass consists of 30 lessons (6+ hours) where Shonda talks about different aspects of writing. Shonda revealed that she has never gone in so much detail about her writing process before, so if you do decide to take this class, you’re in for a treat! Here are all the different lessons covered in the class:

Introduction

Teach yourself TV writing

Finding an idea

Developing the concept

Researching your story

Creating memorable characters - in two parts/lessons

Pitching your show

Writing the script - in four parts: structure, process, effective habits, and the pilot.

Writing authentic dialogue

Case study: Grey’s Anatomy pilot - in two parts/lessons

Case study: Scandal - in five parts: Act one, Act two, Act three, Act four, and Act five.

Editing your script

Beyond the pilot: writing a series

Scandal case study: “It’s handled”

Breaking into the industry

Working in a writers’ room

Working in TV production

Showrunning

Life of a writer

Shonda’s journey

Conclusion

Even though it is possible to just sit down and watch all the lessons in one day, the class is designed to be taken over a period of six weeks. 

Each lesson consists of Shonda’s insight and personal experience in each of the aspects covered. I think that’s what made this class so enjoyable because you didn’t just read about the subjects in a book but you get to listen to an actual person who has first hand experience and has made it big in the industry. She doesn’t hold back because she genuinely does want to teach writers the craft. 

She goes into great detail about what it takes to create memorable characters, write a successful pilot ( or several ) and her own writing process. 

Yet, that’s not all. She doesn’t just concentrate on writing itself. She delves into showrunning, production and the work in a writers’ room as well. This knowledge is more than invaluable and could potentially help you be more comfortable when you get the job on a TV production. 

What I liked was the advice about working in a writer’s room and what to do and what not to do once you get into the room. For example, be energetic, don’t be shy and talk, yet don’t be the person who talks all the time and doesn’t give anyone else a turn. Bring new and fresh ideas to the table every day! 

The course also comes with a workbook and each lesson has a homework assignment to complete that you can then submit to be read by your classmates, and possibly Shonda herself! You also get access to resources from these shows: Grey’s Anatomy Original Pitch Document, Grey’s Anatomy Pilot Script, Grey’s Anatomy Story Bible, Scandal 301 script, Scandal alternative opening scenes, Scandal Pilot early draft and final draft. 

My favorite part of the class was the case study lessons and going deep into the script and learning of Shonda’s process of writing these successful pilot scripts of Grey’s Anatomy and Scandal. Why she chose specific scenes over others and why the characters did the things the way they did. 

“Frankly, I’m opening the doors to my office and I’m letting you in. And you’re gonna get to hear  all the stuff I never really ever tell anybody about the way I write.” - Shonda Rhimes about her Masterclass.

Image courtesy of Masterclass

If you are not familiar with Masterclass - they offer hundreds of classes fully online taught by professionals in their respective fields.

I will definitely be going back to this class if needed or if I get stuck in my own writing process. This class is perfect for aspiring television writers.

You can check the class out here: https://www.masterclass.com/classes/shonda-rhimes-teaches-writing-for-television

The cost for the class is $90, or you can get access to ALL the classes available on Masterclass for $180.

Keep writing! 

[itsnickclette]

Underground. I watch for a lot of reasons. The acting. The storytelling. The costumes. The cinematography. The representation of it all. The presence of women (of color) in front of the screen. Aisha Hinds. Jurnee Smollett-Bell. Amirah Vahn. Jasika Nicole. Dewanda Wise. Misha Green. And there's the AAW showrunner Misha Green too?!?! Talk about a body of work in your field having a team that is inspirational as fuck! I'm here for it. ALL. OF. IT. * * I've wanted to be an actor since I was about 6/7 years old. My first role? I played a slave that picked cotton in my elementary school's Black History Month play in the second grade. You couldn't tell me nothing! I was the best cotton picker in the world that day! I mean, in my mind, I was WORKING. (I'll elaborate on the (in)appropriateness of this performance later.) So yes, me watching UNDERGROUND is not surprising. I am an actress. I am a writer. I like creating and telling stories. And if I had to, as history has proven to women like myself over and over again, I will write these stories and surround myself with a badass team of like-minded folx. * * That being said, watching Underground... is difficult. It has triggers! And while some of it I've exper--- REST IN BIO * * #underground #amirahvann #jurneesmollett #aishahinds #dewandawise #mishagreen #wgn #wgnunderground #triggere #theculture #representation #playcousins #masterclass #writing #acting #storytelling #televisionwriting #blackblogger #blacktwitter #newblogpost #newblog #nigerianblogger

[scriptwriters-network]

Have you checked out our website lately? We hope you will take a few minutes to view our website and see everything we have going on as well as our upcoming/past events and, information we provide for our members. Come learn with us. We value your support!

