Cannes fights for a cause May 23, 2008

As a jury member for this year’s Cannes Film Festival, not only does Portman have to attend all of the often long and difficult films in selection, she also has to look fabulous on the red carpet for evening premieres. Then still her work isn’t done. Late into the evening Portman has been making appearances at premiere after-parties and gala benefits.

Last night, for example, Portman and fellow juror Alexandra Maria Lara  attended AmfAR’s Cinema Against AIDS gala (full coverage by The Envelope’s Pete Hammond here) where the two were implored by host Harvey Weinstein to vote for Steven Soderbergh’s “Che.” Jury president Sean Penn later turned up for the AmfAR after-party where he was probably subject to similar campaigning.

So how will Natalie Portman, Sean Penn, Alexandra Maria Lara and the rest of the Cannes jury vote?

There is an unending amount of speculation about which film will win the Palme d’Or this year. One camp argues that, given jury president Sean Penn’s great interest in Latin American, marked particularly by his public support of Venezuelan President Hugo Chavez, “Che” is a shoo-in to win. Yet another camp insists that Ari Folman’s animated Israeli quasi-doc “Waltz With Bashir” is in it to win it based on the film’s innovative story-telling style, powerful antiwar message, and unique personal point of view. Still others will tell you that this is finally the year that Clint Eastwood will win Cannes, after a handful of tries, with “Changeling“ his adroit period thriller about a single mother’s battle (Angelina Jolie) against corrupt Los Angeles civic leaders in the late-1920s.

The list of contenders and the arguments go on, but we will not know until Sunday when the Cannes jury reveals their picks. Until then, here are photos from Cannes, including coverage from last night’s big AmfAR’s Cinema Against AIDS gala, in addition to a few red carpet fashion photos from the Palais.

– Sheigh Crabtree

Yeah for healthy dog treats – for the environment and your dog May 22, 2008

treehugger.com – Bark for Peace! dog treats are more than wholesome, organic, non-GMO, gluten-free, corn-free snacks packaged in natural, biodegradable cellophane with labels printed on 100% PCW paper that are carbon-neutral shipped and delivered – they embody a message about saving the world and the love that it will take to get us there. “We think peace is more than the absence of war, rather we hope and work toward the absence of suffering and the flourishing of all! Our dogs show us peace is: rambunctious joy, relentless love, abundant sharing, creative compassion and ever-extended forgiveness,” says B4P founder Lisa Knaggs.

Recently, I had the opportunity to share some of that B4P love. When I returned from last week’s Co-Op America Green Business Conference I was toting two different kinds of tasty eco-treats, one for me and a B4P sample for my puppy Paul. Item #1 contained 100% organic sweet potatoes, tamari, coconut oil, ginger, garlic, turmeric and cayenne; Item #2 was made of 100% organic dates, cashews, goji Berries, lemon juice, and vanilla (take a look after the jump to see which was which).

If you guessed Item #1 was the people treat you might be surprised to learn that those are the full ingredients in the Bark For Peace Sweet Potato Jerky Chews (the other snack was a Cliff Nectar Bar). The real test came when I offered Paul a taste of the jerky chew. Our pup is a bit unusual in his blasé attitude about food so when he went all beggy on me after his first taste I knew this was a real winner, one of the learn-a-new-trick fast variety.

If only there were more goodies – for pets and for their owners – that took as much care to make the world a better place.

Woof! (peace out)

Check out more eco-goodness for your pets on our How To Green Your Pet green guide.

RHODE ISLAND INTERNATIONAL FILM FESTIVAL May 20, 2008

In the Spotlight this week is the 12th Annual RHODE ISLAND INTERNATIONAL FILM FESTIVAL (RIIFF), a highly prestigious event consistently ranked as one of the top film festivals in the United States, and cited by Moviemaker Magazine as one of the “Top 25 Film Festivals Worth the Entry Fee.” An Academy Award-qualifying event, RIIFF takes place in venues throughout Rhode Island.

Ripe with opportunity, RIIFF is packed with tributes, seminars, and symposia, in addition to screenings, parties, and networking opportunities, all designed to foster connections among filmmakers, industry, and the film-going public. Three films which premiered at RIIFF have won Academy Awards, and another ten have been nominated, while many have gained distribution with companies such as HBO and Showtime.

The Festival hosts a number of high-profile premieres and international films, and yet more than 95% of its program comes from direct submissions, and not from other festivals. To quote Chris Gore, RIIFF is “one of the best international film festivals and top 10 short film festivals in the United States. RIIFF provides the kind of intimate festival experience that will change your life. Don’t miss it.”

   

UPCOMING DEADLINE
June 1, 2008 – Late Deadline
Upgraded projects save $5 off this deadline.

MISSION AND OBJECTIVE
The Rhode Island International Film Festival is dedicated to the creation of opportunities for artistic interaction and exchange. The Festival’s goal is to recognize achievement and innovation in a variety of filmmaking and storytelling disciplines while providing an opportunity to secure wider distribution.

MORE ABOUT THE FESTIVAL
RIIFF is the largest festival in New England, and in 2007 alone, showcased 320 cinematic works submitted from over 70 countries, and 34 states in the United States. Attending the Festival were more than 230 filmmakers, producers, cast and crew.

In addition to Oscar qualification in the shorts category, RIIFF grants over $50,000 USD in cash and prizes to winning filmmakers. Past recipients and attendees include Julie Andrews, Zach Braff, Steve Buscemi, Bobby and Peter Farrelly, Ben Stiller, Richard Jenkins, Lloyd Kaufman, Joe Pantoliano, and Matt Dillon. Accepted filmmakers receive reduced rates on area hotels, inns and B&B’s, and also have the option to stay free of charge with community hosts.

Submit your film to RIIFF today to partake in one of the most significant festivals in the United States.

Buy Designer Laptops for a Good Cause May 19, 2008

gizmodo.com – PC Magazine has partnered with HP and a slew of designers to create nine “computerlicious” (one-of-a-kind) laptops for a charity auction. Available on eBay now (and currently up to about $100 a pop), 100% of the auctions’ proceeds will go to The National Cristina Foundation (they donate used PCs to schools and non-profits). If you’ve been looking for a good way to make your new laptop a tax deductible endeavor (or if you just really like Paul Frank), head on over to eBay and do some bidding. [eBay and PCMag]

Simulus Payment Schedule- everyone can find this helpful! May 19, 2008

Stimulus Payment Schedule for Tax Returns
Received and Processed by April 15

Direct Deposit Payments
If the last two digits of your Social Security number are:	Your economic stimulus payment deposit should be sent to your bank account by:
00 – 20	May 2
21 – 75	May 9
76 – 99	May 16
Paper Check
If the last two digits of your Social Security number are:	Your check should be in the mail by:
00 – 09	May 16
10 – 18	May 23
19 – 25	May 30
26 – 38	June 6
39 – 51	June 13
52 – 63	June 20
64 – 75	June 27
76 – 87	July 4
88 – 99	July 11

Trends in Entertainment May 16, 2008

Trends in Arts and Entertainment

Are jobs increasing within your industry? You can find out now! Each quarter, we collect and analyze business professional and corporate member information and report current job and candidate trends across a variety of industries. This information allows you to stay up-to-date on the very latest trends in your industry and make more informed career decisions. Located below are just a few employment trends in your specific area of interest from first quarter of 2008.

Top 10 positions Graphic Designer Designer Creative Writer Multi-Media Artist Illustrator Commercial Designer Animator Painter Editor Craft Artist

Politics May 14, 2008

NEW YORK – Hillary Rodham Clinton’s shellacking of Barack Obama in the West Virginia primary Tuesday may burnish her image as a champion of the economically disadvantaged and bolster her determination to campaign through the final contests. But it does little to alter the unforgiving political landscape she faces.

The former first lady’s lopsided victory in West Virginia had long been expected, given the demographic makeup of the state: It is 95 percent white, has no urban core and counts among its residents some of the poorest and least educated of any state. It also had just 28 delegates at stake.

Clinton has performed strongly among white working-class voters throughout the campaign in states such as Ohio and Pennsylvania, while Obama has struggled to adapt his message of hope and change to address the economic anxieties those voters face. That, in turn, has allowed the former first lady to openly question Obama’s chances in a general election against Republican John McCain.

In her speech Tuesday night, Clinton was expected to make a direct pitch to superdelegates on the electability argument, hoping they would reconsider the two candidacies.

The Associated Press made its West Virginia call based on surveys of voters as they left the polls. Not surprisingly, even before voting was done, the Clinton campaign seized on the expected outcome there to suggest Obama is having trouble winning primaries in important swing states.

“Hillary has predicted victory against Sen. McCain in West Virginia based on the strength of her economic message,” the campaign said in a memo to reporters. “Given the attempts by our opponent and some in the media to declare this race over, any significant increase in voter turnout, coupled with a decisive Clinton victory, would send a strong message that Democrats remain excited and energized by Hillary’s candidacy.”

