WGAW Wants Submissions for 2016 Feature Writer Access Project.

Signalised_crossing

by TVWriter™ Press Service

Gather ’round, TVWriter™ visitors, because TVWriter™ has received a press release we can’t wait to share:

We are now accepting submissions for the 2016 Feature Writer Access Project. The project seeks to identify outstanding minority, female and age 60+ writers and make their scripts available to We are now accepting submissions for the 2016 Feature Writer Access Project. The project seeks to identify outstanding minority, female and age 60+ writers and make their scripts available to entertainment industry decision-makers, including producers, studio executives, agents and managers, in order to help raise their profile and generate potential employment opportunities. This program is modeled on the success of the TV Writer Access Project for Mid-Level Television writers.

PLEASE NOTE: At the time of submission, a Project participant must be a Current Active (including Lifetime Current) or Post-Current Active member of the WGAW. If submission is made by a writing team, both writers must be Current Active or Post-Current Active members of the WGAW.

The deadline for submissions is Friday, August 5, 2016 – 6:00 p.m.

The Feature Writer Access Project guidelines, application and release form can be accessed at: http://www.wga.org/featurewap

Please e-mail or call the Diversity Department if you have any questions about the application process at: diversity@wga.org or 323-782-4589., in order to help raise their profile and generate potential employment opportunities. This program is modeled on the success of the TV Writer Access Project for Mid-Level Television writers.

PLEASE NOTE: At the time of submission, a Project participant must be a Current Active (including Lifetime Current) or Post-Current Active member of the WGAW. If submission is made by a writing team, both writers must be Current Active or Post-Current Active members of the WGAW.

The deadline for submissions is Friday, August 5, 2016 – 6:00 p.m.

The Feature Writer Access Project guidelines, application and release form can be accessed at: http://www.wga.org/featurewap

Please e-mail or call the Diversity Department if you have any questions about the application process at: diversity@wga.org or 323-782-4589.

We have to point out that although the name sounds as though the Feature Writer Access Project is for new writers, it is not. It is, in fact, for three specific groups of established professionals, “minority, female and age 60+ writers” – who have been discriminated against for decades. So if you’re a newb, please pass this info on to anyone you know who’s eligible.

We think you’ll be glad you did.

EDITOR’S NOTE: When we went looking for an image that could illustrate the concept of helping others we found that although there are many online images mocking the concept of helping an older person cross the street, we could only find sympathetic, non-ironic pics set in foreign countries. Food for thought, you know…?

Jeane Wong wins 1st Universal Cable Productions Pitch Fest

by TVWriter™ Press Service

jeane-wong-jpegProving that some execs really do know their shit a good thing when they see it, Jeane Wong, a script coordinator for ARROW and a 3rd Place Winner in TVWriter™’s 2014 Spec Scriptacular and Semi-Finalist in the 2014 People’s Pilot is the overall winner of Universal Cable Productions’ first Pitch Fest.

UCP recently opened its doors to undiscovered storytellers looking to pitch the next great television series to studio executives. Dubbed “Pitch Fest,” the first annual event attracted more than 500 submissions, with 22 finalists given 10 minutes to pitch their idea to UCP’s development team. The winning pitch, “The Thin Line,” was submitted by Jeane Wong and is slated for development later this year.

Wong is a graduate of UCLA with a degree in English literature. She was a semifinalist in Disney’s ABC Writing program and is an alumna of the Producer’s Guild Workshop. Her winning submission, “The Thin Line,” is a revisionist history series set in present-day America where segregation still exists after an unsuccessful 1960s civil rights movement. Against the backdrop, a man goes undercover for the FBI, setting himself on a collision course with his estranged brother, who happens to be the leader of a violent underground group.

According to Dawn Olmstead, Executive Vice President, Development, the UCP team was impressed with Wong’s original pitch and further intrigued by her talent after reading the script.

“The theme of Jeane’s script immediately caught our attention because it’s compelling, timely and its themes resonate with what’s going on in our world today,” said Olmstead. “We look forward to helping her bring her vision to life.”

 

Wong is repped by Gotham.

Yay, Jeane!!!

Top UK Showrunner Anthony Horowitz: ‘This is the golden age of TV’

Anthony Horowitz’s name is as well-known as any TV writer’s name can be – in the UK where he has written and produced some of the best written and most popular police procedurals in the history of British TV. We’re talking about Foyle’s War, Collision, Midsomer Murders, and many more. The article below gives us a chance to go beyond the usual puffery and actually learn a bit about the mindset it takes to succeed as a major TV force in any country:

Anthony Horowitz

Anthony Horowitz

by Tim Masters

As its title suggests, New Blood endeavours to offer a fresh journey along the well-trodden path of TV crime drama.

But even an experienced writer like Anthony Horowitz admits it wasn’t easy making fraud a sexy subject for the small screen.

“Fraud is very difficult to dramatise,” he says after a private screening of the first episode.

“People are not going to sit there and listen to figures and share movements.”

As part of his research, Horowitz made several visits to the Serious Fraud Office, and an SFO adviser was attached to the production.

“The SFO is brand new to TV, so what the world will understand on how they work comes from me,” says Horowitz.

“I had a duty to be true to the sort of people they are, but at the same time I couldn’t make them boring or show investigations that last two or three years – they have to be solved in three weeks.

