From The Journal Of Screenwriting V1 Issue 1: The protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


The protagonist’s dramatic goals, wants and needs by Patrick Cattrysse

Screenwriting manuals tell us that narratives should have a protagonist and that a protagonist should have an important dramatic goal to achieve. With respect to this goal, manuals often mention another common distinction, that between a protagonist’s want and need. Wants are generally understood as external and/or conscious dramatic goals, whereas needs are defined as internal and/or unconscious dramatic goals. This essay argues that these tools could be made more powerful if defined in a more precise way. Whereas wants refer to the goals of characters at the level of story, needs play at the level of the interaction between plot and real audience. This re-definition links the wants and needs debate with the much wider and far more complex study of audience involvement and its relationships with the value systems expressed in a narrative and those experienced by a viewer; a subject which stretches far beyond the limits of a single article.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



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** Many of these books may be available from your local library. Check it out!

03 About Stephens College MFA from Why Researching Screenwriters (has Always) Mattered [Video] (34 seconds)

Watch this entire presentation

03 About Stephens College MFA from Why Researching Screenwriters (has Always) Mattered

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Transcript:

My college is actually in the state of Missouri but we are what is called low residency. So students come to Los Angeles and the picture on the bottom is the Jim Henson Studio in Los Angeles and this is where the students come for workshops twice a year. You’ll see Kermit standing on top. Before Kermit this was the Charlie Chaplin studio founded in 1917 and was never torn down. So it is the original buildings that Charlie Chaplin did all his work in and now we do it with our students. So I you can see the difference in Missouri is quite far away from California.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because 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. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Listen to the latest “How I Wrote That” Podcast with Screenwriter Deborah Starr Seibel from Sisters and 21 Jump Street

Listen to the latest How I Wrote That Podcast with Tera Hernandez of The Big Bang Theory [Audio]

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Deborah Starr Seibel is a multiple award-winning journalist and screenwriter.  For the past eight years, she has been an instructor at USC’s School of Cinematic Arts in the John Wells Division of Writing for Film & Television.  In addition, she serves as a mentor for Stephens College’s MFA in Screenwriting program. In prime time television, Deborah recently sold two pilots to CBS and is credited with four years on staff.  During those years, she wrote six episodes for the final season of NBC’s Sisters and spent three additional years on the staff of Promised Land, the spin-off to CBS’s Touched By An Angel.  She has also written episodes for Mysterious Ways and 21 Jump Street.

As a television reporter, Deborah won a George Foster Peabody award for investigative journalism, two Emmy Awards and First Place from the Associated Press for one of her documentaries.  As a print journalist, she has written for the New York Times, Los Angeles Times, Chicago Tribune, Parade and USA Today. In addition, she is a long-time national correspondent for TV Guide.

In 2010, Deborah was awarded a USC Annenberg Fellowship to receive her Master’s Degree in Specialized Journalism/The Arts.

“If there isn’t a kernel of truth you shouldn’t be writing. You get to know the people in a writers’ room better than your family, because you have to bring yourself, your stories, your history, your family experience into that room or you have nothing to contribute because nobody on this planet has lived the life you’ve lived and if you don’t bring that into the writers’ room, what good are you?  What we are as artists are people who are trying to allow other people to feel that they are not alone.”” Deborah Starr Seibel

Presented by Stephens College MFA in TV and Screenwriting


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#MentorMonday 8 - Dawn Comer Jefferson - Stephens College MFA in TV and Screenwriting

Stephens College MFA in TV and Screenwriting Alumni, Sahar Jahani, Interviewed in Voyage LA Magazine

Stephens College MFA in TV and Screenwriting alum Sahar Jahani recently sat for an interview with Voyage LA magazine. Check it out and join our fall 2020 cohort to put yourself on the road to your screenwriting future.

Write. Reach. Represent.

Stephens College MFA in TV and Screenwriting Alumni, Sahar Jahani, Interviewed in Voyage LA Magazine

Today we’d like to introduce you to Sahar Jahani.

Sahar, can you briefly walk us through your story – how you started and how you got to where you are today.
I am first generation Iranian-American and come from a Muslim family, so it took me a while to realize that this career was even a possibility. If you can’t see it, it’s hard to believe you can also do it. By that, I mean that I didn’t know any other Muslims or Iranians who worked in Hollywood even though I grew up twenty minutes from all the studios. I remember driving by the Disney Animation building on the 134 freeway on my way to school every day and just think it was the coolest place in the world. But for me, it felt unattainable.