[iamtonyjacobsen]

I know what I’ll be doing on May 1st next year. . . @nbcunitips #writersontheverge #writer #televisionwriterinthemaking #televisionwriter #screenwriter #screenplaywriter https://ift.tt/2xiD4n1

[ds4design]

How Twitter took on Trump's Twitter bot army—and won

Just around dawn, on Tuesday, at 6:21 a.m., President Donald Trump tweeted.

He mocked Congressional Minority Leader Nancy Pelosi and New York Senator Chuck Schumer's protests against his recent executive order on immigration, which banned citizens from Muslim-majority countries from entering the United States. 

Nancy Pelosi and Fake Tears Chuck Schumer held a rally at the steps of The Supreme Court and mic did not work (a mess)-just like Dem party!

— Donald J. Trump (@realDonaldTrump) January 31, 2017

Over 39,000 tweets were sent in response to the president’s words. But for many users, it was a thread mocking Trump—from New Yorker and television writer Bess Kalb—that soared to the top of his replies. 

She pointed out how Trump failed to criticize the reason lawmakers protested, and instead, focused on calling them names. 

Kalb’s responses—and the ones by other writers, activists, comedians, and media companies who tweet at the president—are getting seen because of a quiet change Twitter made to the way that replies work on mobile, back in November. 

Two months ago, if you looked at the same Tweet on mobile, you would've never seen Kalb’s tweets. After all, she sent her first reply more than three hours after the president first sent his. 

It didn’t matter: Kalb’s dissident tweets became some of the most seen and replied to on that thread, an experience she’s likely used to. 

Since the election, Kalb's tweeted at the president dozens of times. Her sarcastic responses frequently find their way to the top of Trump’s replies, aided by a sizable fan club cheering her on. (When contacted, Kalb declined to speak on the matter for this story.) 

Before November, on mobile (where the majority of Twitter activity happens) replies appeared in chronological order. It gave users thirsty to be seen by Trump’s followers an incentive to write computer scripts capable of auto-replying to Trump’s tweets far faster than anybody thumbing away at a mobile keyboard ever could.

If you got there first, your tweet was prominently displayed right below Trump's, garnering hundreds of thousands—if not millions—of views.

Over the course of his campaign, Trump’s replies and Twitter as a whole ballooned with fake Trump supporters. The fake "bot" accounts were made to look like genuine citizens, but were actually created en masse, and ran on software programs.

It's not clear who's behind the bots, though researchers speculated they might be the creation of individual tech-savvy voters, or political action committees (PACs) in support of the president. For their part, the Trump campaign's denied that they created or paid for the bots. 

It's been estimated that up to 80 percent of Trump’s Twitter traffic is perpetuated by bots, singing his praises, hawking Trump-related merchandise. The most famous item they sold was a now-infamous "Liberal Tears" mug.

Tolulope Edionwe at The Outline uncovered that the mugs were a scam, with many customers never receiving their much-desired liberal-shaming swag. 

Still, the mug's become so ubiquitous that Slate figured out how long a liberal would actually have to cry to fill such a cup. That notoriety, in other words, is also a testament to how valuable being high up in Trump’s mentions can be.

As Edionwe noticed, though, the mug seems to have all but vanished from the top of Trump’s replies. 

While that’s at least partially due to the fact that creating automated spambots violates Twitter’s terms of service, the bots more likely disappeared because it no longer matters if you’re the first to reply to a Trump tweet on mobile. 

When asked about the matter, a Twitter spokesperson told us: what now determines whether a reply is featured is if the person is in your network (meaning you follow them, or know someone who follows them) or if the original tweet's author has replied. 

The number of likes and responses a tweet get also likely factors in, at least according to the experience of users who've reached the top of Trump's replies. 