But none of that changes the central problem for Clinton: Since her loss in North Carolina and narrow victory in Indiana last Tuesday, the New York senator has been battling the growing realization that her once-formidable candidacy may have finally run out of steam.

Saddled with more than $20 million in debt and facing a near mathematical impossibility of catching Obama among pledged delegates and in the popular vote, Clinton has watched a steady stream of superdelegates migrate toward the Illinois senator despite his apparent problems winning key party constituencies.

Superdelegate Roy Romer, a former Colorado governor and Democratic National Committee chairman under President Clinton, announced his support for Obama on Tuesday.

While Romer acknowledged a “great personal friendship” with Hillary Clinton, he said he believed the time had come to move forward to the general election.

“As I watched the campaign unfold, I realized there was a different kind of winning possibility with Senator Obama,” Romer said. “I became convinced Senator Obama is the most electable of the two.”

Obama, flush with cash and running a robust campaign in the final primary states, has turned much of his focus to McCain and the general election contest. He was spending Tuesday night in Missouri, an important swing state, before flying to Michigan on Wednesday.

Clinton’s advisers say she is well aware of the daunting task she faces but wants to carry on, believing she owes it to her supporters and to the voters eager to participate in the remaining contests.

Clinton is favored to win Kentucky’s primary next Tuesday and Puerto Rico’s on June 1. She also wants to see the stalemate over disputed results in Michigan and Florida resolved, hopefully at a meeting of the DNC Rules and Bylaws Committee May 31.

Steve Grossman, a former DNC chairman who is supporting Clinton, says she has more than earned the right to continue her fight to the finish.

“Hillary, who is absolutely mindful of the daunting nature of the math, feels an obligation to her supporters and a belief that her voters have to be major participants in the fall campaign for a Democrat to win,” Grossman said. “She’s determined not to break faith with those voters — not just women, but a lot of them are. It’s about fairness and respect for Hillary and her army of activists, fairness and respect for the voters who’ve yet to be counted.”

302 Writing Prompts May 14, 2008

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Opportunities for travel writers May 14, 2008

Part 1:
Opportunities for travel writers

Travel and writing go together like passports and visas. Most major newspapers have travel sections, dozens of magazines are devoted to travel, book publishers churn out guidebooks to destinations great and small, and books by authors like Paul Theroux and Peter Mayle have helped to breathe new life into the long-dormant travel narrative or “armchair travel” genre.

This doesn’t mean that travel writers are getting rich. (In fact, most aren’t.) But it does mean there’s a large audience for travel prose. You can reach that audience if you know your subject and can bring it to life through good writing.

Guidebooks

The guidebook market is tough to crack, simply because there already are too many guidebooks chasing after a finite number of buyers. However, opportunities do come up from time to time. A couple of years ago, for example, Rough Guides used its Web site to recruit writers for a U.S. guidebook series. And I was commissioned to write Buying Travel Services on the Internet, a book for McGraw-Hill largely because of my Europe for Visitors travel site.

Self-publishing can be a viable approach in tourist markets that aren’t large enough to interest the major national publishers. An entrepreneurial writer in a place like Washington’s San Juan Islands, the Black Hills of South Dakota, Northern Minnesota, or Nova Scotia might be able to earn a modest income from a privately published guidebook.

(CAUTION: Before trying this approach, analyze the size of your local tourist market and make sure you don’t already have competition. Also, you’ll need chutzpah and marketing skills to win distribution through local bookstores, visitors’ bureaus, and businesses frequented by tourists.)

Travel narrative

In the “armchair travel” genre, you need two things to succeed: an interesting topic and the ability to write a nonfiction book that reads much like a novel.

A destination that’s off the beaten path is more likely to interest an editor than yet another book about Paris or Tuscany. Still, a new angle on an old subject might work. An American’s lively account of two years as a chef’s apprentice in French restaurants might well find a publisher. Similarly, a three-month tour of Northern Italy on horseback could be intriguing to editors and readers.Travel Writing for
Pleasure and Profit
Continued from page 1

 

Magazines are a highly competitive market. The top magazines assign most articles to experienced travel writers, while smaller magazines don’t pay much and usually cover niches that you may not have the qualifications (or the interest) to write about.

Still, surprises do happen. Juli Van Zyverden, a librarian who produced a not-for-profit Web site called the Venice Italy Index until recently, was asked to write an article on Venice for a major airline magazine after an editor saw her Web pages.

Newspapers can be a good market for freelancers. The pay is usually low, but you can sometimes sell the same article to newspapers in different cities–unless you’re dealing with one of the growing number of newspaper chains that require freelancers to license all rights or, worse yet, insist on “work for hire” contracts that give copyright ownership to the newspaper.

As with most travel writing, you’ll have the best chance of selling an article to a newspaper if you’re writing about a destination that hasn’t received extensive coverage or that the newspaper’s own staff hasn’t visited. Again, a new angle on an old topic might work–e.g., a first-person account of visiting Paris with your dog and new baby.

To find magazine and newspaper markets for your work, see Writer’s Market (published by Writer’s Digest Books and available in most public libraries).

Advertising and corporate work

Somebody has to write the travel literature that fuels demand for airline seats, hotel rooms, tour packages, and other services of the travel trade.

Corporate incentive travel is another growing market. When your local insurance company is sending its top 200 agents to Hawaii or Hong Kong, it needs someone to write a brochure that makes the destination enticing to agents and their spouses.

If you can tap into these markets, you can expect to earn anywhere from $20 or $25 an hour for low-budget work to $75 an hour and up for major corporate assignments. To find such work, assemble a portfolio of your clippings. Then show it, with your résumé, to potential buyers such as advertising agencies, art studios, corporate marketing-communications departments, and your local Convention & Visitors’ Bureau. (Don’t worry if you don’t have printed samples–instead, read the “Web sites” section on page 3.)Travel Writing for
Pleasure and Profit

The Web is a hotbed of travel writing, both paid and noncommercial.

Commercial sites fall into two categories:

Sites that recycle content from traditional print media. Guidebook sites like Lonely Planet and magazine sites like Travel Holiday fall under this heading.

Sites that buy or develop original content. Microsoft Expedia, Travelocity, and other e-commerce sites develop material in-house or hire freelancers, although some use content from third-party sites. Travel “content sites” (similar to online magazines) may use freelancers or contractors to create travel material.

Non-commercial Web sites don’t supply folding money, but they can showcase your work and–if you’re lucky–lead to paying assignments.

For example, you might put together your own travel guide to a favorite destination. (My profitable Europe and Venice travel sites grew out of The Baby Boomer’s Venice, which I created as part of a review of FrontPage 1.1 for Boardwatch Magazine in 1996.) Or you could write a travelogue, possibly illustrated by your vacation photos or sketches.

Many large Web sites offer free hosting of user Web pages, but be careful–some insist on displaying annoying pop-up ads with every page.

If you’re writing a travelogue, another possibility is to submit it to a travelogue site like Travelpod, Rec.Travel Library, and TrainWeb Rail Travelogues

 

 

 

 

Writers’ Confrences May 12, 2008

This is a list of worldwide conferences for writers of all genres.

 Canada

• Shuswap International Writers’ Festival – Salmon Arm, British Columbia
• Surrey International Writers’ Conference – Surrey, British Columbia

United States

• Algonkian Writer Conferences – Arizona, California, Massachusetts, Virginia
• Art of the Wild Writers’ Conference – Olympic Valley, California
• |Authors of the Flathead conference Kalispell, Montana
• Book Passage Children’s Writers & Illustrators Conference:: Corte Madera, California:: [[1]]
• Book Passage Mystery Writers Conference:: Corte Madera, California:: [[2]]
• Book Passage Travel Writers & Photographers Conference:: Corte Madera, California:: [[3]]
• Bread Loaf Writers’ Conference – Middlebury, Vermont
• Colrain Poetry Manuscript Conference – Colrain, Massachusetts
• Colorado Christian Writers Conference – Estes Park, Colorado
• The Frost Place Poetry Conferences – Franconia, New Hampshire
• Georgia Writers SpringFest Conference Kennesaw, Georgia
• Jackson Hole Writers Conference – Jackson Hole, Wyoming
• Key West Literary Seminar – Key West, Florida
• NYC Pitch and Shop Writers Conference – New York, New York
• Pikes Peak Writers Conference – Colorado Springs, Colorado
• Santa Fe Writers Conference – Santa Fe, New Mexico
• Sewanee Writers’ Conference – Sewanee, Tennessee
• Southampton Writers Conference – Southampton, New York
• Southern California Writers’ Conference
• Southern Women Writer’s Conference – Berry College, Rome, Georgia
• Squaw Valley Writer’s Conference – Olympic Valley, California
• Women Writers Conference – Lexington, Kentucky: Kentucky Women Writers Conference, Lexington, Kentucky, September 11–13, 2008.
• WordSmitten Writing Conference:: St. Petersburg, Florida:: [[4]]
• Writers in Paradise – St. Petersburg, Florida [[5]]

screenwriting competition May 12, 2008

LAST CALL FOR ENTRIES FOR THE WRITERS PLACE SCREENWRITING COMPETITION

Final Deadline: May 15, 2008

Full-Length Script, Single Entry (not more than 130pp) $65
Full-Length Script, Multiple Entry (not more than 2 scripts) $105
Teleplay/Short, Single Entry (not more than 40pp) $45
Teleplay/Short, Multiple Entry (not more than 2 scripts) $75

Finalists announced on June 1, 2008
Winners announced on July 1, 2008

See our screenplay contest page located at
http://thewritersplace.org/screenplay_contest.shtml.

