The New Short Fiction Series Emerging Voices Group Show

The Writers Junction is proud to be partnered with The New Short Fiction Series, Los Angeles's longest running spoken word series, in introducing the most promising of new West Coast writers.  One of our very own members was featured in The New Short Fiction Series Emerging Voices Group Show in 2005 -- Deirdre Shaw, whose debut novel, Love or Something Like It, was published by Random House in 2009.   

Sponsored in part by Barnes & Noble, join us for "a night of vibrant, living art (Forth Magazine)" at...

   

The 8th Annual Emerging Voices Group Show  

Presented by The New Short Fiction Series 

Sunday, May 8th
7:00pm-9:00pm

Doors open at 6:30pm 

Hosted at The Writers Junction 

1001 Colorado Ave., Santa Monica, CA 90401

Admission: $10 with advance purchase, $15 at the door

Limited Seating

open to Writers Junction members & non-members

For advance tickets and program information, visit www.newshortfictionseries.com or call 866-811-4111.

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The New Short Fiction Series continues its 15^th Season with its 8th Annual Emerging Voices Group Show, featuring new fiction by Tracy Olson Chait, Rae Cline, Luis Garcia Romero, Liska Jacobs, Eric Weintraub and Omar Zahzah.

  

The performance stars spoken word artist Sally Shore, with guest cast Alain Benatar (Passions), Dana DeRuyck (Perv:The Cat), Matt Ferrucci (Wilde Salome, Real Men, Real Issues), Judd Hollander (The Fix) and David St. James (Big Love, Transformers: Dark of the Moon).   

Seats are limited, so reservations are strongly recommended.  And don't be late!  Doors open at 6:30 pm, and performances begin at 7:00 pm. 

For more information, and to purchase your tickets, visit www.newshortfictionseries.com or call 866-811-4111.

  

The New Short Fiction Series is a member of the Pasadena Arts Council's EMERGE Fiscal Sponsorship Program.

About the Authors:  

Tracy Olson Chait grew up in Cape Cod, where her first job was making chowder in the back of a fish market.  She holds an MA from the Bread Loaf School of English at Middlebury College, where she was the Sypher Scholar.  Chait parted with her snow shovel in 2003, and currently leads writing workshops for high-risk teens with the nonprofit WriteGirl.  Recently published in the Santa Monica Review, she is at work on a collection of connected short fiction  and lives in L.A. with her husband, one-year-old daughter and two against-type Chihuahuas.

Rae Cline received her BA in English from Michigan State University, moved to Ann Arbor, and began a wildly exciting career in the music industry booking Nirvana club shows, opening for Jello Biafra, and managing meet and greets for the Rolling Stones, the Spice Girls, and a buck naked Mojo Nixon.  A Los Angeles resident since 2002, Cline won first prize in the American Literary Review Fall Fiction Contest (2006) and was a finalist for UCLA's Kirkwood Prize (2008).  She writes the popular science blog, Storm and Stress: Notes from My Amygdala.

Luis Garcia Romero is a former journalist who studied short fiction at UCLA.  His work has been published in Concisely Magazine, and will appear in a forthcoming issue of Villains Magazine.  Garcia Romero was the co-editor for Glib and Sincere, a zine featuring micro fiction and micro nonfiction.

Liska Jacobs graduated from UCLA's creative writing program in 2008.  She was nominated for the 2009 and 2010 Kirkwood Prize in literary short fiction.  Jacobs' writing aims looks at the variations of truth and authenticity in everyday life, which she explores on her blog, Boy Lovers.  She is currently pursuing a MFA through Vermont College School of Fine Arts' low residency program, and lives in West LA with her husband.   

Eric Weintraub has been creating stories ever since he first learned how to read and write.  As a high school senior, he wrote and directed the short film Send or Delete for the Santa Monica Police Department, which won major awards at three popular Los Angeles film festivals and was broadcast throughout the statewide.  Many of Weintraub's short stories are based on personal experiences from his time in high school and college, as well as while working as a script reader for actress, Jennifer Lopez.  Currently a USC student, Weintraub is an editor and photographer for Scribe magazine and is completing his first novel. 