Some users also said they think being a user who's been verified by Twitter, blue checkmark and all, might help. It'd make sense: verified accounts are almost never bots, and thus, are safer to bump toward the top. 

Twitter’s change has since substantially raised the visibility of legitimate people's responses in mentions, as opposed to bots and spammers. They're making their way into Trump's replies to promote their own organizations, and to influence the president's followers for the first time. 

"I couldn’t be happier that normal humans are getting heard," David G. McAfee, the founder of The Party of Reason and Progress, (PORP) an organization dedicated to promoting reason and sound decision-making in politics said. 

"My entire philosophy revolves around exposing all ideas to scrutiny, and that doesn't work if anonymous twitter bots are dominating the conversation with a pro-Trump agenda," McAfee said. 

McAfee cleverly started replying to Trump in order to promote PORP’s values, and his tweets are frequently displayed right below the president's. His approach is free, of course, and arguably much more effective than purchasing advertisements. 

Image: Screenshot/twitter

"We would normally do this via other more traditional channels, but this isn’t a traditional president. We have to take the fight to Twitter because it’s the only way to guarantee we reach him and his supporters," McAfee explained.

Media companies have also noticed how valuable it can be to score a prominent spot right below Trump's words. "It's like digital town hall sometimes," Katrine Dermody, the Director of Social Media for Fusion said.

"A lot of people were surprised with the election results," she explained. "“We started asking ourselves more critically how we could expand beyond what people call the echo chamber of media."

One way was to tweet articles and videos at the president that contradict or disagree with what he says, in the hopes of reaching people who agree with Trump, or don't know much about what he says. "We had to figure out how to rebut what he was saying," Dermody said. 

Trump's replies will continue to be an important space in a media landscape that's increasingly fractured along partisan lines. It's one of the only places left where you can find people who voted both ways. 

Regular citizens like Justin Hendrix, a New York City resident that works in tech and media, have also seen their responses hit a chord with Trump's followers. 

"As someone who disagrees vehemently with this person [Trump] I feel it’s valuable to respond to him," Hendrix said. "It’s like a media channel, and you can literally get right in there." 

He admitted that although tweeting at the president "sometimes seems to have the effect of spreading information," it also means having to deal with the wrath of Trump's supporters.

Every user we spoke to that's tried to reach the top of Trump’s replies said that they're the victim of relentless abuse. They’ve received death threats, been doxxed, and have discovered malicious impersonators pretending to be them on other sites like 4chan. 

Still, for some, the abuse is worth weathering. 

"People say Trump doesn't read the replies," Hendrix said, "In my heart I don't believe that."

"I can't imagine that he doesn't occasionally scroll through those responses."

BONUS: Here's a clip of Kellyanne Conway's previous (and mercifully brief) career in stand-up comedy

[ehrynska]

Television Writer AHOY

Two and a half years ago I finally decided what I wanted to do with the rest of my life. It was a complete 180 from what everyone thought it would be, but I am extremely happy with my decision none the less. I had been floundering for several months, overcome with anxiety and depression. I was letting my Bi-Polar depression and Paranoia kick up beyond words. One day, the Heavy Metal Bearded Boyfriend told me something I will not soon forget “Pick one thing to focus on and only focus on that one thing until you are the best you can be at it”. His words were the clarity I needed to see the light at the end of the tunnel. I had and still do have many interests. The decision though, was the easiest I have ever made in my life. That is how I knew it was the right one.  I had decided I wanted more than anything to be a T.V. writer, but not just any writer, a successful one at that. I wanted to write, produce and star in my own show. If Lena Dunham could do it, why couldn’t I? My decision was met with much resistance from the person who told me to pick just one thing to focus on. I did, I picked one thing, I just chose something he had no idea I had passion for….