“It’s an interesting balance between reality and fiction. I hope I’ve been responsible.”

The seven-part series, set in contemporary London, stars Mark Strepan as Stefan Kowolski, a junior investigator for the Serious Fraud Office, and Ben Tavassoli as young PC Arrash “Rash” Sayyad.

They find themselves investigating seemingly unrelated cases connected to a dodgy pharmaceutical trial in India six years earlier.

The cast includes Mark Addy, as an old-school detective, and Anna Chancellor as Stefan’s boss.

But Horowitz’s focus is very much on what he calls his “Generation Y” characters – those born in the 1980s and early 90s – and the challenges they face living in the capital.

“The kids who read Alex Rider [Horowitz’s best-selling series of teenage spy novels] were aged eight, nine and 10 and now they are Generation Y,” he says.

“Stefan and Rash are Alex Rider grown up, in a way.”

As with Peter Kay’s Car Share, viewers will be able to watch New Blood on the BBC iPlayer next week, ahead of transmission on BBC One.

Horowitz acknowledges that it’s a good way to launch a show about a younger generation, but he’s keen not to exclude other viewers.

“I didn’t write this TV just for 20- and 30-year-olds,” he says.

“I’m 60, and I binge watch TV.

“It’s the way things are going.

“It is also true, and the BBC are aware of it, that we have to nurture a new TV audience.

“We can’t just write drama for mums and dads and grandparents.

“I was always told with Foyle’s War that it was ‘everybody’s mother’s favourite programme’.

“It used to occur to me why couldn’t it be their favourite programme too?”

Horowitz’s other TV writing credits include Poirot, Murder in Mind, Injustice, Robin of Sherwood and Crime Traveller.

As an author, he resurrected Sherlock Holmes in his 2011 novel The House of Silk and its 2014 sequel Moriarty.

Last year saw the publication of his James Bond novel, Trigger Mortis, and the premiere of his satirical play Dinner with Saddam.

While he adapted his own Alex Rider novel Stormbreaker into a 2006 movie, most of his screenwriting is for the small screen….

Read it all at the BBC Website

 

Award Winning Web Series Pilot – LILAC – Needs Us!

EDITOR’S NOTE: In the past we’ve published several articles about the astounding success Hank Isaac’s pilot, LILAC, has had on the indie film festival circuit. It seems as though, award-wise, LILAC sets a record every time it is shown. But like every other important new creative development, Hank Isaac’s gutsy tale needs help to find a larger audience. We at TVWriter™ would like to see this series get that help so now, without further ado, we present:

by Hank Isaac

lilac fundingWhen finished, Lilac will be a series of thirteen ten-minute episodes that asks the question:  What if Robin Hood was a homeless ten-year-old girl living in a modern city?

The Pilot Episode of Lilac has already been an official selection in 45 international film festivals and has won a total of 33 awards for acting, directing, cinematography, pilot teleplay, story, original score, original song, and series concept.

Aimed at a broad family audience, Lilac deals with some pretty serious issues such as homelessness, bullying, abuse, smoking, and violence. To further the series by building an audience, I’m asking you to simply click on the Pilot Episode above or the link here to build “views”:

You can also watch the episode on its Vimeo page here if you prefer:  https://vimeo.com/110297552

Lilac is seeking funding and here’s some exciting news:

It is now possible to make a tax deductible charitable contribution to Lilac.

 

Lilac has partnered with From the Heart Productions, a not-for-profit corporation
which selects a few projects each year to assist.  If you would like some specific
information about this, please send a note to:

Thanks for your help and please visit Lilac’s Facebook page for details about festivals, awards, and some behind-the-scenes glimpses.

WGAW Career Longevity Special Event

wgaw lear and lorre

by TVWriter™ Press Service

What can we say but “These guys are giants!?” This looks to be the most valuable evening of the year for WGAW members and non-members alike. TVWriter™ heartily recommends it. Hey, maybe we’ll see you there?

Native American TV writers lab calling for script submissions

A cause dear to TVWriter™’s collective heart:

logo-outlinedby LA Skins Fest

The LA Skins Fest, a Native American film festival, in partnership with NBCUniversal, CBS Entertainment Diversity and HBO announced today they are accepting applications for the inaugural the NATIVE AMERICAN TV WRITERS LAB.

“CBS Entertainment Diversity is proud to continue our long partnership with the LA Skins Fest. The NATIVE AMERICAN TV WRITERS LAB will provide another point of entry for emerging writers that we look forward to getting to know,” said Tiffany Smith-Anoa’i, CBS, EVP Diversity, Inclusion & Communications.

The NATIVE AMERICAN TV WRITERS LAB is an intensive TV writing workshop that prepares Native Americans for writing careers at major television networks. This lab is designed to address the lack of Native American writers in primetime network TV.

The NATIVE AMERICAN TV WRITERS LAB was created in accordance with the LA Skins Fest’s mission to improve media portrayals of Native Americans and to increase the number of Native Americans employed in all facets of the media industry.

“NBCUniversal is pleased to partner with the LA Skins Fest, offering a valuable pipeline for Native American actors, writers and directors. We are dedicated to fostering diverse storytelling and are proud to support the NATIVE AMERICAN TV WRITERS LAB,” Craig Robinson, Executive Vice President, Chief Diversity Officer, NBCUniversal.

Read it all at Native Times