Omar ZahZah is a student at California State University, Long Beach.  His work has been featured in Vulcan: A Literary Dis-Allusion, The Chiron Review and RipRap.

Theme, Character and the Transformational Arc

by Jacqueline Fauni

 "Don't wait for your destiny to happen -- create it."  

In a nutshell, this is why writers write.  We have an innate desire to create fictional worlds by drawing inspiration from our own lives.  According to screenwriting consultant Tawnya Bhattacharya, who so eloquently phrased our lot in life in the quote above, storytelling stems from the need to express our beliefs, values, and goals -- or our own personal themes.  

Her workshop, Theme, Character and the Transformational Arc, last Tuesday illuminated the process of finding our stories' themes as a complex and intensely personal experience. 

Tawnya defined theme as "the heart of your story," so the process of finding it involves getting in touch with what you want to say, what you think of humanity, and what you really care about.  Since theme plays such a central role, it has to pervade your story entirely -- from your main character's emotions, goals, and actions, to the more subtle elements of symbolism, contrasting characters, etc., which is why it's essential to find and flesh out your theme first.

So how do we tackle the daunting task of finding our story's theme?  Here's a peek at the four-quadrant approach that Tawnya shared with us (note: the inverted numbering reflects its deconstructive process).  

(2) Flaw -- Tawnya brought up a great point about the relationship between theme and your main character's flaw -- simply put, they're complete opposites.  She also mentioned that our characters' wants aren't what they need, but to get what they want, they need to cure their flaws.  When working out our themes, we have to start by focusing on our main characters' "before" state; their stage of life and the flaws they have to overcome to get what they need and, in doing so, carry out the universal messages we're trying to convey.

(3) Second-Act Journey -- To get from the "before" state to the point where our themes are realized, our characters have to go on an adventure, develop relationships, and learn from experiences that make them confront their flaws.  At this stage, we work through the meat of the story and map out our characters' transformational arc.

(4) Climax -- When we examine the turning point in our characters' transformational arc, we get a particularly vivid sense of the example we want them to set for our audience -- whether it raises them up with a feeling of glorious triumph or sinks them into an all-time low.

(1) Theme -- Once we've worked out the events we want our characters to go through (especially the magical moment of their transformation), our theme begins to emerge.  At this point, we step back and ask ourselves, "Why did I put my character through all this?  What's the point?  What is the lesson learned?"  You might not get a straightforward answer the first time around, but brainstorming and analyzing your thematic threads will help you whittle down to the heart of your story.

To learn more screenwriting tips and techniques from Tawnya, visit her site at http://www.scriptanatomy.com/.

The Executive Series for Screenwriters: Making Hollywood Work for You

Have you ever wanted to attend an all-inclusive screenwriting conference, but just couldn't commit a full weekend to it?  Or - have you committed to a conference only to be disappointed that it wasn't as informative as it should have been?  We've got a great alternative for you:

The Executive Series for Screenwriters:

Making Hollywood Work for You

Brought to you by No BullScript Consulting

Hosted at The Writers Junction

Tuesdays & Wednesdays

May 3rd - May 25th

7:00pm - 9:00pm

1001 Colorado Ave., Santa Monica, CA 90401

$50 per class or $299 for all 7 classes

*** 10% Discount on Full Class Series for Writers Junction Members ***
For discount code, check your e-mail!
Attendees must R.S.V.P. here:

http://theexecutiveseries.eventbrite.com 

   open to Writers Junction members & non-members

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This 4-week, 8-class series brought to you by No BullScript Consulting is taught by Top Hollywood Executives ready to bring their extensive expertise to you.  Read on for a list of the classes.

Every Tuesday and Wednesday in May, a new 90-minute workshop will tackle a different topic on screenwriting and the ins and outs of working in Hollywood.  These aren't just panels or shooting the breeze -- these are comprehensive, informative classes taught by Industry Insiders that will teach you how to excel in screenwriting, structure, genre writing, graphic novel writing, pitching, the development process, and more.

You can pick and choose which courses you'd like to take and order each individually ($50 each plus processing fees, see schedule below), or take them ALL for a great discount!  Ordering all classes (only $299 including processing fees) is like getting 2 for FREE, including a Panel Discussion with ALL of the executive instructors, plus you will receive a FREE copy of Daniel Manus' E-Book, "No B.S. for Screenwriters: Advice from the Executive Perspective" and you'll be automatically entered to win a FREE copy of Final Draft 8! 

