What’s interesting about this video game trailer (is first of all that they have trailers for video games!) but that at the 5:36 mark they begin giving the credits for all the relatively big name actors in this – including Guillermo del Toro and (for me) Lindsay Wagner (the original Bionic Woman) which shows how this new-ish art form is following the path of films – which originally did not name their actors until they realized actors bring in audience.
Also, that the branding of the creator “Kojima Productions”. The parallels between these arts-turned-businesses are so interesting. — Rosanne
Seeing the public show such an interest in reading the scripts of their favorite tv shows and films is right in line with the goal of the History of Screenwriting courses in our Stephens College MFA in TV and Screenwriting program.
People are finally recognizing the work of writers and appreciating how their favorite stories took shape on the page long before they were cast, or filmed, or edited. Screenwriting Rocks! Join us to learn how to write the great American screenplay! — Rosanne
For decades they were bought only by drama students, who would anxiously pore over well-thumbed copies trying to memorise audition monologues, and by aspiring screenwriters hoping to learn their craft.
Scripts and screenplays did not sell in huge numbers to the public – until now. Readers are increasingly keen to buy the texts of their favourite films and plays, and some cultural blockbusters are leaving bestselling novels in the dust.
Fleabag: The Scriptures, the collected screenplays of the two seasons of the hit television series spawned by Phoebe Waller-Bridge’s one-woman stage play, will be published in November. Sceptre bought the scripts in an eight-way auction, reportedly for £500,000.
“Clara Beranger is one among many prominent female screenwriters during the Silent Era of film. Like the other amazing women who wrote at least half of the films produced during that time, very little is known about her, and what information there is, is hard to find. “It is lamentable that so little is known about Clara Beranger. From the piles of film books, even those devoted to the screenwriter, her name is conspicuously absent.”
Clara Beranger: The Unseen Laborer by Amanda Stockwell
This lack of female representation at the creative/gatekeeper levels is precisely what the Stephens College MFA in TV and Screenwriting aims to change! More prepared female writers = more prepared female showrunners = more believable female character and stories permeating our lives. — Rosanne
For the 2018-19 season, 96% of TV programs had no women directors of photography; 79% had no women directors; 77% had no women editors; and 77% had no women creators.
As a number of female-fronted TV shows, including “Veep” and “The Marvelous Mrs. Maisel,” vie for Emmys later this month, a study released Wednesday finds that “historic highs” for women in television still leave them vastly underrepresented in key behind-the-scenes roles.
Whether big city or small-town USA, a show’s location can have a powerful impact. We are teaming up with Columbia College Chicago on this special evening to sit down with a panel of TV writers for a discussion about how writing location, whether real or fictional, sets the scene and can shape the motivations of the characters.
Ayanna Floyd – Writer, Executive Producer, The Chi
Anthony Sparks – Writer, Executive Producer, Queen Sugar
Stay tuned for more panelist announcements!
Moderated by Dr. Rosanne Welch.
Doors open at 7pm. Event starts at 7:30pm.
All events advertised on our Events page are open to anyone who wants to buy a ticket—not just WGA members!
In the case the event is sold out, we will have a first come, first serve stand-by line at the event. The stand-by line does not guarantee entry into the event and we will only accept credit card transactions for any released seats.
Proceeds benefit the Foundation’s library, archive and other outreach programs.
Any number of “badly-behaved” women preceded Lorna Moon, and a great many more will follow her. As Laurel Thatcher Ulrich noted in her academic paper, published in the journal “American Quarterly” in 1976 (and often misattributed later on), “Well-behaved women seldom make history.” In fact, with the exception of Frances Marion, most of the women who made it onto the pages of early cinematic history were on the unruly side of the coin.
Just on time for your Labor Day Reading! The Fall 2019 issue of Written By magazine, the magazine of the Writers Guild of America, West is now available online.
Stephens College MFA in TV and Screenwriting Executive Director Dr. Rosanne Welch, who serves on the Editorial Board of the magazine (along with program friend Glen Mazzara) is proud of this truly groundbreaking issue: it’s the first issue featuring transgender writers (and on the cover!); entry- or mid-level writers; LGBTQIA writers; female writers; and writers of color in every story.
It’s always wonderful to be given another chance to talk about “When Women Wrote Hollywood” – the book of essays on female screenwriters who deserve to be much more famous and spoken of much more often in modern day film history courses.
Women writers are fascinated to know how many women blazed the trail for them and more than happy to help make their names more well known. So this interview with Susan Gil Vardon of the OC Register turned into an hour and a half chat between two new friends. — Rosanne
Rosanne Welch has advice for female students who want to get their screenplays noticed: Speak up.
A lecturer in screenwriting at Cal State Fullerton, Welch says she has seen a pattern — even in her master’s classes. When she asks her students to pitch their scripts, the men start talking while the women sit quietly, as if they’re waiting their turn.
“They’re so polite,” Welch said about the women. “I say, Hollywood will never give you a turn. Open your mouth, overspeak the boy. You gotta be loud and proud of what you do.”
Welch did it. Leaving Cleveland, Ohio, with a degree in secondary education, she worked her way up in television from a job as a receptionist for a production company to writing for the shows “Beverly Hills 90210,” “Picket Fences,” ABC’s “Nightline” and “Touched by an Angel.”
In recent years she has focused on writing books, including several on women whose achievements and legacies have been sidelined or lost to history.
Her latest is “When Women Wrote Hollywood: Essays on Female Screenwriters in the Early Film Industry.” The book, which she edited, features 24 essays her students wrote in a master’s of fine arts class at Stephens College in Missouri on such pioneering women writers as Adela Rogers St. Johns, Anita Loos, Lillian Hellman and Dorothy Parker.
Tara Hernandez started working on The Big Bang Theory as an assistant to the executive producer in season 4, and became a staff writer in the middle of season 5. From there she rose in the ranks to be a co-executive producer, helping to craft the series finale before moving to work on the show’s spin-off Young Sheldon.
The key to pitching sitcoms – there’s the event and then there’s the story. The event is the thing that happens but the story is her emotional realization that comes from the event… So for my first story that sold on Big Bang Theory was about the time Bernadette was getting married and Amy was going overboard so the girls decide to go dress shopping without Amy. That was the event that happened and then, because she was so devastated, Sheldon had to step up as a boyfriend and comfort her and it lead to their first cuddle. – Tara Hernandez