There And Back Again: Writing and Developing for American Television]: from Freelancing to Writers Rooms [Video] (52 minutes)

There And Back Again: Writing and Developing for American TV: from Freelancing to Writers Rooms

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

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“A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 13 in a series

Giuseppe approached the first local he found, who happened to be Henrique sweeping the stoop outside the door of his shop. Thrilled to meet one of the victorious rebels, Henrique invited Giuseppe to his home for coffee. There, as if in a dream, he found the woman he had seen on the hillside, preparing the afternoon coffee.

Henrique saw Giuseppe’s shocked face and politely introduced them, “Senor Garibaldi this is my cook, Aninha.” Neither spoke, not even the banal niceties one expects when strangers are introduced, because neither Giuseppe or Aninha felt like strangers to the other in that moment.

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The Civil War On Film – 8 in a series – “…Lost Cause adherents deny the immorality and cruelty of slavery….”

The Civil War On Film - 8  in a series -

The last component of the Lost Cause, and perhaps the key component, is the cherished belief in happy slaves and sub-human African Americans in need of civilization and Christianity. Lost Cause adherents deny the immorality and cruelty of slavery and insist slavery was a benign and misunderstood institution.

Movies profiled in this book:

From The Journal Of Screenwriting V3 Issue 1: Television and film screenwriters: How to reach a global audience by Philippe Perebinossoff

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


Television and film screenwriters: How to reach a global audience by Philippe Perebinossoff

The focus of this article will be on an examination of American television and film projects and their inceptions and/or receptions in various marketplaces. In addition, the article will explore some of the specific cultural differences around the world that may be of importance to screenwriters.


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!

39 More On International TV Shows and the US from Why Researching Screenwriters Has Always Mattered [Video] (1 minute 18 seconds)

Watch this entire presentation

39 More On International TV Shows and the US from Why Researching Screenwriters Has Always Mattered [Video] (1 minute 18 seconds)

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Transcript:

They had to have the United States version, so they remade the TV show. They called it the Red Band Society and they didn’t understand the culture of Italy. The show In Italy is all about hope and has a little magical realism to it because one of the children is in a coma but he narrates the story because he watches his friends become friends and grow and have hope that they will be cured someday and in the United States we didn’t get that which is very sad. The show was actually canceled after six episodes because they focused on the grown-ups who were the doctors and the nurses. They thought the story had to be “we’re gonna find that cure because that’s what we do we save the world.” That wasn’t the story at all. They did. They ruined the story right and because we don’t — we think nice people are boring, the nurse is the meanest woman I have ever met and these children are dying of terminal diseases and she’s being mean to them and they thought that that was very edgy. That’s the big word I hate in the United States right now — edgy, We need edgy programming. How many people can we kill in the next five minutes? So we ruined this lovely program right but at least, through Netflix, I can watch the Italian version with subtitles.

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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

A Woman Wrote That – 4 in a series – Thelma and Louise by Callie Khouri (1991)

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 4 in a series - Thelma and Louise by Callie Khouri (1991)

Louise: “You get what you settle for.”

Thelma and Louise Script (PDF)

 

“A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi” – 12 in a series

On the hillside, the same loneliness had filled Aninha Ribeiro da Silva for most of her young life. She had ridden to the bluff that morning in order to see for herself the ships of this glorious rebel navy, come to create a new nation. Freedom fascinated her.

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The Civil War On Film – 7 in a series – “…honorable Southern generals stand in contrast to venal, uncouth Northerners.”

The Civil War On Film - 6  in a series -

In keeping with the binary nature of ideologies, the honorable Southern generals stand in contrast to venal, uncouth Northerners. The Lost Cause insists upon the illegitimacy of Abraham Lincoln’s election and his personal villainy as a backwoods barbarian, miscegenationist and all-purpose bad dude.

Movies profiled in this book:

From The Journal Of Screenwriting V3 Issue 1: Irish cinema 1994–2009: The trajectory of script development policy at the Irish Film Board by Díóg O’Connell

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


Irish cinema 1994–2009: The trajectory of script development policy at the Irish Film Board by Díóg O’Connell

This article explores the changing nature of public policy in Ireland, 1994–2009, as it relates to film and scriptwriting practice. The dominant discourse in Irish cinema studies has centred around ideas of identity, national identity in particular with more recent studies branching off in the direction of genre studies, political economy and narrative studies. This article is framed, broadly speaking, within a political economy discourse, by way of exploring how Irish Film Board policy changed over a specific period as a result of internal and external factors, shaping a structure that would determine how Irish scriptwriters related to the wider field of film production. Through a survey of Irish Film Board policies, newspaper articles and annual reports, this article presents a general historical overview of an evolving film policy as it related directly to scriptwriting and script development. Against this backdrop, other questions surface about Irish cinema and scriptwriting practice, particularly questions centred on local/global issues.


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!

Kirkus Review of A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi by Dr. Rosanne Welch

It’s always nice to read a positive review of a newly published book so when the Kirkus Review of my new book on the life of Giuseppe Garibaldi said it was “A wonderfully researched and dramatically gripping work of historical fiction” I smiled.

Research IS my middle name these days and ‘gripping’ is what’s needed for the pace when one is documenting such an epic life so that it doesn’t feel like it is just meandering from battle to battle with no story growth. 

The book gave me the chance to finally delve deeply into Garibaldi and Anita’s lives and come to a deeper understanding of the revolution that united Italy. — Rosanne

Kirkus Review of A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi by Dr. Rosanne Welch

“A novelistic biography of the 19th-century Italian general who devoted his life to the unification of Italy. 

Giuseppe Garibaldi was raised in Nice, an Italian territory in Piedmont held by the French. His mother nevertheless insisted, against convention, that he learn to read Italian and to zealously assert his independence. After an aborted attempt to follow in his father’s footsteps and become a sailor, Garibaldi joined the Young Italy movement under the direction of Giuseppe Mazzini and agitated for Italian independence. As a result, he was sentenced to death and was forced to flee to South America, an exile that lasted more than a decade. 

While in Brazil, he discovered thousands of misplaced Italians, and he recruited them to participate in the Ragamuffin War to establish a republican experience that prepared him for the wars of independence in Italy later. Also, he fought in the Uruguayan civil war before finally returning to Italy intoxicated by the dream of Italian independence and unification—a devotion stirringly portrayed by Welch. 

He formed a group of volunteers, called the Hunters of the Alps, to fight in the Second Italian War for Independence and later participated in the Expedition of the Thousand in Sicily, successfully establishing Victor Emmanuel II as king. 

Welch’sresearch is impeccably rigorous. She captures the minute details of Garibaldi’s life, the machinations of military strategy of the period, and the atmosphere of both 19th-century Italy and South America. One could quibble that the accumulating, granular detail finally becomes daunting to digest. However, her prose is reliably lucid and sometimes achieves genuine poignancy, particularly in the representation of Garibaldi’s indefatigable fervor: “Italy will not truly exist as a nation until her flag, symbolizing the unity and freedom of the former Roman Empire, flies from the Capitol in Rome.

”A wonderfully researched and dramatically gripping work of historical fiction.” – Kirkus Reviews