21 In The Room Where It Happens from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

21 In The Room Where It Happens from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript:

Tina Fey obviously has run a couple of shows quite well and I like what she has to say about what happens in the room.

Her voice is always so clear. You know that’s her — that humor she can’t keep away from. That’s really kind of interesting and they run the room together — and a married couple — that’s a unique and interesting way to run a room right and that’s true for 30 Rock and Kimmy Schmidt and he did the music for her broadway play on Mean Girls. Now when I was on Touched by Angel, we had a whole lot of other things that we learned. I began in the business as a receptionist and then I became a writer’s assistant on these shows, so I sat in these rooms as these ideas were being broken. I got to watch the evolution of that job which was a new thing letting someone in the room with the writers. They hadn’t done that before but with the advent of computers, they wanted someone to keep a log of who said what. So we always had that information. So that was interesting to me. Then I was I did freelance writing and all the shows before I got on staff.

 

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


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Concord Days: Dr Rosanne Welch discusses Margaret Fuller in Italy [Video] (53 mins)

In researching and writing my book on Giuseppe and Anita Garibaldi and the unification of Italy (A Man Of Action Saving Liberty: A Novel Based On The Life Of Giuseppe Garibaldi)  I re-discovered the first American female war correspondent – Margaret Fuller — who I had first met in a college course on the Transcendentalists. I was once again fascinated by a life lived purposefully.

Then I found Tammy Rose’s podcast on the Transcendentalists – Concord Days – and was delighted when she asked me to guest for a discussion of Fuller’s work in Italy as both a journalist – and a nurse. — Rosanne

Concord Days: Dr Rosanne Welch discusses Margaret Fuller in Italy [Video] (53 mins)

Concord Days sends love to Margaret Fuller on the anniversary of her death in 1850.

The conversation focuses on Margaret’s exciting days in ITALY!

Dr. Rosanne Welch takes us through her adventures and enthusiastically reminds us what she was like when she was living her best life!


 

 

William Blinn, Brian’s Song, Purple Rain, and Screenwriting

William Blinn, Screenwriting, Brian's Song, and Purple Rain

Sometimes I love the way the internet lets you drill down layer after layer of research when you only had one small question – but you learn things you forgot you wanted to know.  When I saw a question on Quora’s Ask a Screenwriter forum about the best “Based on a True Story” films the one that came immediately to mind was Brian’s Song so first I found the trailer:

Naturally then, I wanted to know who wrote it, which brought me to the film’s Wikipedia page, which brought me to William Blinn’s Wikipedia page

There I came to find that not only did he win an Emmy for writing that TV film but also one for writing on the original Roots.  Here he receives the Paddy Chayefsky Laurel Award for Television for “a WGA guild member who has advanced the literature of television and made outstanding contributions to the profession of the television writer.”

His advice to young writers is to “get off you’re a** and do the work” and to “Tell the truth in an interesting way.”

(If you listen to nothing else in this blog post – listen to that speech!).

Blinn was nominated 3 times for episodes of Fame. And he won Humanitas and Peabody Awards along the way.   Blinn also produced Starsky and Hutch (both the TV show and the 2004 movie!). Finally, he co-wrote Purple Rain

THAT is a career –  and you probably have never heard of him. 

Finally, I came to remember how much I had resisted watching “a football movie”  but I kept hearing how much other people loved it so when it re-ran on the 11:30pm film one night I snuck out of bed in the childhood home I shared with my grandparents and watched the film – finding myself sobbing as it ended.  I had never seen a film about such a strong male friendship – and I have rarely seen on as strong since.

Yay for the internet – and Yay for William Blinn.

07 It’s Show Business…Not Show Art…from Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 [Video]

Watch the entire presentation – Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 here

07 It's Show Business...Not Show Art...from Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 [Video]

Transcript:

Host: This might be a really sad thing to say, but do you think that, sometimes, it’s not always the best writers who get their pitches up but it’s the people who can work the room, by either maneuvering around, can get their stuff into the ears of the right people and then present that?

Rosanne: That is very true. I wouldn’t say — I mean you have to be a good writer to get in the room in the first place or they wouldn’t have hired you across all those stacks — you’ve seen all the things you’ve read for —

Host: Yeah. No. There’s a lot of crap to filter through. Absolutely.