Ten years later, I’m having meetings there all the time. I was always interested in storytelling from a young age. My sister and I would put on plays for my family and I developed an interest in photography in high school, but I never considered film as a career until I was in college. I had planned to become a journalist because that was the closest thing to film that I could consider a tangible career. But when I started school at UC Irvine and began interning at different newspapers, I realized how much journalism was changing in an era of digital media.

Read the entire article – Meet Sahar Jahani


Visit the Stephens College MFA in TV and Screenwriting for more information.

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#MentorMonday 8 - Dawn Comer Jefferson - Stephens College MFA in TV and Screenwriting

From The Journal Of Screenwriting V1 Issue 1: Teaching screenwriting in a time of storytelling blindness: the meeting of the auteur and the screenwriting tradition in Danish film-making by Eva Novrup Redvall

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


Teaching screenwriting in a time of storytelling blindness: the meeting of the auteur and the screenwriting tradition in Danish film-making by Eva Novrup Redvall

This article analyses how the approach to screenwriting in Danish cinema has undergone major changes from an auteur-oriented film culture in the 1960s with basically no professional screenwriters, to a collaborative auteur industry where screenwriting is now a recognized craft and screenwriters are established professionals in the film industry. Focusing on the historical development of the Screenwriting Department at the National Film School of Denmark, the article discusses how the educational emphasis on teaching screenwriting has had an impact on Danish cinema both by introducing a basic understanding of screenwriting models and tools for a new generation of Danish film-makers, and by developing a common awareness of the importance of screenwriting as well as successful collaborations in creative teams. The article highlights how, after widespread enthusiasm over the emergence of successful screenwriters, there are currently debates about the dangers of professionalization as well as critical voices calling for a return to a more personal kind of auteur film-making. Finally, it is suggested that further investigation of the nature of close collaborations between directors and screenwriters, now more prevalent in Denmark, can provide interesting material for new perspectives in discussions of authorship.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

02 About Dr. Rosanne Welch from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute 12 seconds)

Watch this entire presentation

02 About Dr. Rosanne Welch from Why Researching Screenwriters (has Always) Mattered - Dr. Rosanne Welch [Video] (1 minute 12 seconds)

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

Transcript:

Thank you all very much. I apologize that I will speak in English because we do very bad in teaching languages in the United States. So this is the best that I can do, but I appreciate very much the translator who will help us all this evening. So thank you all for coming. We are here to talk about why researching screenwriters is important and I think it’s a very important thing. I’ve been teaching it for a while and I was, in fact, a screenwriter myself for a while. As a writer in Hollywood, I wrote for these television shows. You can see me in the little corner picture there quite a few years ago on “Touched by an Angel”, “Beverly Hills 90210”. These are the kind of programs from the United States that get traveled around the world and I teach my students now how important it is that they are finally being able to take in the stories from other countries and we’ll talk about the importance of streaming media and how that has allowed for that to happen as we move on.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because 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. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

From The “When Women Wrote Hollywood” Archives 18: “Lillian Hellman: A ‘Difficult’, Villified Woman.”, NPR, Maureen Corrigan

Months of research went into the creation of the essays in “When Women Wrote Hollywood.” Here are some of the resources used to enlighten today’s film lovers to the female pioneers who helped create it.

From The “When Women Wrote Hollywood” Archives 18: “Lillian Hellman: A ‘Difficult’, Villified Woman.”, NPR, Maureen Corrigan

From The

“Difficult” is probably the most tactful word one could use in characterizing Lillian Hellman. If ever there were an author safer to meet through her art rather than in real life, she was the one. Born in New Orleans into a Jewish family, Hellman came of age in the Roaring ’20s, liberated by flappers and Freud. Hellman drank like a fish, swore like a sailor and slept around like, well, like most of the men in her literary circle, chief among them Dashiell Hammett, with whom she had an open relationship spanning three decades. She was, recalled one observer, a “tough broad … the kind of girl who can take the tops off bottles with her teeth.”

Read more


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* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

03 Elizabeth Gaskell from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

Watch this entire presentation

 

03 Elizabeth Gaskell from When Women Write Horror with Dr. Rosanne Welch [Video] (1 minute 3 seconds)

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

In honor of Halloween – and in service to my teaching philosophy —

“Words Matter. Writers Matter. Women Writers Matter.”

