If you’ll be in Los Angeles on Sunday May 5th and want to see the architecture of the Helms Bakery – come to the Launch party for the 3rd book in the Paperback LA anthology – the editor, Susan LaTempa, reprinted my article about the writers of The Monkees TV show since that is so iconic LA. — Rosanne
Join us for a reception and brief readings to celebrate the launch of Paperback L.A. Book 3 A Casual Anthology: Secrets. SigAlerts. Ravines. Records.
This is the third volume of the acclaimed new-school trilogy the creates a freewheeling mosaic of the city in words and photographs.
Join contributors including Lisa See, Alexandra Hedison, River Garza, Ann Elliott Cutting, Lou Mathews, Rosanne Welch, RJ Smith and Warren Hill for brief readings and views of photos. Culver City Councilmembers Meghan Sahli-Wells and Daniel Lee will welcome attendees.
Free and open to the public.
The book launch is at the Helms Design Center event space, 8745 Washington Blvd., Culver City CA. 90232.
Parking is available at complimentary parking lots located at the Helms Bakery entrance on the south side of Venice Boulevard at Helms Avenue (in front of Rejuvenation and across from Father’s Office) for your visit.
Additional lots are located on the northeast and northwest corners of Helms Avenue and Venice Boulevard.
Paolo Russo, Senior Lecturer in Film Studies, has twice spent a week as a guest lecturer here in Los Angeles and now I get a chance to spend a week with his students. This Master Class is just one part of my activities there. I’ll be working closely with his screenwriting students individually and also get a chance to visit some important research locations like the Bodleian Library.
A Master Class With Hollywood Writer-Producer – Thursday 4 April, 2019 – Oxford Brookes College
The focus of Rosanne’s master class will be American television, but her insights will be useful for anyone interested in breaking into the industry either side of the pond. Rosanne will talk for about one hour + a 30-minute Q&A.
ROSANNE WELCH has written/produced for television (“Touched by an Angel”, “Picket Fences”, “Beverly Hills 90210”), teaches on the MFA Writing for Television at Stephens College and at California State University-Fullerton in Los Angeles. She serves as editor for the Journal of Screenwriting and on the Editorial Advisory Board for Written By, the magazine of the Writers Guild of America. Her most recent publication is “When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry” (MacFarland, 2018).
Attendance to this master class is mandatory for my Screenwriting students, but everyone else is welcome until we fill up the room.
The lovely thing about putting writing out into the world is that sometimes you receive calls or emails from editors who stumbled upon your work and want to reprint it in their own anthologies.
Such a lovely experience happened to me recently when Susan La Tempa, editor of Paperback LA – a series of 3 anthology collections of writings about Los Angeles across the decades, contacted me. She had read my article on the wild and crazy careers of the former writers of The Monkees and wanted to add it to her 3rd collection.
Happily, I received my contributor copy in the mail today and it looks great. The fact that my name appears in a Table of Contents along with great California writers like Casey Williams, Lisa See, Harry Shearer and Jonathon Gold (the only Pulitzer Prize-winning food writer) is… amazing to me.
Can’t wait for the publication launch party, signing and reception Sunday May 5, 2019 (4-6 p.m) at the Helms Design Center. Free and open to the public!
Hope to see you there!
Secrets. Sigalerts. Ravines. Records.
In Paperback L.A., A Casual Anthology Book 3, our contributors deftly command fiction, nonfiction, playwriting, magazine writing, memoir and other forms to conjure up visions of a Beverly Hills Wonderbread factory, the founding of the first sustained gay rights organization in the country, early 20th-century wagon-train settlers in Dodger Stadium area, a late 20th-century DTLA traffic tie-up that becomes a kind of symphony, a humorous 1940s novelty song whose refrain buoyed civil rights activists, the 1990s outrigger-team apprenticeship of a Tongva youth―and more. Plus, photo essays on “Motion and Stasis,” “Hometown Gold,” “The Right Notes,” and “Nowhere.”