Rosanne: Absolutely. So, generally speaking, you had to be a certain level to get in the room, but, yeah, it’s the people who can work — you have to work both things. A friend of mine is fond of saying, “It’s called show business. not show art.” So business is half of the job.

It’s always fun to sit down with students and share stories about entering the television industry and how things work at all stages and I had that opportunity the other day.

Daniela Torres, a just-graduated (Congratulations!) student of the Columbia College Semester in LA program asked me to guest on a podcast she had recently begun hosting with another college student she met during her internship (good example of networking in action!).

We could have talked all morning (the benefit of a 3 hour class session) but we held it to about an hour and fifteen minutes or so. Hopefully, along the way I answered some questions you might have about how the business works. So often it amounts to working hard at being a better writer and gathering a group of other talented, hard-working people around you so you can all rise together.

Dr. Rosanne Welch is a television writer with credits that include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. She also teaches Television Writing and the Art of Film at San Jose State University.

Rosanne discusses what made shows like Beverly Hills 90210 compelling, what to do and not to do when attempting to pitch a show to broadcast or streaming, what most young writers neglect in their writing process, and much more!

The Courier Thirteen Podcast is available on YouTube, Spotify, Apple Podcasts, SoundCloud, and Audible.

Online Panel Discussion: It’s All Relative: Writing Diverse Television Families, Friday, August 6, 2021, 5:30 PM 7:00 PM – Stephens College MFA in TV and Screenwriting

Online Panel Discussion: It's All Relative: Writing Diverse Television Families, Friday, August 6, 2021, 5:30 PM  7:00 PM - Stephens College MFA in TV and Screenwriting

It’s All Relative: Writing Diverse Television Families
Friday, August 6, 2021
5:30 PM  7:00 PM

Online – RSVP Required

At every MFA Workshop we host a panel of writers in a joint event between the Writers Guild Foundation and the Stephens College MFA in TV and Screenwriting.

Our next will be focused on Writing Diverse Television Families.

Join us on Zoom on August 6th to hear from these writers:

  • Moderated by Dr. Rosanne Welch, Executive Director of Stephens College MFA in TV and Screenwriting
  • Sheryl J. Anderson – Creator and Executive Producer, Sweet Magnolias
  • Lang Fisher – Co-creator and Executive Producer, Never Have I Ever
  • Marja-Lewis Ryan – Executive Producer, The L Word: Generation Q
  • Anthony Sparks – Executive Producer, Queen Sugar.

Online Panel Discussion: It's All Relative: Writing Diverse Television Families, Friday, August 6, 2021, 5:30 PM  7:00 PM - Stephens College MFA in TV and Screenwriting

33 Terence Winter and Boardwalk Empire from There And Back Again: Writing and Developing for American TV [Video]

33 Terence Winter and Boardwalk Empire from There And Back Again: Writing and Developing for American TV [Video]

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.

Transcript:

Terence Winter on Boardwalk Empire. He came off of The Sopranos so he had a very good pedigree and then he moved into Boardwalk Empire and the idea of how you parse out the story and this comes from structure. At what point to do give out what information. How do you string the audience along. I think that’s really interesting. That’s a whole other conversation.

Watch this entire presentation

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** 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 V5 Issue 2: Written to be read: A personal reflection on screenwriting research, then and now by Claudia Sternberg

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


Written to be read: A personal reflection on screenwriting research, then and now by Claudia Sternberg
 
Having been identified as an early contributor to the intensifying academic study of the (American) screenplay and screenwriting, the author presents a personal account of the circumstances which led to her own research in the 1990s and the publication of Written for the Screen: The American Motion-Picture Screenplay as Text in 1997. Additionally, she offers some reflections on the consolidation and institutionalization of screenwriting research and sketches a number of possibilities for future work in the field.

Having been identified as an early contributor to the intensifying academic study of the (American) screenplay and screenwriting, the author presents a personal account of the circumstances which led to her own research in the 1990s and the publication of Written for the Screen: The American Motion-Picture Screenplay as Text in 1997. Additionally, she offers some reflections on the consolidation and institutionalization of screenwriting research and sketches a number of possibilities for future work in the field.


Journal of Screenwriting Cover

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!

