Cindy Chupack has won two Emmys and three Golden Globes as TV writer/producer whose credits include “Sex and the City,” “Better Things,” “Divorce,” “Modern Family,” “Everybody Loves Raymond,” and most recently Showtime’s darkly comic hour “I’m Dying Up Here.” She is the author of two comic memoirs: the New York Times bestseller The Between Boyfriends Book: A Collection of Cautiously Hopeful Essays, and The Longest Date: Life as a Wife. Last year she directed her first episode of television for “I’m Dying Up Here,” and her first feature, OTHERHOOD, starring Angela Bassett, Patricia Arquette, and Felicity Huffman. OTHERHOOD is a comedy Chupack co-wrote that premiered this week in select theaters and on Netflix.
It feels very paint by numbers so it seems so easy – but it’s not. As soon as I get good and comfortable I want to take a risk. To challenge myself.
I thank them for being so honest and real about describing the way they balance the lives they love and the work they love. It’s never easy for any of us and sometimes that’s the best lesson of all. Though each of the writers talked about how the skills of being a mother are so perfectly attuned to the nurturing and multitasking required of showrunners in television.
We also learned about offices that have nurseries provided for their writing staff and the fact that, as with all things in life, moms have to make tough decisions between being on set when your pilot is filming or catching your 2nd grader’s talent show… But we also all admitted that it’s a privilege to make the stories that are watched by other people’s children – and to share stories with your own children all their lives. — Rosanne
Talking TV writing and motherhood with writers/producers and working moms Julia Brownell (THIS IS US), @jamiedenbo (AMERICAN PRINCESS), Valentina Garza @totalvaligirl (JANE THE VIRGIN), and moderator @RosanneWelch.
Thanks to producer/writer Rob Lazebnik for showing our students around and explaining what makes a good Simpsons script – a story that involves the whole family, which is hard to come by after being on the air so many wonderful years…
On this special evening, we gather a panel of TV writers and producers for a discussion about their experiences writing and developing nuanced portrayals of motherhood while also balancing duties as working moms themselves.
Julia Brownell – This Is Us, About a Boy, Parenthood
Jamie Denbo – American Princess, Ronna & Beverly
Valentina Garza – Jane the Virgin, Bordertown, The Simpsons
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.”
To highlight the wonderful yet largely forgotten work of a collection of female screenwriters from the early years of Hollywood (and as a companion to the book, When Women Wrote Hollywood) we will be posting quick bits about the many films they wrote along with links to further information and clips from their works which are still accessible online. Take a few moments once or twice a week to become familiar with their names and their stories. I think you’ll be surprised at how much bold material these writers tackled at the birth of this new medium. — Rosanne Welch
Born in Guildford, Surrey, Harrison studied at St Hugh’s College, Oxford and reviewed films for the student newspaper. She also studied at the Sorbonne. In 1933, she became Alfred Hitchcock’s secretary. Eventually she began reading books and scripts for him and became one of Hitchcock’s most trusted associates. Harrison appears in a scene in Hitchcock’s original version of The Man Who Knew Too Much (1934), eating dinner with Peter Lorre’s character. She was among the screenwriters for the film Jamaica Inn (1939) based on the novel by Daphne du Maurier.
When Hitchcock moved to Hollywood in March 1939 to begin his contract with David O. Selznick to direct films, Harrison went with him as an assistant and writer. She continued contributing to the screenplays for Hitchcock’s films Rebecca (1940), also adapted from a du Maurier novel, Foreign Correspondent(1940), Suspicion (1941), and Saboteur (1942). She was also credited as one of the screenwriters for Dark Waters (1944). — Wikipedia