I was pleased to be invited to make the Introductory Remarks before a screening of 1939’s Stagecoach, written by Dudley Nichols precisely for the opportunity to highlight the importance of screenwriting.
While director John Ford is often the focus of discussions about the film, it is the work Nichols did in adapting a terse short story by Ernest Haycox that makes the film stand out. Nichols expanded the backgrounds of and connections between all of the characters, thus creating a strong ensemble structure that many films have followed ever since.
I had the chance to introduce the attendees to some wonderfully emotional monologues written by a few highly accomplished female television writers, from Susan Harris (on SOAP) to Linda Bloodworth Thomason (on Designing Women) to Maxine Alderton, who wrote a great monologue for the Jodie Whitaker Doctor in her episode “The Haunting of Villa Diadoti”. (Doing a bit of history by showing monologues from TV shows from the 1970s and 80s is one of my goals in our MFA – along with celebrating female screenwriters).
Then I introduced an exercise in writing monologues that involves Thornton Wilder’s Our Town as an inspiration. A few of the attendees shared what they wrote so we could all learn more about how the specificity we bring from our own lives makes our work more universal.
Thanks to Leslie Kreiner for inviting me to do a presentation on Monologues to a conference last year, which created the seed of this exercise. Thanks to Chris for the invitation to share it – and to all the attendees for… attending. Special thanks to those who shared what they wrote to help others see if this is an exercise they would like to incorporate into their teaching.
I was happy to discuss the inspiration for the book, which came from a conversation Rose and I had during a conference. That’s one of the best things about gathering for conferences – the casual conversations that create new collaborations.
I was also happy to discuss the way we arranged the book in “Worlds” because continents are the easiest classification. I give a quick thumbnail of one chapter in each of those Worlds to highlight what type of social or legal advocacy the screenwriter in discussion addressed. It was lovely to be reminded of all the interesting stories told by the writers of each chapter and to appreciate the cultural diversity of storytelling around the world that Intellect made possible by publishing the book.
Chapters cover a spectrum of storytelling from artists offering a window into how women around the world use the screen to advocate for social or legal change. For example, the Samoan performance artist Angela Tiatia, known for her 2014 work, ‘Walking the Wall.” Tiatia displays her Malu Tatau tattoo, which symbolizes the preservation and documentation of cultural practice and identity in online spaces.
One chapter focuses on a junior Pacific Islander lawyer who created a music video calling on the International Court of Justice to issue an advisory opinion on climate change, a matter of concern as rising sea levels threaten the homes and histories of island communities. Other readings in the book examine the film “Kajillionaire” by Miranda July as a platform for imagining queer utopias, the transformative power of the female gaze in the Italian documentary “Trial for Rape,” and the frequently ignored creative roles and contributions that women make behind the scenes of the beloved children’s television show “Bluey.”
It was a pleasure to make this presentation for my colleagues. I hope you enjoy it, too.
“When Women Write What They Say, They Say So Much More: Powerful Actress-writer-producers Past, Present & Future”.
It covers writers like Emma Thompson, who adapted Jane Austen’s Sense and Sensibility, in which she starred as Eleanor, and Gertrude Berg, creator, writer, and star of The Goldbergs, and then everyone from Tina Fey to Issa Rae, to Mindy Kaling to Lena Waithe. This presentation discusses the way women writing their own characters, dialogue, and worlds into existence impacts the audience, the industry, and the way women are seen in society.
Now available to stream is our latest panel, “Unapologetically Herself: Writing Bold and Complex Young Women”. I always try to include one of our MFA alums who have gained spots on TV shows so this one has Alexandra Fernandez who has been on the writing staff of Station 19. Other panelists for this event were Karen Joseph Adcock (Yellowjackets), Beth Appel (The Sex Lives of College Girls), and Stephens alum!!, and Autumn Joy Jimerson (Forever).
Several past WGA panels have included such screenwriters as Marta Kauffman (Creator and Executive Producer of Grace and Frankie), Lucia Aniello (Co-Creator, Executive Producer, and Director of Hacks), Meg DeLoatch (Executive Producer of The Neighborhood and Family Reunion),Joan Rater (A Small Light); and Nia Vardalos (My Big Fat Greek Wedding – and sequels). You can check those out here on our Stephens College MFA in TV and Screenwriting website.
I had a great conversation about Why The Monkees Matter with the two hosts of “Johnny D’s Rock n Roll PhD”. Often, I speak with people who know the music more than the show – or the show more than the music. Here, both hosts had strong knowledge about both, and then we found out he shared the same top 1 songs as our favs.
Watch the video to learn about the many things the TV show taught us about friendship, going against authority and the patriarchy, and living a life full of passion for art above all things commerce – with lots of hidden nods toward the counter culture of the day (like rescuing a giant marijuana plant from misuse by supervillains who would corrupt its powerful fumes for evil). Yeah, they did a whole show about that!
I sat down for an interview about my time as Chair of the Screenwriting Research Network during our last conference in Olumouc, Czech Republic, last September.
I had the chance to discuss the conference we held at Stephens College the year before, how we chose the theme, and the benefit of being a smaller group where real connections have been made. This is part of a series of oral histories on past created by the Executive Council which have morphed into these “Conversations”recorded by EC member Lucian Georgescu (with Camera and editing by Marius Donici).
You can see several other members interviewed on the SRN YouTube Channel as well.
I enjoyed discussing the phenomenon and possible importance of Teen Idols across the generations with Dan Schneider for his Cosmoetica YouTube channel. Of course, he found me thanks to my book on The Monkees ( whose subtitle is “Teenagers, Television, and American Pop Culture”) and I was happy to report on the research I had done for the book about the rise of the term “teen ager” (post WWII when high school became mandatory), those who came before the Monkees (from Sinatra to James Dean to Bobby Sherman), and those who’ve come after (from the Jackson Five to Leonardo DiCaprio to Miley Cyrus).
I shared the panel with Fred Velez who has written about Monkees fandom and together we all delved into what participating in such fandom offers the audience, how streaming and the internet have changed such fandom, and who will be the most remembered teen idols of the century.
At San Diego Who Con 2024 (https://www.sdwhocon.com/), I enjoyed lecturing on “From Shakespeare to Shelley or Dante to Dickens: The Literary References Who Has Introduced You To!”.
I first thought of it while watching an episode with my favorite classic Doctor Peter Davison. I heard a line that was so specific I thought that it had to come from some book I didn’t know. It did. So then I researched what other famous authors had been quoted by the various Doctors and deeply enjoyed finding lots of Shakespeare and Dylan Thomas and of course, Byron and Shelley were in that mix. It was a reminder that writers READ. They read a lot to fuel their work.
The lecture also allowed me to highlight some great English actors who’ve starred in Shakespeare’s works like Patrick Stewart, Derek Jacobi, and Alex Kingston – some of whom also (of course) guested on Doctor Who.
With the conference theme “A Conversation Beyond Script,” I decided to use my presentation time to “Celebrate the Daring Dialogue of Women Writers,” which allowed me to introduce the audience to the work of famous female screenwriters, from Anita Loos to Mae West to Lillian Hellman.
Then I delved into some names lesser-known to our international SRN members because they came from the TV world before the great sharing that streaming has offered us. From Gertrude Berg of The Goldbergs in the 1950s to Susan Harris (Soap, Golden Girls) and Linda Bloodworth Thomason (Designing Women) we covered the progressive (and often controversial) topics they brought to mainstream Americans.