GOOD LUCK AND KEEP WRITING!

James E. Fischer / Paula C. Brancato
www.thewritersplace.org

Script Coverage May 12, 2008

If you ever considered getting professional screenplay coverage…

Here’s why you should choose Scriptapalooza Script Coverage.
We are considered the best coverage service in the industry by
agents, managers, producers and screenwriters.

Your complete script is analyzed – from page 1 to the last page!
We do coverage on screenplays and novels too…

www.scriptcoverage.com

A writer can’t afford NOT to have his script professionally
analyzed and critiqued prior to submitting it to the
industry for two major reasons: Industry Response and
Script/Writer Development.

INDUSTRY RESPONSE: Getting industry feedback and
industry impression of your work without getting a
“pass” is essential. No matter what the submission
channels it goes through in the industry, it will be
covered by a reader. Prior to going out to the industry
with your script, you want to make sure you are putting
forward the best version of your script possible.
This script is your calling card, your writing sample. It
will get into doors before you do and you want to make
sure it creates opportunities for you.

SCRIPT AND WRITER DEVELOPMENT: The priceless feedback
a professional reader can give the writer as it relates to
their script cannot be found in any screenwriting book.
You may know the basics, but how to apply your story
within that framework is the difference between an
attention grabbing script and one that misses the mark
entirely and is passed over. For a writer setting out to
have a long-term writing career it isn’t just about the one
big sale, although that is part of it. It is about being a
fantastic writer and having longevity in the professional
screenwriting world. In order to continue improving, not
only the script, but the writer as well, having your script
get coverage is one of the best steps towards both goals.

We are offering:

Regular Coverage – $175

Development Coverage – $250

www.scriptcoverage.com

LA ACTOR DEBUT OPPROTUNITY May 12, 2008

L.A.’s Rock Newspaper Since 1983

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in the Debut Issue of L.A. ACTOR
A Free Monthly Magazine for Los Angeles

Your Headshot Ad Delivered to Talent Agencies, Casting
Directors, and the Hollywood Motion Picture Industry!

Just Email your Headshot or Artwork to
webmaster@laactor.net
or if that mailbox is full,
webmaster@rockcitynews.com
with your basic info

Attach headshot as .jpg or .pdf
any size under 2 MB is OK

Call 323-461-4700 for more info
www.laactor.net

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Movie News, Headshots, Castings Calls,
Calendars, and Everything today’s Actors Need

Your Headshot Published and Delivered to Hundreds
of Casting Agencies, Casting Directors, Acting Schools,
Headshot Photographers, Duplicators, Coffee Shops,
and the usual array of hip stores and newstands thru L.A.

Deadline is Tomorrow
May 13th, for the First Issue,
the debut issue of L.A. ACTOR
35,000 Circulation in Los Angeles – Full Page Color: $575
Headshot Special: $99 – w/ this email: FREE
Call 323-461-4700 or email webmaster@laactor.net

festival updates May 8, 2008

This week, 11 new festivals are ready and waiting for your submissions,
joining dozens of opportunities already open and some that are set to
expire in the next few days. Check them out, and submit your film or
screenplay before it’s too late!

JUST A SAMPLING:
- Festival du nouveau cinema (CANADA)
- Napa Sonoma Wine Country Film Festival
- American Black Film Festival
- Action/Cut Short Film Competition
- International Documentary Association Awards
- DocuWeek Theatrical Documentary Showcase
- Independent Television Festival

AND SOME LGBT OPPS:
- Austin Gay & Lesbian International Film Festival
- Reeling: The Chicago Lesbian & Gay International Film Festival
- Clip (Tampa International Gay and Lesbian Film Festival)

Read on for more fests and competitions, and submit, submit, submit!

WABEES A BIG HIT AT NASHVILLE
Withoutabox filmmakers weren’t singing any sad country tunes at 39th
Annual NASHVILLE FILM FESTIVAL this year because they managed to nab
more
than 70% of the honors!

WABees won a wide variety of awards that ranged from the Reel Current
Award,  presented by Al Gore, to the Golden Opportunity Award For Best
College Student Short, sponsored by Vanderbilt University. Triple
kudos
to Barry Simmons’ SONS OF LWALA, which earned an impressive three
awards – the Audience Award For Best Narrative Feature, the Tennessee
Independent Spirit Award for the Best Feature-Length Film Directed By
a
Tennessee Resident, and the NPT (Nashville Public Television) Human
Spirit
Award.

Congrats to all of the big winners, and everyone who was accepted to
this prestigious event. Missed the deadline for 2008? Submit your film
next year, to be part of the 40th Nashville Film Festival in 2009!

FIND YOUR OWN PATH TO SUCCESS…ON THE BOARDS!
The Withoutabox Messageboards are a great way to research your film’s
best path for success in the festival circuit…from Nashville to
Norway
and everywhere in between.
http://www.withoutabox.com/boards

___________________________________________________________________________

WELCOME BACK TO OLD FRIENDS:

International Horror & Sci-Fi Film Festival, Phoenix, AZ
May 22, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4417

Arpa International Film Festival, Los Angeles, CA
June 16, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1442

Brilliant Light International Film Festival of Los Angeles, Los
Angeles, CA
June 20, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5088

Festival du nouveau cinema, Montreal, CANADA
June 30, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6099

Sacramento International Film Festival, Sacramento, CA
June 30, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3816

Santa Fe Film Festival, Santa Fe, NM
July 5, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3811

Myrtle Beach International Film Festival, Myrtle Beach, SC
July 11, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4212

Anchorage International Film Festival, Anchorage, AK
July 15, 2008 – Earlybird Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/2621

East Lansing Film Festival, East Lansing, MI
October 1, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1168

AND WELCOME TO THESE BRAND NEW PARTNERS:

Reel Sisters of the Diaspora Film Festival & Lecture Series, New
York,
NY
May 19, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6401

American Black Film Festival, New York, NY
June 3, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1006

___________________________________________________________________________

LAST CHANCE EXTENDED DEADLINES – EXCLUSIVE TO WITHOUTABOX:

Blue Plum Animation Festival, Johnson City, TN
MAY 07, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/5856

DFW Indie Club Gong Show, Dallas, TX
MAY 09, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4896

Bayou City Inspirational Film Festival, Houston, TX
MAY 10, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/6415

DC Shorts Film Festival, Washington, DC
MAY 10, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4374

HDFEST, New York, NY
MAY 12, 2008 – WAB Extended Deadline
Upgraded projects save $20
Watch List: http://www.withoutabox.com/watch/5780

Milwaukee International Film Festival, Milwaukee, WI
MAY 13, 2008 – WAB Extended Deadline
Upgraded projects save $20
Watch List: http://www.withoutabox.com/watch/3789

Bronx Independent Film Festival, Bronx, NY
MAY 15, 2008 – WAB Extended Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5024

NYC PictureStart Film Festival, New York, NY
MAY 15, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/3999

Woods Hole Film Festival, Woods Hole, MA
MAY 15, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/1230

Gaia Film Festival, Boulder, CO
MAY 16, 2008 – WAB Extended Deadline
Upgraded projects save $15
Watch List: http://www.withoutabox.com/watch/4235
________________________________________

THESE BIG DEADLINES APPROACHING FAST:

HATCH Audiovisual Arts Festival, Bozeman, MT
MAY 08, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3986

International Documentary Association Awards (IDA), Los Angeles, CA
MAY 08, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3320

New Hampshire Film Festival, Portsmouth, NH
MAY 08, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/3777

ACE Film Festival, New York, NY
MAY 09, 2008 – Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5776

Central Florida Film Festival, Orlando, FL
MAY 09, 2008 – Regular Deadline
Upgraded projects save $10
Watch List: http://www.withoutabox.com/watch/5633

DocuWeek Theatrical Documentary Showcase, Los Angeles, CA
MAY 09, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1176

New Orleans Film Festival, New Orleans, LA
MAY 09, 2008 – Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1271

Wyoming Short Film Contest, Cheyenne, WY
MAY 09, 2008 – WAB Extended Deadline
NO ENTRY FEE.
Watch List: http://www.withoutabox.com/watch/6771