Four weeks, eight 90-minute classes, seven Hollywood Insiders, and countless topics that will help you learn the ins and outs of writing and working in Hollywood.  It's the most comprehensive 4-week class series on screenwriting and the entertainment industry in Los Angeles.  It's like your own private screenwriting conference.

Below is a list of all 8 classes.  More detail on each class is available HERE.  For full bios for all the instructors, please go to the Classes Page on www.nobullscript.net.

Class 1 - May 3rd - What the Hell are Executives Thinking?

(Instructor - Danny Manus)

Class 2 - May 4th - Structure from the Executive Perspective

(Instructor - Naomi Beaty)

Class 3 - May 10th - Getting and Keeping Representation

(Instructor - Rachel Miller)

Class 4 - May 11th - Pitch Like a Pro

(Instructor - Jessica Green)

Class 5 - May 17th - Writing Horror Films Doesn't Have to be Scary

(Instructor - Rudy Scalese)

Class 6 - May 18th - What's So Funny: Deconstructing the Studio Comedy

(Instructor - Luke Ryan)

Class 7 - The Graphic Novel is the New Screenplay

(Instructor - Joe LeFavi)

Class 8 - May 25th - A Panel Discussion with ALL the Execs/Instructors

About No BullScript Consulting:

No BullScript Consulting is run by former Development Executive Daniel Manus, one of the most popular script consultants around.  In 2010, he was ranked as one of the Top 15 "Cream of the Crop" Consultants by Creative Screenwriting Magazine.  At No BullScript, we approach your scripts from the executive perspective.  We pride ourselves on improving your script and cutting the bull out of your story.  We can design the perfect consulting package for whatever you and your script might need.  We help you get it where it needs to be -- and get it out into Hollywood through the No Bull Hollywood Connection.  It's like having your own personal development executive helping you and your project!  Check out www.nobullscript.net for more info.

Get in the Frenzy

It's official: March Madness is spilling over into April!  For those of you who've always wished there was a NaNoWriMo for screenwriters, you're in luck.  Sign up now for Script Frenzy and take on the huge, exhilarating task of writing a 100-page script in one month.  Put that inner critic on mute and go at it with reckless abandon (at least until the rewrite).  And you won't be alone; almost 13,000 writers have signed up already.  Join them now!

 Script Frenzy 2011

The Challenge: Write 100 pages of original, scripted material 

in the 30 days of April.

(Screenplays, stage plays, TV shows, short films, 

and graphic novels are all welcome.)

When: April 1-30

Cost: FREE!  (They run on donations.)

Who: Everyone (worldwide) is welcome.  No experience required.

Prizes: Happiness.  Creative juices.  Pride.  Laughter.  

Bragging rights.  A brand-new script.

How: Sign up!  Tell everyone that you are in the Frenzy.  

Get ready to start writing on April 1.

About Script Frenzy:

Script Frenzy is an international writing event in which participants take on the challenge of writing 100 pages of scripted material in the month of April.  As part of a donation-funded nonprofit, Script Frenzy charges no fee to participate; there are also no valuable prizes awarded or "best" scripts singled out.  Every writer who completes the goal of 100 pages is victorious and awe-inspiring and will receive a handsome Script Frenzy Winner's Certificate and web icon proclaiming this fact.  Even those who fall short of the word goal will be applauded for making a heroic attempt.  Really, you have nothing to lose -- except that nagging feeling that there's a script inside you that may never get out.

For more information, and to sign up, please visit: http://www.scriptfrenzy.org

Screenwriting vs. Novel-Writing

Are you a novelist who's curious about screenwriting or a screenwriter considering a switch to prose?  We think two articles by Derek Haas would be of great interest to you.  As author of the novels The Silver Bear and Columbus, as well as co-writer of the screenplays 3:10 TO YUMA and WANTED, Haas has been on both sides of the fence.  Earlier this week, he offered enlightening insights about the differences between screenwriting and novel-writing in his guest posts for MulhollandBooks.com.  