20 A-Not-So Safe Space on Friends from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

20 A-Not-So Safe Space on Friends from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

Friends provides an interesting case study because they were sued by the writer’s assistant who said that the room was unsafe to her. She didn’t like the kind of sexual conversation that went on. She did not win that lawsuit because it was understood that your presumption going into that job — a show about a bunch of single people in New York — is that we’re going to be discussing these things and you should be comfortable in that — or take a different job on a different show. so that was an interesting — how do we run a room? — Safe but open and I don’t that we’ve found a perfect answer to that yet. I think they got away with what they did because they were all new. It was their first show. Look at how young they were. This is them nowadays, right? So, it — they weren’t sure how to run things, right? They were working the best they could.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Follow me on Instagram



* 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!

06 How To Pitch To A Showrunner…from Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 [Video]

Watch the entire presentation – Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 here

06 How To Pitch To A Showrunner...from Worry and Wonder | The Courier Thirteen Podcast | Episode # 29 [Video]

Transcript:

Host: How would you pitch to a showrunner who seemed deflective to your ideas? Or like, I know that’s a loaded question.

Rosanne: Oh no, that’s an excellent question. That can happen because relationships grow and change. People get mad a each other for some reason. Maybe other people poison someone’s attitude about somebody else on the show, simply because they want to get rid of them because they’re competition. I mean, it doesn’t always happen. I’ve worked for some lovely people for whom I had a marvelous time and who were very supportive and wanted to help new writers moving up and they really were — there’s some wonderful people in this town. I really say the problem is we hear more of the bad stories than the good ones. But yes, in case such a thing happens, I think you should take a psychology class frankly. I think everyone should take a psychology class to understand the personalities out there and then you have to find new ways around that. When I felt like there might be someone getting in my way I figured out who my allies were and you made sure to connect with them. At certain points, there were certain things I wanted to change in a script and I knew a person at the table would argue against it. So, I went privately to a different producer on the show, who I knew I actually did get along with well, and explained why I didn’t like something and he was like… He had to agree with me first, right, or he wouldn’t help. He agreed with my point of view and so he knew he could present that in the room because he had a higher title than I did at the time — and so he did and when he presented it, it got accepted. So, I went sideways to get my ideas moved forward. So you know, you find a way.

It’s always fun to sit down with students and share stories about entering the television industry and how things work at all stages and I had that opportunity the other day.

Daniela Torres, a just-graduated (Congratulations!) student of the Columbia College Semester in LA program asked me to guest on a podcast she had recently begun hosting with another college student she met during her internship (good example of networking in action!).

We could have talked all morning (the benefit of a 3 hour class session) but we held it to about an hour and fifteen minutes or so. Hopefully, along the way I answered some questions you might have about how the business works. So often it amounts to working hard at being a better writer and gathering a group of other talented, hard-working people around you so you can all rise together.

Dr. Rosanne Welch is a television writer with credits that include Beverly Hills 90210, Picket Fences, ABCNEWS: Nightline and Touched by an Angel. She also teaches Television Writing and the Art of Film at San Jose State University.

Rosanne discusses what made shows like Beverly Hills 90210 compelling, what to do and not to do when attempting to pitch a show to broadcast or streaming, what most young writers neglect in their writing process, and much more!

The Courier Thirteen Podcast is available on YouTube, Spotify, Apple Podcasts, SoundCloud, and Audible.

19 Make It A Safe Space from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

19 Make It A Safe Space from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

In terms of Handmaid’s Tale, they talk about how much work ahead of time they have to do and how much he wants the whole staff to contribute. He doesn’t want to be the full runner of the show — Bruce Miller — he wants everyone to be part of what he’s creating because he recognizes he’s a man running a show about women being oppressed in this Margaret Atwood future. So he has a particular take there and of course, we’re back to Vince Gilligan who I love greatly. He’s talking about making people feel comfortable, which I said, and I think comfort is very, very important. It has to be a safe place so that everyone is willing to tell their story. I laugh because my first days on Touched by an Angel the way they got all the writers to know each other was everyone had to tell the story of how they lost their virginity and once you told that to a room full of strangers you were willing to tell anything else. So it was an interesting first day of work to be sure. I’m not sure that qualifies as safe anymore but we’ll see.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Follow me on Instagram



* 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!