Detroit Windsor International Film Festival, Detroit, MI
MAY 10, 2008 – Late Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6091

Boulder Adventure Film Festival, Boulder, CO
MAY 11, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4787

FirstGlance Feature and Short Screenplay Competition, Los Angeles, CA
MAY 11, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/4311

Washougal International Film Festival, Washougal, WA
MAY 12, 2008 – Earlybird Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/6905

Reeling: The Chicago Lesbian & Gay International Film Festival,
Chicago, IL
MAY 13, 2008 – Earlybird Deadline
NO ENTRY FEE
Watch List: http://www.withoutabox.com/watch/1082

Clip (Tampa International Gay and Lesbian Film Festival), Tampa, FL
MAY 14, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/1372

Dances With Films, West Hollywood, CA
MAY 14, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5932

Action/Cut Short Film Competition, Studio City, CA
MAY 15, 2008 – Late Deadline
Upgraded projects save $5
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Austin Gay & Lesbian International Film Festival, Austin, TX
MAY 15, 2008 – Regular Deadline
Upgraded projects save $5
Watch List: http://www.withoutabox.com/watch/5832

California International Animation Festival, Modesto, CA
MAY 15, 2008 – Late Deadline
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Chicago International REEL Shorts Festival, Chicago, IL
MAY 15, 2008 – Earlybird Deadline
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Chicago Underground Film Festival, Chicago, IL
MAY 15, 2008 – Earlybird Deadline
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DC Labor FilmFest, Washington, DC
MAY 15, 2008 – Regular Deadline
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KIDS FIRST! Film Festival, Santa Fe, NM
MAY 15, 2008 – Late Deadline
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Mill Valley Film Festival, Mill Valley, CA
MAY 15, 2008 – Regular Deadline
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Moondance International Film Festival, Boulder, CO
MAY 15, 2008 – Late Deadline
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Moving Stories Short Film Festival, Toronto, CANADA
MAY 15, 2008 – Regular Deadline
Upgraded projects save $5
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Napa Sonoma Wine Country Film Festival (formerly Wine Country Film
Festival), Glen Ellen, CA
MAY 15, 2008 – Late Deadline
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NewFilmmakers, New York, NY
MAY 15, 2008 – Regular Deadline
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Newburyport Documentary Film Festival, Newburyport, MA
MAY 15, 2008 – Earlybird Deadline
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Ojai Film Festival, Ojai, CA
MAY 15, 2008 – Regular Deadline
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Red Bank International Film Festival, Red Bank, NJ
MAY 15, 2008 – Regular Deadline
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Rhode Island International Film Festival (RIFF), Newport, RI
MAY 15, 2008 – Regular Deadline
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Rome International Film Festival, Rome, GA
MAY 15, 2008 – Late Deadline
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Route 66 Film Festival, Springfield, IL
MAY 15, 2008 – Earlybird Deadline
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San Diego International Children’s Film Festival, San Diego, CA
MAY 15, 2008 – Regular Deadline
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Small Town Film Festival, Chatham, CANADA
MAY 15, 2008 – Earlybird Deadline
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URBIS ANIMAX, Christchurch, NEW ZEALAND
MAY 15, 2008 – Late Deadline
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VISIONFEST, New York, NY
MAY 15, 2008 – Late Deadline
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West Hollywood International Film Festival, West Hollywood, CA
MAY 15, 2008 – Late Deadline
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Writers Place Screenwriting Competition, Pensacola, FL
MAY 15, 2008 – Late Deadline
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Colorado Environmental Film Festival, Golden, CO
MAY 16, 2008 – Late Deadline
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Dragon*Con Independent Short Film Festival, Atlanta, GA
MAY 16, 2008 – Earlybird Deadline
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Eugene International Film Festival, Eugene, OR
MAY 16, 2008 – Late Deadline
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Film Series at Cine Gear Expo, Los Angeles, CA
MAY 16, 2008 – Late Deadline
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Global Peace Film Festival, Orlando, FL
MAY 16, 2008 – Regular Deadline
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Harvest Moon Film Festival, Muncie, IN
MAY 16, 2008 – Earlybird Deadline
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HollyShorts Film Festival, Hollywood, CA
MAY 16, 2008 – Late Deadline
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Independent Television Festival, Los Angeles, CA
MAY 16, 2008 – Regular Deadline
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La Femme Film Festival, Beverly Hills, CA
MAY 16, 2008 – Earlybird Deadline
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Montclair International Film Festival, Montclair, NJ
MAY 16, 2008 – Late Deadline
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Planet Ant Film and Video Festival, Hamtramck, MI
MAY 16, 2008 – Late Deadline
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Roxbury Film Festival, Roxbury, MA
MAY 16, 2008 – Late Deadline
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The 7th annual Forecastle Festival, Louisville, KY
MAY 16, 2008 – Regular Deadline
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Watch List: http://www.withoutabox.com/watch/6543

Simple Writing Tricks for Easy Reading May 7, 2008

Writing Tricks That makes your screenplay easier to read…

o        SOUND EFFECTS… Sound effects are written in ALL CAPS but sometimes there’s confusion between what constitutes a sound effect and what constitutes dialog. For instance: Does Shelly scream or SCREAM? Does the dog bark or BARK? One simple way to remember the answer is to ask your self if the source of the sound is ON-SCREEN.  If Shelly is on-screen when she screams, then it would not be capitalized. If she SCREAMS from another room, then it would be capitalized. If the dog is on-screen when it barks, then you wouldn’t capitalize it. However, if the dog BARKS outside, then you would. Get it?

 

o        O.S. – V.O. – O.C. … These terms sometimes confuse the writer. O.S stands for off-screen or out-of shot and is used in FEATURE FILM writing when the speaking character is talking but from another room or area of the set that’s not seen in the current shot. V.O. stands for voice-over. Characters in the scene usually can’t hear the dialog because it’s said mainly for the audience’s benefit. It’s often used when someone is reflecting (to us) about the past, or when a character is reading a letter (we may hear whoever wrote the letter reading it to us aloud). O.C. stands for off-camera and is used in the same circumstance as O.S. except only for television.

 

o        PHONE CONVERSATIONS… These can be a real pain.  When you cut back and forth between  two locations with scene headings,  the flow of the story is interrupted. One great way to get around this is to set up the first scene and when you cut to the second location, you’ll set this up too. As soon as you’ve written your brief descript of the location, you’ll want to add (INTERCUT PHONE SEQUENCE). Then carry on the conversation as you normally would if both characters were talking face to face. When the conversation is over, the character your left describing will dictate which location finishes out the scene. Get it?

 

o        TRAVELING SHOTS WITH CARS AND DIALOG… Use INT/EXT in your scene heading. For instance your scene heading may look like this: INT/EXT  CAR/ROAD – DAY  then write your description including outside happenings and inside dialog.

 

o        FOREIGN LANGUAGES… when you’re using a foreign language that you don’t know, simply add just prior to the dialog in narrative something like this: (She speaks ITALIAN, subtitled). Of course, you’ll use whatever is appropriate for your situation.

 

o        WHEN A CHARACTER SINGS A SONG… Under the character name in dialog you’ll want to “direct” the actor by adding (singing). Then when you place the song lyrics in the dialog, USE ALL CAPS and break the lines, if possible, where they break in the lyrics.

 

o        MONTAGE OF SHOTS… these scenes are very brief, usually do not include any dialog, and usually center around a common theme. For instance, your characters may be spending their time shopping at the mall. You want to show them with each other purchasing various items at a couple different stores but you don’t want to set up each experience as an entirely different scene. For instance:

 

BEGIN SHOPPING MALL MONTAGE. DEPARTMENT STORE COSMETIC COUNTER. Shelly’s makeup is done by a professional. Her mother’s next. FINE DRESS SHOP. Pearl waits for Shelly outside the dressing room. Shelly appears in a gorgeous Chanel gown.  MALL. Pearl and Shelly hurry toward the jewelry shop. They laugh as they struggle with bags bursting with purchases.

    Then proceed to your next scene heading. between

 

 

heading.