Thanks to Karen Lindell for attending my library lecture on When Women Wrote Hollywood at the Pollak Library on the campus of California State University, Fullerton. Her article tries to make sense of the many subjects that have populated my books, and she rightly deduces that it is highlighting the work of women writers that is my main mission. Even in my book on The Monkees I made sure to fully cover the career of Treva Silverman, who by writing on that show became one of the first women to write for television without a male partner.
Video of “When Women Wrote Hollywood” Coming Soon!
As a young girl in Ohio, Rosanne Welch was a regular at her local library, pouring over autobiographies and memoirs of screenwriters from Hollywood’s early years. By the age of 10, she knew that she wanted to have a career in television or film.
Welch, lecturer in screenwriting at Cal State Fullerton, did make it to Hollywood, where she wrote for television shows “Beverly Hills 90210,” “Picket Fences,” ABC’s “Nightline” and “Touched by an Angel.”
But a funny thing happened on the way to the studio … as Welch prepared for her career, she was surprised to find that the female screenwriters she had read about as a child weren’t mentioned in her screenwriting courses.
This piqued her curiosity. Upon researching the matter, she found several reasons why these women had been sidelined in history.
You never know how much of an effect – if any – you’re having on students who are sometimes quiet in class, or looking at their computer screens when you think they ought to be looking at you… but this article was a wonderful reminder that they are listening, sometimes even amidst their multi-tasking lives. And what this MFA student took away didn’t come from any long lectures, really, but rather from the opening of all my classes where I bring in articles from recent newspaper stories about the film and television business and discuss what they mean to them and their futures. In this case, it had to do with which gendered writers are usually chosen for which genre films…a topic of deep interest to me – and through this article she published, I learned it was a topic of deep interest to Chelsea as well.
I can only lend my stream of consciousness to the screenwriting instructors I have had the pleasure to learn from in the MFA program. Specifically, when it comes to this filmmaker Michael Bay-type realization, I had to give the credit to lecturer Rosanne Welch. This woman has taught me more about what it is to be a female writer in Hollywood than I ever thought I needed to know. I would never have made this connection with the tone and the story of this film had it not been for her classes.
She has taught me that as a woman I need to speak up. I have to raise my voice, and in the way that I know how; writing. Going into this program I did not imagine I would grow as much as I have. Thank you to all my classmates and our faculty that push me every day to be better. I will miss learning from all of you when this wild ride of a program is over.
This time I’ll discuss the women in my new book “When Women Wrote Hollywood” which covers female screenwriters from the Silents through the early 1940s when women wrote over 50% of films and Frances Marion was the highest paid screenwriter (male or female) and the first to win 2 Oscars – but fails to appear in film history books, which continue to regurgitate the myth that male directors did it all – even though it’s been proven that the only profitable movies Cecil B. de Mille ever directed were all written by Jeannie Macpherson film ever won for Best Picture was written by Robert E. Sherwood (who people have heard of, mostly due to his connection to Dorothy Parker) and Joan Harrison.
Maria Mitchell [pronounced “mə-RYE-ə”] (August 1, 1818 – June 28, 1889) was an American astronomer, who in 1847 by using a telescope, discovered a comet, which as a result became known as “Miss Mitchell’s Comet.” She won a gold medal prize for her discovery, which was presented to her by King Frederick VI of Denmark. On the medal was inscribed “Non Frustra Signorum Obitus Speculamur et Ortus” in Latin (taken from Georgics by Virgil (Book I, line 257) (English: “Not in vain do we watch the setting and rising [of the stars]”). Mitchell was the first American woman to work as a professional astronomer. – – Wikipedia
It was a project we took over from another editor and we were shocked to find at that stage it did not include ANY women or domestic technologies. Just a lot of odd stuff about different kinds of bridges. So we jumped at the chance to give it more women and people of color.
THEN we had to battle a bit because 3 cover photos had already been chosen – none of them with a woman in them. We argued for female representation and (after we won the first award on our first set of encyclopedias) eventually the publishers agreed to the photo we chose of Maria Mitchell, America’s first great Astronomer.
Representation matters. Who tells your history matters.
More of my books from ABC-CLIO
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