I presented this holiday lecture “When Women Write Horror” on Tuesday, October 29th, 2019. Researching the many, many women who have written horror stories – in novels, films and television – brought new names to my attention who I am excited to start reading. I hope you will be, too!

Transcript:

In also just a little bit post her period when I was researching this I found it so interesting. There were not many women who we teach in our schools, but here they were living full, professional careers as writers in eras when we don’t even think about women having jobs at all, right? So Elizabeth Gaskell really interested me. I love the fact that you can see full shelves of books written by women and books based on horror stories which again, we don’t really relate to women. So what was that about and why were they getting away with that? I think she’s really cool because we mostly know these women for the drama novels they wrote. The things that were proper books. If you wrote a book at all it was about a proper society. So Cranford is what she’s mostly known for which was turned into a miniseries with some famous ladies who’ve you seen in other sorts of Harry Potter-like stories, but she really wrote all kinds of ghost stories and she began her career by being published by Charles Dickens. So Dickens was doing magazine publishing and he’s publishing a lot of women which I thought was very interesting. I had not equated that with him. So Elizabeth Gaskell is one of the names we should know more.

 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

From The Journal Of Screenwriting V1 Issue 1: So it’s not surprising I’m neurotic The Screenwriter and the Screen Idea Work Group by Ian W Macdonald

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


So it’s not surprising I’m neurotic The Screenwriter and the Screen Idea Work Group by Ian W Macdonald

The Screen Idea Work Group (SIWG) is a flexibly constructed group organized around the development and production of a screen idea; a hypothetical grouping of those professional workers involved in conceptualizing and developing fictional narrative work for any particular moving image screen idea. In this article, I use the notion of the SIWG to draw together the views of key workers about how the process of screen idea development works or doesn’t. My findings are based on a small ethnographic study I undertook in 2004, in which, through in-depth semi-structured interviews with seven SIWG workers, I attempted to understand how they came to occupy their role, how they felt their judgements were made and received, and how far the SIWG’s view of the screen idea accorded with the screenwriting doxa (characterized as how to do a good piece of work). As detailed below, their answers were concerned with status, a sense of self-worth and respect, points of tension, power, control, collaboration and trust, and the nature of the doxa itself.


The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

01 Introduction from Why Researching Screenwriters (has Always) Mattered – Dr. Rosanne Welch [Video] (1 minute)

Watch this entire presentation

01 Introduction from Why Researching Screenwriters (has Always) Mattered - Dr. Rosanne Welch [Video] (1 minute)

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

Transcript:

Thank you all very much. I apologize that I will speak in English because we do very bad in teaching languages in the United States. So this is the best that I can do, but I appreciate very much the translator who will help us all this evening. So thank you all for coming. We are here to talk about why researching screenwriters is important and I think it’s a very important thing. I’ve been teaching it for a while and I was, in fact, a screenwriter myself for a while. As a writer in Hollywood, I wrote for these television shows. You can see me in the little corner picture there quite a few years ago on “Touched by an Angel”, “Beverly Hills 90210”. These are the kind of programs from the United States that get traveled around the world and I teach my students now how important it is that they are finally being able to take in the stories from other countries and we’ll talk about the importance of streaming media and how that has allowed for that to happen as we move on.

A Note About This Presentation

A clip from my keynote speech at the 10th Screenwriters´(hi)Stories Seminar for the interdisciplinary Graduation Program in “Education, Art, and History of Culture”, in Mackenzie Presbyterian University, at São Paulo, SP, Brazil, focused on the topic “Why Researching Screenwriters (has Always) Mattered.” I was especially pleased with the passion these young scholars have toward screenwriting and it’s importance in transmitting culture across the man-made borders of our world.

To understand the world we have to understand its stories and to understand the world’s stories we must understand the world’s storytellers. A century ago and longer those people would have been the novelists of any particular country but since the invention of film, the storytellers who reach the most people with their ideas and their lessons have been the screenwriters. My teaching philosophy is that: Words matter, Writers matter, and Women writers matte, r so women writers are my focus because they have been the far less researched and yet they are over half the population. We cannot tell the stories of the people until we know what stories the mothers have passed down to their children. Those are the stories that last. Now is the time to research screenwriters of all cultures and the stories they tell because 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. But also because streaming services make the stories of many cultures now available to a much wider world than ever before.

Many thanks to Glaucia Davino for the invitation.


 

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library