Sample Submission Agreement May 7, 2008

**************this is a sample agreement and you should consult legal councel before signing any documents******************

 

Date:

Title of Material Submitted:

 

Producer

Studio/Production Company

Address

City, State Zip

 

Dear (producer’s name – or company name):

I am today submitting for possible use by you my material described as follows:

Title:____________________  Form of Material:____________________

Brief summary of Theme or Plot:__________________________________

___________________________________________________________

Such submission is made pursuant and subject to the following terms and conditions:

1. I understand that because of your position in the entertainment industry you receive numerous unsolicited submissions of ideas, formats, recordings, presentations, stories, suggestions and the like which may be similar to those developed by you, your partners, associates, your employees or to those otherwise available to you.  I further understand that you have adopted the policy with respect to unsolicited submissions of material, or refusing to accept, consider or review such material unless the person submitting such material has signed an agreement in form substantially the same as this. I specifically acknowledge that you would refuse to accept, consider or otherwise review the Material in the absence of my acceptance of each and all provisions of this agreement.  It is understood that no confidential relationship is established by my submitting the Material to you hereunder.  I shall retain all rights to submit this or similar material to persons other than you except as may be otherwise set forth and made a part hereof.
2. In consideration of my execution of this agreement and of the submission concurrently herewith, you agree to cause the Material to be reviewed.
3. I have retained at least one copy or duplicate of the Material submitted to you concurrently herewith.  You will make a reasonable effort to return the Material to me on my request, or otherwise make it available for my pickup.  However, you shall not be responsible to me, financially or otherwise, for any inadvertent loss of, or damage or destruction to the Material.  I understand that your returning the Material to me shall not terminate or affect any rights or obligations under this agreement.
4. I agree that you have no obligations to me with respect to the Material except as in this agreement set forth, and that no other obligations exist or shall be deemed to exist.  I further acknowledge that at this time you have no intent to compensate me in any way and I have no expectation of receiving any compensation.  However, you agree that, except as provided in Paragraph 5 below, you will not use the Material unless you and I hereafter mutually agree upon terms which are made a part hereof.
5. If the Material or any elements thereof submitted by me is not new, unique, concrete, or novel and/or is in the public domain and/or does not constitute protectable property and/or is not original with me, I agree that you have the right to use such elements without any obligation to me whatsoever.  Without limiting the foregoing, I claim rights in the title of the Material only as regards its use in connection with the Material.
6. In the event any litigation should be instituted under or pursuant to any provision of this agreement or otherwise with respect to the material, the unsuccessful party shall bear all costs and expenses incurred by the successful party.  This agreement shall be construed and interpreted pursuant to the laws of the State of California.  Any award favorable to me shall be limited to a monetary award which shall either (a) bear a reasonable relationship to monies normally paid by you for similar material or elements, or (b) be an amount equal to fair market value therefore, whichever amount the Court shall deem appropriate in the circumstances.  Said award in either event shall be measured by monies normally paid by you for similar material or elements or fair market value as of the date of this agreement.
7. I hereby warrant and represent that: (a) the Material was created and is solely owned by me and no other person, firm or corporation has any right, title or interest therein or thereto; (b) I have full right to submit same to you upon all the terms and conditions stated herein; and (c) the description of the Material as herein specified contains all the elements thereof.  I will forever indemnify you from any and all claims, loss or liability (including reasonable attorney’s fees) that may be asserted against you or incurred by you at any time in connection with the material or any use thereof and arising from any breach of these warranties.
8. Either party to this agreement may assign or license its rights hereunder, but such assignment or license shall not relieve such party of its obligation hereunder.  If more than one party signs this agreement as to the submitting party, then reference to “I” or “me” throughout this agreement shall apply to each such party, jointly and severally. Should any provision or part of any provision be void or unenforceable, such provision or part thereof shall be deemed omitted and this agreement with such provision or part thereof omitted shall remain in full force and effect.

   Very truly yours,

   SUBMITTING PARTY (S)
   ___________________________
           (Signature)
   ___________________________
           (Print name and company)
   ___________________________
           (Address)
   ___________________________
           (Phone)          (Fax)

   ___________________________
           (Signature)
   ___________________________
           (Print name and company)
   ___________________________
           (Address)
   ___________________________
           (Phone)           (Fax)                                                  Accepted and agreed:
                                                                                             Producer/Company Name
                                                                                             By:__________________
                                                                                             Date:_________________

 

Sample Writers Collaboration Agreement May 7, 2008

***************This is a sample contract. You should seek legal councel before signing any documents**************  

WRITERS’ COLLABORATION AGREEMENT

 

This AGREEMENT made at _____________________, California, by and between ____________________ and ____________________, hereafter sometimes referred to as the “Parties”.

The Parties are about to write in collaboration an (original story) (treatment) (screenplay) (other) ___________, hereinafter referred to as the “Work”, and are desirous of establishing all their rights and obligations in and to said Work.

Now, therefore, in consideration of the execution of the Agreement, and the undertakings of the Parties as hereinafter set forth, it is agreed as follows:

1. The Parties shall collaborate in the writing of the Work and upon completion thereof shall be the joint owners of the Work (or shall own the Work in the following percentages: _________________________).
   
2. Upon completion of the Work it shall be registered with the Writers Guild of America, West, Inc. as the joint work of the Parties.  If the Work shall be in form such as to quality it for copyright, it shall be registered for such copyright in the name of both Parties, and each Party hereby designates the other as his attorney-in-fact to register such Work with the United States Copyright Office.
   
3. It is contemplated that the Work will be completed by not later than ________, 19___, provided, however, that failure to complete the Work by such date shall not be construed as a breach of said AGREEMENT on part of either Party hereto.
   
4. If, prior to the completion of the Work, either Party shall voluntarily withdraw from the collaboration (which withdrawal must be confirmed in writing), then the other Party shall have the right to complete the work alone, or in conjunction with another collaborator or collaborators, and in such event the percentage of ownership, as set forth hereinabove in Paragraph 1, shall be revised by a written amendment hereto.
   
5. If, prior to completion of the Work, there shall be a dispute of any kind with respect to the Work, then the Parties may terminate said Agreement by an instrument in writing, which shall be filed with the Writers Guild of America, West, Inc.
   
6. Any contract for the sale or other disposition of the Work, where the Work has been completed by the Parties in accordance herewith, shall require that the writing credit be given to the authors in the following manner: __________________________.
   
7. Neither Party shall sell, or otherwise voluntarily dispose of the Work, or their share therein, without the prior written consent of the other, which consent, however, cannot be unreasonably withheld.
   
8. It is further acknowledged and agreed that ______________ shall be the exclusive agent of the Parties for the purpose of sale or other disposition of the Work or any rights therein, until such agent is terminated by the Parties, or ceases to represent the Work for any reason. Such agent shall have a six-month period in which to sell or otherwise dispose of the Work and the commission for the sale or other disposition of the Work shall be 10 percent (10%).
   
9. Any and all expenses of any kind whatsoever which shall be incurred by either or both of the Parties in connection with the writing, registration, or sale or other disposition of the Work shall be prorated in accordance with the respective percentage share of each of the Parties hereto, as set forth hereinabove in Paragraph 1.
   
10. All money or other consideration whatsoever derived from the sale or other disposition of the Work shall be applied as follows:

         (a) In payment of commissions, if any,
         (b) In payment of any expenses or reimbursement of either Party for expenses paid in             connection with the Work,
         (c) to the Parties in proportion of their ownership.

11. It is further understood and agreed that, for the purposes of said Agreement, the Parties shall share hereunder, unless otherwise stated herein, the proceeds from the sale or any and all other disposition of the Work and the rights and licenses therein and with respect thereto, including but not limited to the following:

         (a) Motion picture rights
         (b) Sequel rights
         (c) Remake rights
         (d) Television film rights
         (e) Television live rights
         (f) Stage rights
         (g) Radio rights
         (h) Book and other media publication rights
    

12. Should the Work be sold or otherwise disposed of and, as an incident thereto, the Parties – or either of them – be employed to revise the Work or write another media presentation thereof, the total compensation provided for in  such employment agreement shall be shared by the Parties hereto in the same proportion as their ownership as set forth hereinabove in Paragraph 1.  If either Party is requested to be involved in such revision but shall be unavailable for collaborating therein (which unavailability shall be evidenced by a written confirmation thereof, signed by such unavailable Party), then the Party who is available shall be permitted to do such revision and shall be entitled to the full amount of compensation in connection therewith.
    
13. If either Party hereto shall be employed in any capacity other than in connection with the rewriting or revision of the Work (e.g., as an Associate Producer), then the other Party shall not be entitled to either any compensation or credit in connection therewith.
14. If either Party hereto shall desire to use the Work, or any right therein or with respect thereto, in any venture in which such Party shall have a financial interest, whether direct or indirect, the Party desiring to do so shall notify the other Party of the fact and shall afford such other Party the opportunity to participate in the venture or in the proportion of such other Party’s interest in the Work.  If such other Party shall be unwilling or unable to participate in such venture, such other Party shall have no further right of participation, or to any compensation arising therefrom, other than their proportionate share in the sale or other disposition of the Work to such a venture at it’s fair market value which, in  the absence of mutual agreement of the Parties, shall be determined by arbitration in accordance with the regulations of the Writers Guild of America, West, Inc.
    
15. Said AGREEMENTS shall be executed in sufficient number of copies so that one fully executed copy may, and shall, be delivered to each Party and the Writers Guild of America, West, Inc.  If any disputes shall arise concerning the interpretation or application of said Agreement, or the rights or liabilities of the Parties arising hereunder, such disputes shall be submitted to the Writers Guild of America, West, Inc.  For arbitration in accordance with the arbitration procedures of the Guild, and the determination of the Guild arbitration committee as to all such matters shall be conclusive and binding upon the Parties.