I have been writing since I was kid. It was my escape from the mind numbing mentally abusive early teenage years I was faced with. I would sit for hours in my room, day after day writing my imagination out on paper. I would fill notebooks to the brim with ideas, short stories and sometimes epic  teenage novels.  I could never tell my parents this was what I was passionate about. They would have crushed it like a bug on the wall. My interests were of no concern to them, and I was seemingly invisible, still am to be honest.  My stories became sacred to me. I wouldn’t let anyone read them in fear of rejection (See “Things I was told all the time as a child” footnotes for more on THAT subject). There were only two people who I grew to trust with my most sacred words, Jenna and Mara. Those women are still large parts of my life to this day, and are saints for it. I would be on the phone with Jenna for hours (Remember this was before the internet was huge and cell phones) reading to her page after page of the worlds I had created.  She always listened and encouraged me to keep it up.  Mara was also the same. She was the person I sent my paragraphs to in college (post internet craze, I still didn’t have a cell phone though). I could depend on her to edit what I had been working on and always took her comments in stride.  Up until two years ago, they were the only two. I wouldn’t even finish writing assignments in high school or college out of the same fear of rejection. They are right when they say “adolescent scars take years to heal”.  

After college, I became involved in the fixed gear bicycle community here in Chicago. At the time, on the surface I thought it was the greatest thing since sliced bread. I was making new and interesting friends who shared similar interests as me (art and bikes!) and falling in love with the wrong type of guy. The time I spent in the biking community inspired me once again to continue writing. I was only sharing with Mara like before and recorded all the fucked up things that happened in the community including things done to myself. Those years were some of the hardest of my life. I learned so many life lessons, let alone personal ones no one could ever prepare you for. I did on the other hand meet some amazing individuals who I am happy to say are the glue to my skeletal existence today. They are the people who unknowingly pushed me to want to share our story in a big way. Writing this story as a book never felt quite right. It wasn’t until I seen HBO Girls and Lena Dunham (who is also my age and struggles with similar insecurities)that I knew without a doubt what the right path would be.

I started writing the series “Fears and Gears” 2.5 years ago with one scene. It only took the opening scene to the pilot to put the Heavy Metal Bearded Boyfriends doubts aside. He was flabbergasted at my choice. Here is a man, who thought he knew everything about the person he was in love with and then BAM he didn’t.  When you have lived a very complicated life such as mine, you still have chances to surprise the ones you love quite often.  To my surprise, he was flabbergasted in a good way. I completely floored his preconceived notion and kept him wanting more. He turned to me and said “Tell me what happens next!”.  Mission accomplished, this was exactly what I wanted to do with my life.

So, here I am, twiddling my thumbs still wondering if I am good enough. There is interest in my story and show. My pilot took 2.5 years of hard work and preparation to get it where it is today. It is off in the hands of industry professionals being poked, prodded and judged on whether it is worthy enough to be on air. I should be nervous about this but honestly I am more nervous writing about it right now. Up until now, only a select few know what I have been up to. Even less people have been given the opportunity to actually READ what I have been slaving away at. Again, we are back to those adolescent scars. I still feel I am not good enough. I have friends who are articulate, use big words and know how to use proper grammar; they scare the shit out of me. Those are the people who honestly inadvertently make me feel stupid. I have a 5th grade reading level for the most part, and don’t know proper grammar 100%. I know there will be some people reading this saying to themselves “This girl is a fucking idiot” and it will be people I know.  Writing to me isn’t about proper grammar or big words, it’s about telling a story and being blood thirsty passionate about it. If every writer was perfect at the technical aspects of writing people called EDITORS would be out of a job.

This is my moment to “LEAN IN” so to speak. I need to stop being worried about what others are going to think of my work and be proud of what I have accomplished instead. It doesn’t matter what someone thinks about me. They do not have to live my life. They do not have to look at my face every day in the mirror and remind me “YOU DA BEST GURL”.  I am my own worst enemy and it needs to stop. RIGHT NOW.  This is what this blog is all about. I am here to speak my mind, share my stories and let the world know exactly who I am. I want to be in the writing world and I don’t give a fuck how late in the game I’m entering. AT LEAST I AM ENTERING IN THE FIRST PLACE. I don’t give a fuck if you think I have shitty grammar or need to use a thesaurus more because that isn’t who I am.  You’re going to want to know what happens next. You’re going to give a shit about what this lady right here has to say. I’m a story teller and I’m going to tell the stories, all the stories and it’s going to be EPIC.

I’m EhrynSka and I am going to be a T. V. writer whether you like it or not.

*curls up in a ball on the floor after realizing she just shared her secret with the rest of the world.