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We're back in the Writers' Room this afternoon for the Write Now Challenge Webcast: First Impressions. For this challenge, using the Breakdown Webcast: Character Introductions as your guide, rewrite at least 3 character introductions using the principles learned during the webcast. Full Bio »
We're back in the Writers' Room this afternoon for the Write Now Challenge Webcast: First Impressions.
For this challenge, using the Breakdown Webcast: Character Introductions as your guide, rewrite at least 3 character introductions using the principles learned during the webcast.
The Write Now Challenge
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We're back in the Writers' Room for the Write Now Challenge Webcast: A New Beginning! In this challenge - using the Breakdown Webcast: The First 10 Pages as a guide - you were asked to write (or rewrite) the opening of a feature or pilot using an technique you have not yet tried before. We had over 20 submissions and this super-sized webcast went a full 2 hours! During that time we read entries from members that were Sci-Fi, Supernatural, Drama, Romance, and much more!
This week Host & Director of Script Services Jason Mirch reads and critiques Write Now submissions written by Writers' Room members. Jason offers insights on how the writers executed the inciting incidents in their projects.
During this webcast, writers from around the world including Australia, Scotland, Canada, and more, shared their "writer biographies" and talking points. It was an excellent way to get to know one another and find out how to present their backgrounds and career aspirations during a general meeting. In addition to developing the craft, we endeavor to prepare Writers' Room members for the business of film and television. And that means, knowing how to present yourself, as well as your ideas, in a meeting with producers, executives, and filmmakers. Using the "Breakdown Webcast: Breaking down a General Meetings" as a guide, your challenge was to write a short biography on yourself which focuses on the major "talking points" that you would benefit you in a general meeting with a producer, executive, manager or other industry pro. Include a bit on your personal and professional background, the genres you write, your screenwriting accomplishments (such as awards, accommodations, accolades), your goals for your writing career (features? TV? Both?), and what makes your point of view so unique in an crowded market!
A first ever for the Writers' Room! Audrey Knox will critique the logline submissions she finds the most intriguing. Audrey Knox is a TV literary manager at The Cartel - a management and production company. Audrey staffed her client on the series "UPSHAWS" for Netflix. She also co-represents the Showrunner behind Mindy Kaling's "THE SEX LIVES OF COLLEGE GIRLS" on HBO Max.
It's like 10,000 spoons when all you need is a knife...well, actually it's more like the Write Now Challenge Webcast: Isn't it Ironic coming at you this afternoon at 4pm (Pacific)! In this challenge, members were asked to write a short scene (no more than 5 pages) using one of the examples of irony from the Breakdown Webcast: Dramatic Irony. As a reminder the examples for irony are below: Dramatic Irony: A literary and theatrical device in which the reader or audience knows more about a situation, complication, or conflict than the characters they are following. Classical Irony: This term describes irony as it was used in ancient Greek comedy—to highlight situations in which one thing appears to be the case when, in fact, the opposite is true. Cosmic Irony: Cosmic irony highlights incongruities between the absolute, theoretical world and the mundane, grounded reality of everyday life. Socratic Irony: Socrates would feign ignorance of a subject and ask seemingly innocent—but actually leading—questions to draw out information he already knew. Socratic irony differs from verbal irony because it involves intentional deception. Verbal irony, on the other hand, does not connote insincerity or deception. Situational Irony: occurs when there is a difference between what is expected to happen and what actually happens. With situational irony, our discovery that our expectations haven’t been met are the same as the characters in the story. Verbal Irony: is when a character says something that is different from what he or she really means, or how he or she really feels. This is the only type of irony where a character creates the irony.
Using the investigation scene from The Wire or the AI & Wu scene from Deadwood as inspiration, craft a scene where characters communicate using as few words as possible. As a second option, use the initial meeting between Sean and Will in Good Will Hunting or Annie's wedding shower meltdown from The Bridesmaids, and write a scene where your character snaps!