    Dated _____ day of _____________, 19___.

    ________________________                ________________________
      Type name / sign above                              Type name / sign above
    

Top fellowships and contests May 7, 2008

******These are some top fellowships and such. They have old dates on them so research and find out new deadlines**********

NICHOLL FELLOWSHIP – DEADLINE:  MAY 1, 2006

Academy Foundation
Nicholl Fellowships in Screenwriting
1313 N. Vine Street
Hollywood, CA  90028-8107

This is the most prestigious there is.  Competition is keen – you can count on at le

ast 4,000 submissions.  Up to five fellowships are awarded each year, in the amount of $30,000 each.  If you’re fortunate enough to be selected, you will be expected to complete at least one feature-film screenplay during the fellowship year. You may not have earned money or other consideration as a screenwriter for theatrical films or television, or for the sale of, or sale of an option to, any original story, treatment, screenplay or teleplay for more than $5,000.  Also, your screenplay can not be sold or optioned prior to submission or during judging. Applicants may not have received a screenwriting fellowship or prize that includes a “first look” clause, an option or any other quid pro quo involving the writer’s work. Entry fee: $30  (if your entry is postmarked on or before April 1 — the entry fee is $20)

 

 

CHESTERFIELD FILM PROJECT – DEADLINE:  ON HIATUS

The Chesterfield Film Company
Writer’s Film Project
1158 26th Street, PMB 544
Santa Monica, CA 90403
(213) 683-3977

This prestigious program was originated by Chesterfield at Steven Spielberg´s Amblin Entertainment and Universal Studios, however, now it’s sponsored by Paramount.  You may submit screenplay(s), novels, short stories and plays.  Those selected receive: $20,000 annual stipend/internship program. If you have any questions about this competition, check out their website or e-mail them at Info@chesterfield-co.com .   Entry fee: $39.50 

 

 

WALT DISNEY STUDIOS & ABC ENTERTAINMENT FELLOWSHIP PROGRAM – DEADLINE:  June 23, 2006

Writing Fellowship Program
Walt Disney Studios & ABC Entertainment
500 S. Buena Vista St.
Burbank, CA 91251-1735
(818) 560-6894

Disney selects up to eight writers to work full-time developing their craft at The Walt Disney Studios and at ABC Entertainment.   They offer Fellowships in the feature film and television areas.   No previous experience is necessary, but you will be required to provide writing samples, as well as your biography or resume.   Fellows receive a flat weekly salary of $961.54 ($50,000 annualized).  The application period for the Program is May 1st through June 23rd.  

Entry Fee: No application fee.  Make sure you get your program letter agreement notarized.
For more detailed information about the program or to receive an application, candidates should call the hotline at (818) 560-6894 or visit the Web site at www.abctalentdevelopment.com.

 

SUNDANCE SCREENWRITERS’ LAB -  DEADLINE: May 1, 2006

Sundance Institute
225 Santa Monica Blvd., 8th Floor
Santa Monica, CA  90401
(310) 394-4662

Founded by Robert Redford in 1981, the Sundance Film Festival has quickly become one of the most prestigious of the independent film festivals in the world. It is THE SHOWCASE for American Independent Cinema. Their Feature Film Program includes the January Screenwriters Lab, the June Filmmakers Lab, and June Screenwriters Lab. There is one application for the Feature Film Program. With this application you will be considered for all of the programs.

The first 5 pages of your script are required, along with cover letter, resume/bio, synopsis of the script and an application.  Application Fee: $30

 

NICKELODEONWRITING FELLOWSHIP -  DEADLINE: February 28, 2006

Nickelodeon Writing Fellowship
231 West Olive Avenue
Burbank, CA 91502
(818) 736-3663

Nickelodeon is offering writing fellowships in live action and animated television to culturally and ethnically diverse, new writers.  Participants will have hands-on experience writing spec scripts and pitching story ideas.  The focus of the program is to broaden Nickelodeon’s outreach efforts and provides a salaried position for up to one year.  The ’06 – ’07 cycle is tentatively scheduled to begin in October 2006.  The next submission cycle runs from January 2 – February 28, 2006. Information via email: info.writing@nick.com 

 

FOX SEARCHLAB -  DEADLINE: ON HIATUS

Fox Searchlab Submissions
Attn: Susan O’ Leary
10201 W. Pico Blvd.
Building 667, Ste. #5
Los Angeles, CA 90035
310-369-5423

For those screenwriters interested in branching into directing, this program’s for you.  If selected, the lab provides
a small production budget and use of equipment that will allow you to create a short film as an audition piece. 
You’ll be required to submit a cover letter and work sample (short, reel, script, resume) that indicates your directorial talent.
No entry fee and No deadlines.  Be prepared to wait approximately 4 months for a response to your submission, though.

 

SCRIPTAPALOOZA -  DEADLINE: APRIL 14, 2006

SCRIPTAPALOOZA
7775 Sunset Blvd, PMB #200
Hollywood, CA 90046

First prize is $10,000 and screenwriting software for the 3 winners, 10 runners up and all finalists.  All thirteen winners will be considered by Scriptapalooza’s outstanding participants which include AMG, Samuel Goldwyn Films, Film Colony, Evolution, Phoenix Pictures and many more.  Sponsors include Screenplay Systems, The Writer’s Store, Hollywood.com, and WGAw.  For further information or an application please visit www.scriptapalooza.com or call 323.654.5809.

Entry Fee for early deadline of January 5th: $40

Entry Fee for final deadline of April 14th: $50

 

ASA/GOTHAM WRITER’S WORKSHOP - DEADLINE: October 31

American Screenwriters Association/Gotham Writer’s Workshop
1841 Broadway Suite 809
New York, NY 10023 , NY 10023
877-974-8377 (voice)

$5,000 cash to the winner and another $4,250 among the other four finalists; promotion of the winning screenplays to 6,500 producers, agents and managers; full script consultations by Hollywood gurus for finalists, a trip to Hollywood to meet with Development Execs, and more.  

Entry Fee: $50 ASA Member / $60 Non-member

 

SCR(I)PT MAGAZINE’S OPEN DOOR CONTEST – DEADLINE: June 1, 2006

Scr(i)pt Magazine
5638 Sweet Air Road
Baldwin, MD 21013
410-592-3466

The winner will receive consideration for representation from Benderspink PLUS screenwriting software provided by Final Draft, a $200 gift certificate from The Writers Store, a Gift Certificate to any Action/Cut Filmmaking Seminar ($350 Value), a two-year membership to Script P.I.M.P.’s Writer’s Database and a copy of Dr. Format Answers Your Questions. Also provided by InkTip.com for second and third place winners: an e-mail announcement sent to approximately 6,500 industry professionals, placement of your winning script on their password-protected web site and a logline for your winning screenplay in their publication. Second and third-place winners also receive a copy of Dr. Format Answers Your Questions, screenwriting software provided by Final Draft. Also, So You Wanna Sell A Script will provide the top-three winners with Total Script Express & Query Editing Service, one year free listing in their Script Marketplace, and placement in one issue of the Hollywood Bugle.  Entry Fee:  $45

 

FINAL DRAFT’S BIG BREAK- DEADLINE: June 1, 2006 (regular), June 15, 2006 (late)

FINAL DRAFT, INC.
16000 Venture Blvd., Suite 800
Encino, CA  91436
818-995-8995

The first-prize winner receives $10,000, round-trip airfare to Los Angeles, 3 nights hotel accommodations meetings with studio executives and agents.  Second-prize winner receives $3,000.  Third-prize winner receives $1,000. Entry Fee:  $50

The top ten winners receive the following:
A) The screenplay will be submitted to a major Hollywood literary agent.
B) Final Draft software
C) A one year subscription to Creative Screenwriting Magazine and Script Magazine
D) A $50 Gift Card from The Writers Store
E) The Hollywood Creative Directory Producers Guide 

 

AMERICAN ZOETROPE SCREENWRITING COMPETITION - DEADLINE: August 1, 2006 (early), September 1, 2006 (final)                                                                                                                                                                                                                                                American Zoetrope Screenplay Contest
916 Kearny Street
San Francisco, CA 94133
415-788-7500 (voice) 415-989-7910 (fax)

$5000 Grand Prize. The top ten screenplays will be considered for film option and development by
American Zoetrope, and considered for representation by ICM, UTA, Paradigm and The Firm. Created by
Francis Coppola.  Entry Fee: $40 (early entry fee: $30)

Adding Valuable Links May 6, 2008

Today I added 2 valuable liks for writers associations to become part of if interested. They are now in our links section.