Check them out here:

Seven Things Novelists Should Know About Screenwriting

Seven Things Screenwriters Should Know About Writing Novels

 

About Derek Haas:

Derek Haas is the author of the bestselling novel THE SILVER BEAR and the Barry Award-nominated COLUMBUS.  Derek also co-wrote the screenplays for 3:10 TO YUMA, starring Russell Crowe and Christian Bale, and WANTED, starring James McAvoy, Morgan Freeman, and Angelina Jolie.  His forthcoming film, THE DOUBLE, starring Richard Gere and Topher Grace, is directed by his screenwriting partner Michael Brandt and will be released in 2011.  He is also the creator and editor-in-chief of the acclaimed website Popcorn Fiction.  Derek lives in Los Angeles.

About Mulholland Books:

Mulholland Books is an imprint of Little, Brown and Company devoted to publishing the best in suspense fiction. Their website is intended to be a community hub for readers and writers of suspense, crime, mystery and thriller fiction to gather to discuss any and all topics related to the genre.

The Televisionary Writers Workshop with Tawnya Bhattacharya

Ready to be a TV writer? Or the creator of your own television show? Aspiring writers need an exceptional spec and original pilot in their portfolio to break in to the business. Make sure you're armed with the tools you need and give yourself the best shot at success with...

The Televisionary Writers Workshop

With Tawnya Bhattacharya

6 Saturdays, starting April 23rd to May 28th

From 11am - 2pm 

At The Writers Junction

1001 Colorado Ave., Santa Monica, CA 90401

Limited to 10 Spots*

Price: $595

***$395  for Writers Junction members***

RSVP here:

http://televisionarywriters.eventbrite.com

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In this intensive 6-week workshop, writers have the option to focus on a TV spec or an original pilot. Tawnya will guide you step by step through the process of crafting your script from concept to solid first draft to prepare you for staffing, development and the studio writing program application process.

Lectures will cover:

·                  Hooks

·                  Arena

·                  Loglines & Pitching

·                  TV Story Structure

·                  Tone & Genre Expectation

·                  Character Development

·                  Dynamic Relationships

·                  Conflict and Obstacles

·                  Dilemmas & Goals

·                  Stakes

·                  Theme

... and more.

Additionally, each writer will receive weekly peer feedback and instructor critique and evaluation of weekly assignments and material in a supportive environment.

  

*Because of the hands-on nature of this course and attention spent with individual projects, class is limited to 10 writers. 

About Tawnya Bhattacharya

Tawnya Bhattacharya was a distinguished writing instructor at Writers Boot Camp for many years before launching her story consultancy company, SCRIPT ANATOMY. Through classes and individual consults, she has helped hundreds of writers at various levels create, develop and elevate their projects to the next level.

A working screenwriter, her TV pilot "Grand Coulee," was one of six scripts selected for the FOX Writer's Initiative and her "Nurse Jackie" spec, written with her writing partner, got the team into NBC's Writers On The Verge. She has a TV pilot optioned by FOX, several optioned features, including with one of the producers of "Go" and another being packaged by CAA, as well as numerous writing assignments under her belt. She and her writing partner are currently in development with a seasoned producer with their original pilot, BULLET.  Tawnya is repped by Rabiner/Damato Entertainment and CAA.   

For more about Tawnya and Script Anatomy, visit www.scriptanatomy.com

Testimonials

"She strikes the perfect balance between supportive and honest, always offering nuts-and-bolts solutions along with her insightful feedback."

There are a lot of different screenwriting theories out there.  Tawnya's well-rounded background as both a screenwriter and writing instructor allows her to pick the most useful bits from the most successful approaches and put them to work making a good script great.  Her dry sense of humor makes her a natural for comedy, but she's just as comfortable with an action setpiece or a character drama.  And her experience in front of the camera gives her first-hand knowledge about how to write pages that engage actors.  She's strikes the perfect balance between supportive and honest, always offering nuts-and-bolts solutions along with her insightful feedback.   - Kevin Lee Miller, screenwriter with an optioned feature at Sony, Grand Prize Winner Final Draft Big Break Competition; 2-Time Winner, Worldfest-Houston Int'l Film Festival

"Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher."