 

Happy Writing

Independent Writer Caucus May 5, 2008

The Independent Writers Caucus (IWC) 

 

Independent Writers Caucus Members:

• Shall receive all Guild mailings and communications, including Written By or like publications, the WGA Membership Manual and its periodic updates
• Shall receive invitations to IWC-related events
• May serve on Independent Writers Caucus committees or certain other WGAW committees as designated by the Board of Directors
• May use the Guild’s Script Registration Service at a reduced rate
• May join the Guild’s Film Society subject to availability
• May become members of the Inter-Guild Federal Credit Union or its successor subject to the discretion of that entity’s governing body
• May be entitled to participate, if otherwise eligible, in any employment access program administered by the Guild’s Employment Access Department
• May be eligible for participation in the WGA self-pay health insurance plan WritersCare. The program is administered through The Entertainment Industry Group Insurance Trust (TEGIT). Call (323) 782-4713 for additional information regarding the health plan.

 

 

Independent Film Writers Steering Committee Chairman: Howard A. Rodman Members: Bill Condon, Tony Drazan, Naomi Foner Gyllenhaal, Stanley Isaacs, Ed Solomon, Jill Sprecher, Karen Sprecher, Mary Sweeney and Tyger Williams

Who Is Eligible To Join?

 

All applicants must be residents of the United States and must have fulfilled at least one of the four following eligibility criteria* within a five-year period from the date the application is received at the WGAW offices. In addition, the Writer’s full-length narrative screenplay must be submitted with the IWC application, along with a $75 annual service fee. The service fee is waived for WGAW Members in good standing.

• The Writer’s feature-length narrative screenplay has been produced under a WGA Low Budget Agreement (for films budgeted at $1.2 million and below).
• The Writer’s feature-length narrative screenplay was produced and the film premiered at a film industry recognized domestic film festival. (If your film was exhibited at an international film festival, please contact WGAW Independent Film for more information.)
• The Writer’s feature-length narrative screenplay was completed in connection with a highly regarded and/or accredited domestic screenwriting program offered at an educational institution or film industry organization and, in addition, the Writer completed the screenwriting program requirements.
• The Writer’s feature length narrative screenplay was nominated for and/or won a highly regarded screenwriting award. Note: Screenwriting “contests” are also subject to review and individual approval by the WGAW Independent Film Writers Steering Committee.

*Please note: All IWC applications are subject to the review and approval of the WGAW Independent Film Writers Steering Committee. In some cases, more than one eligibility criterion or combination of eligibility criteria must be fulfilled. When applying, the Writer is encouraged to submit ALL eligibility criteria information that apply.

DOWNLOAD THE IWC APPLICATION FORM (112kb .pdf)

Book Deals May 2, 2008

Book Deals

Stuff White People Like and I Can Has Cheezburger have been topping our Blogs of the Day charts for some time. Now the New York Times reports that both of those blogs have received book deals. “Stuff” apparently got a $300k advance. The books based on their blogs are due out this Fall. Congratulations to both of them!

(PS: This is not an April Fools joke)

A touch of Philosophy May 2, 2008

This  offers helpful information for students of the Western philosophical tradition. The elements you will find on this site include:

The Dictionary of Philosophical Terms and Names.

A survey of the History of Western Philosophy.

A Timeline for the intellectual figures discussed here.

Detailed discussion of several major Philosophers

Summary treatment of the elementary principles of Logic

A generic Study Guide for students of philosophy.

Links to other philosophy Sites on the Internet.

 

Writing a good children’s book May 2, 2008

What Makes a Children’s Book?

The key element to any good children’s book is the story – it’s is the single most important thing. No child is going to read a book that doesn’t have a bold, fast-moving story with a clear course of action that comes to a satisfactory conclusion without too many dangling ends. Any mystery has to be solved; any goals should be achieved; and most characters have to be given what they deserve. You cannot start to write a book for children unless you have in your head at least the sketch of such a story.

Many people think there is a great deal of difference between a book for children and one for adults, but in reality, there isn’t much between them. Relax, and in particular, stop thinking, ‘1 am now writing for children,’ because this will clog your works like nothing else. The main difference, believe it or not, is that adults are much lazier readers. They will need a lot of padding to their stories and to be constantly reminded of the plot. Children, being on the whole much slower readers (and also being used to the fact that they don’t know everything), will readily take in what you write, so you only need tell them something once.

If you don’t believe this, compare any book for adults with one for children – you will find that the story-to-length ratio will be in favour of the book for children, and there will be three times the action in the same number of pages. Personally, I find this a great freedom – freedom to tell the story without constantly having to worry in case the readers haven’t caught up.

A lesser difference is that adults seem to feel that there is some special virtue in being bored. They will put up with huge amounts of social documentary, glum thoughts, preaching and artistic description, whereas children will not tolerate these things for more than half a page at most. Whatever you do when you write for children, don’t be boring. In fact, writing for children is a licence to enjoy yourself.

Another difference that worries a lot of people is whether or not children’s books should contain overt sexual acts. This is a very adult worry, and I’m not sure most children care. They know about this stuff, but it is not usually their chief concern. The main consideration here is that most children’s publishers would turn your story down if it gets too sexy, although the kind ones might suggest you try the adult market instead.

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Choosing Your Story

Everyone is different, and this means that you need to write in your own, unique way. A large part of writing is discovering how you, personally, need to do it. For this, you have to start with what interests you most. If you find you prefer factual, everyday things, you would be advised to think of adventure stories first, and see what your particular take is on these. There is huge scope here, and an enthusiasm for cars, guns, computers or even just gadgets will get you a long way. Children love expertise, and they also love horror, so if you too like being frightened, then ghosts, demons, vampires and green slime are for you.

This brings us to witches, wizards and magic generally which, at the moment, are highly popular; but let me enter a caution here: it is advisable not to imitate any of these too closely, because it can get very boring. You would not credit how many imitations of, say Tolkien, there are nor how closely and drearily they all resemble one another. On the other hand, if you have a really new take on a school for wizards, or feel that the best way to start writing is to collect a set of characters in an imaginary country and send them on a wholly new sort of quest, then why not? As long as what you are doing truly interests you.

The most important thing is to enjoy what you are writing. If you find you are toiling along, getting increasingly bored, then stop. Try some other kind of story. One that fails to interest you is certainly not going to grab other people.

---

Plots and Puzzles

You may now be saying, ‘This is all very well, but what should I put in my story?’ Whatever you chose has to give children an experience they could get no other way. And it has to give hope – that is to say, if your desire is to give a detailed account of bullying, or drug addiction, or parental abuse, fine, but it does no good just to do that. Children in these situations know all about them, better than you probably do, and will find such narratives boring, while children who don’t know are going to find them either glum or repulsive. You have to show someone handling these situations or, better, overcoming them.

What every writer starting out needs to understand is that the human brain is programmed to solve problems. We are programmed to like studying puzzles, then to try for solutions. The best plot for a children’s book follows this framework, and the best setting for this framework is one that distances a child from her or his problems, so that they become puzzles that the child can turn this way and that, and follow with the author to the solution. Do that, and you have made a blueprint for living. And the best blueprints are usually some form of fantasy. About two-thirds of children do prefer fantasy. And once you are writing fantasy, you are free to introduce every kind of folktale and myth.

The virtue of folktales is that they break down into smaller elements very well, so that you can add them to your story in tiny scraps, knowing that children will respond to them and that this will add a depth to your narrative, or you can retell the entire tale and flesh it out with your own inventions. An excellent example of this is Robin McKinley’s sumptuous Beauty, a retelling of Beauty and the Beast. Such stories are timeless, as they are the ideal way of distancing a problem, and they are retold and remembered precisely because they are all blueprints of the way our minds work.

Finally, it does no harm to be extreme, to give hope, to let your imagination rip. Of course life disappoints, often you never get more than halfway to your ambition, but it is very unimaginative to discourage children from aiming as high as they can. It is better to show someone aiming at the moon and only getting halfway than to show them trying to climb to the roof and only getting to the bathroom.

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Creating Your World

The places where your all-important story happens are almost as important as the story itself. They bring atmosphere to the book, and every book should by rights develop its own individual atmosphere on page one, certainly before the end of chapter one. But there is this great catch: children find long descriptions totally boring – for instance, don’t ever start with a detailed description of a landscape or town.

You can get away with long descriptions later, if what you are describing is part of the narrative – if your protagonists are creeping along a corridor in a haunted castle, then you can go to town with cobwebs, carvings and corbels – but don’t ever foist on children a loving description of something that has nothing to do with the story. Write those for adults if you must, because they have learnt how to skip. A much better way is to visualise, see the place in your mind, as wholly and exactly as you can, as if you were standing in the place yourself, and then simply write the story that happens there.