What sets Tawnya apart from other teachers I've had is her unmatched enthusiasm for the art and craft of writing. She has a deep understanding of what makes stories work, and is great at communicating that to her students. Her class was always warm and open, but also very focused. People were encouraged to speak up, but if things got off topic, she would get everyone focused on writing again. Tawnya is extremely knowledgeable and supportive and I recommend her to anyone seeking a teacher. - Kiyong Kim, 2010-2011 Nickelodeon Writing Fellowship recipient

"Tawnya was the best screenwriting instructor I could have asked for."

Tawnya was the best screenwriting instructor I could have asked for. I am certainly a better writer  for having had her as my teacher and am very lucky to have her continued support. She has a wonderful ability to get to the heart of storytelling with clear insight and determined precision. She has a no-nonsense style with a nurturing heart. I endorse her teaching one hundred percent.   - Wendy B., Screen & TV Writer

 "Tawnya Bhattacharya is like a screenwriting personal trainer."

Everyone has an idea. But to turn that idea into a 100-page screenplay takes dedication, discipline and hours of work. Tawnya Bhattacharya is like a screenwriting personal trainer. She'll help you to whip that underdeveloped 98-pound weakling of an idea into a full-blown feature-length commercial screenplay. You'll love the results.    - Tim Grant, Optioned Screenwriter & Blogger @ Post-Mortem Depression

"If you really want to learn what it takes to craft story, you'd be hard pressed to find a better instructor."

Tawnya is an outstanding screenwriter and instructor.  Period. I can honestly say if you really want to learn what it takes to craft story you'd be hard pressed to find a better teacher.  Tawnya's approach, input and critiques are both insightful and astute.  No matter what, she gives it to you straight.  And in this business a straight talker is a rare gem.    - David Angel Rodriguez, TV & Screenwriter

Why Most People Fail at Screenwriting & How to Give Yourself the Best Possible Chance at Success

by Jacqueline Fauni

Aspiring screenwriters are acutely aware of the slim, bordering on impossible, odds that they'll find success in their chosen profession.  Finding success can become a fingers-crossed, Goldilocks act -- hoping for just the right balance of hard work, talent, and luck.  Sounding familiar?  But when Corey Mandell brought this up on Sunday during the encore presentation of his seminar, Why Most People Fail at Screenwriting & How to Give Yourself the Best Possible Chance at Success, he simply said, "I disagree."

Why?  Corey believes that most aspiring screenwriters fail not because they don't have the right connections, or because they don't have enough talent, but because they aren't equipped with certain skill-sets needed to write on a professional level.  He teaches these skill-sets, rather than the more common structure-based class.  We love it!  Here's a brief rundown of the skill-sets:

1. Writing in compelling cinematic conflict.  This may sound obvious to the experienced writer, but it isn't always so simple.  Corey's goal is to get writers to the place where they are naturally writing conflict without thinking about it.  Developing this ability is crucial, since a screenwriter's first priority is to grab their readers' attention and make them want to keep reading.

2. Creative integration.  Many writers tend to write either conceptually or intuitively.  Conceptualists are more inclined to start with a concept and focus on structure, while intuitives focus on organically developing their characters and theme.  Successful writers can do both.  Training yourself to integrate both your conceptual and intuitive sides in your work can prevent you from letting the one you're naturally best at dominate and handicap your storytelling.

3. Process.  One problem that writers may unknowingly face is that they're using a writing process that doesn't work best for them.  In Corey's class, writers try different processes to discover which ones help them create their strongest material.

4. Structure.  Corey likens a great script to a fine wine in a fine glass, with the glass as the screenplay's structure and the wine as the writing itself.  Rather than imposing a universal formula to your work, learn how to find a custom-made glass for your particular wine -- or how to create a structure that supports and enhances your own story.

5. Rewriting.  As daunting as it can be, writers know that rewriting is an extremely important part of the writing process.  Unfortunately, it can turn into a huge waste of time and effort when it doesn't really improve your work.  The trick is to learn how to be critical about the critiques you get and figure out how to make changes that improve, yet still preserve the essence of the movie that plays in your head.

To learn more about Corey's classes and how to develop these skill-sets, click here.