The people in your book are even more important than the scenery, because they are the ones that make the story happen. It follows that they usually have to be fairly strong, dynamic characters, and some of them have to be people that children will follow willingly into the action. For this reason, it was thought at one time that the main characters always had to be children. This turns out not to be true (take a look at The Amulet of Samarkand by Jonathan Stroud, where the main character is a demon) as long as someone in the story is likeable, understandable or a loveable rogue and so on. Many characters in books for children are animals, and are much loved by children, but beware of making absurd random changes – such as Toad in The Wind in the Willows who is sometimes frog-size and sometimes human-size, which tends to destroy any feeling of the reality of the story. Children will notice this sort of thing.

Stories in which everyone is unpleasant are not usually liked, but as long as you have your sympathetic character, you can have any number of unpleasant baddies. Children like to have a good hate even more than adults do, and it helps if you yourself hate the baddie too. Understanding the baddies may seem politically correct but is not recommended. Children – rightly to my mind – regard this sort of milky tolerance with contempt.

The same technique that applies to scenery applies even more strongly to people. You need not waste time in describing them at length, but you must then know them exceedingly well. Before you start writing, you will need to know your characters so well that you can hear their voices – then what they say will come out right without you really trying – and see details that won’t get into the book, like the way they walk and what they habitually wear. This is where understanding your baddies comes in, and you have to know what they are really after, and why. You can ache with sympathy for your villain here and delicately comprehend exactly what childhood trauma caused her or him to be such a nasty piece of work, so long as you remember that she or he is really quite hateful.

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Getting Vocabulary Right

When considering what kind of language to use when writing for children, it is not at all necessary to limit yourself only to easily-understood words. After all, how else are children going to learn new words unless they read them?

On the other hand, almost anything worth saying can be said in short, simple words, and tends to make a greater impact if it is. The advice here is not to start your book with a string of unusual words which will be off-putting, but to include them by all means when the context makes it clear what the words mean. Enid Blyton was good at this. For instance, in The Castle of Adventure, she first makes it plain that it was impossible to get into the castle and then uses the word ‘impregnable’ to sum up the situation. My own experience is that most children love and savour colourful words, especially if these are introduced in passages that are already exciting, so that the words get swallowed along with the story.

However, you must remember that most children are slower readers than adults are. This does not mean that you need to write in short, jerky sentences, but it does mean that your sentences must be constructed so that readers will not lose their way in them. If you are in any doubt, read the sentence aloud. This will almost infallibly show you if it is right or wrong, because you will get in a muddle if it is wrong.

People needlessly worry about how long a children’s book should be. If your story is fascinating enough, children will read it whatever its length. (And it’s worth repeating here that if you are fascinated by your story, then so will the readers.) There is a current fashion for longer books, and none of these vast tomes seem to bother the readers. The only requirement is that a child should be able to lift the book.

The suggested readership age is something to let the publisher worry about. Most children read what grabs them, regardless, and your book will write itself regardless. For this reason it is best, if your protagonists are children, never actually to specify their actual ages. No one is more humiliated than the 12-year-old who eagerly follows the adventures of a strong character, only to find that this character is five years old.

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Common Pitfalls

The infallible way to find out if you have fallen into any common writing pitfalls is to notice, while you are reading the story back to yourself, all the places where you do a sort of inner squirm and then say to yourself, ‘Oh, I suppose that will do.’ It never will, so work on the problem until the squirm goes away.

Boring your readers is always something to watch for, and some of the common causes have already been mentioned above. Add to these any long exposition that is unbroken by action, including sections dealing with politics, extensive soul-searching by one or more characters, explicit sex, descriptions of the workings of machinery not necessary for the story, lectures on the rules of magic or astrology, and general ranting. But even worse is the loving re-creation of how it felt to be a child in, say, 1920 AD or 2000 BC. Unless this is demonstrated in narrative, it is just a history lesson.

Many people still believe that it is the duty of children’s writers to teach moral lessons, impart wisdom and inculcate civilised behaviour. And so it is – you probably wouldn’t want to do the opposite – but it is fatal to do it overtly. Children hate to feel got at, so build your message into the story and show readers what you mean, or, better still, let it just arise as you write.

Children also hate being talked-down to but, alas, they are very used to being patronised. One of the sure signs that you are talking down is when you find yourself referring to children or any part of them as ‘little’ – ‘tiny hands’ is a no-no. Besides, if you are writing for people of 12 or more, the chances are that they are larger than you. The same goes for telling readers that they, or any character, are ‘too young to understand’. This is plain insulting. A subtler form of patronisation is referring to yourself and the reader as ‘we’ (‘Come along, children, and we’ll all be fairies!’) or suggesting things like ‘we all love fairies’.

Fairies in themselves are too whimsical for today’s children (Eoin Colfer’s Artemis Fowl books are a notable exception, but usually orcs are to be preferred), but whimsy is more generally to be found in writing that tries to imitate Alice in Wonderland by Lewis Carroll, where strange things ‘just happen’ without reason or explanation. Pink dinosaurs pop out of the fridge, twee little men sit on bedposts and sing silly songs, and scented rainbows wrap our little heroine in lilac toffee. Have these things, by all means, but only if there is a good reason in the story for them to occur. Above all, do not try to be ‘charming’.

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The Trouble with Clichés

It may sound extremely obvious, but make sure you don’t leave anything out, because every story has to have reasons for the things which happen in it. Disregard the fact that young children tell a story in great long chunks linked with ‘and… and… and…’ – this is simply a lack of practice in storytelling and not at all what children themselves want to read. You are going to have to put all the connections in, although it is surprisingly easy to forget and leave them out. I once taught a writing course in which one lady’s story had two lads suddenly arrested for no good reason.

‘Why is this?’ I asked.

‘Oh,’ she said, ‘they broke into a factory and stole a lot of soft drinks.’

‘Then why didn’t you put this in the story?’

‘Did I have to?’

Watch out for lapses like this.

As with any form of creative writing, clichés are also to be avoided. There are all sorts, from the well known, ‘With one bound he was by her side,’ to, ‘Long ululating cries and a stench of evil emanated from the slavering horde.’ (For some reason vampires and demons attract clichés like nothing else.) Clichés are not only found in descriptive passages, but in the action as well, such as when our romantic heroine dislikes a tall dark stranger on sight and then marries him in chapter 30. The signs to watch for are when you find yourself slipping along too easily in rather colourful phrases (and the warning of your own inner squirm, of course), and the real trouble is that clichés make your book very ordinary.

To avoid this, whenever you find yourself possessed of a cliché, try taking the action right back behind the words that describe it and then live what you are trying to say: watch the lover’s movement, smell the breath of the slavering hordes, and then think what words really best describe it. There is no guarantee, however, that you will not simply arrive back at a cliché!

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Wrapping It Up

Concluding a book is not easy. It is often difficult to know just where to stop in the story. Opinions vary between an abrupt stop (‘Good-bye,’ said Jack) and a long coda in which you tie up all the ends and describe exactly what Jack (and Mary and Zuleika and Auntie May) did for the next twenty years. It is up to you to choose, with the proviso that you first make sure all the important facts are accounted for, like explaining why the villain did what he did, or making sure that Jack is not still buried alive in a mineshaft.

Above all, never get out of your difficulties by ending, ‘Then she woke up and it was all a dream.’ I know there are precedents for this, but children regard it as cheating. It spoils Alice, The Box of Delights and many a lesser book. Worse still is Rudyard Kipling in Puck of Pook’s Hill, who has his children bespelled to forget the entire story. It is almost as bad as ending up with your entire cast dead, which always strikes me as an extreme act of writer’s desperation.

One of the most important things to remember, however, is that you aren’t writing for children, as such, but for the next three generations of adults. This is why so many books for children featured on the BBC’s Big Read list. People read those marvellous books when they were small and they never forget them. If you get your book even ninety percent right, then the chances are it could be the marvellous, inventive, wise, and magical book that the baby just this minute being born will later read and find it has changed her or his life completely. You will have been responsible, and that is quite some thought.

Amadeus @ Palos Verdes’ Neighborhood Playhouse-Excellent performance May 2, 2008

“Majestic Mozart: Amadeus Shines in a Lavish Production…” Jim Farber, Daily Breeze  4.30.08

 

 

Now Extended through May 10!

 

 

A M A D E U S

BY PETER SHAFFER

  Directed by Brady Schwind

 

 

 

 

 

One of the most acclaimed productions of the 20th Century. The Neighborhood Playhouse is thrilled to open the 2008 Season with a rare Los Angeles production of this modern masterpiece, in a version rewritten since its original

Broadway and film successes.

 

with

 

Lois Bourgon, Jane Childerhose, Karin Frasier,  Michael Frasier, Michael Hovance*, James Larsen, Evan McNamara*, Jack Messenger, Bob Miller, Chris O’Connor, Bill Pence, Richard Perloff*, Afton Quast, Perry Shields,  Michael Tushaus*

 

*denotes member Actor’s Equity Association

 

 

 

Click Here for More Details!

May contests and awards May 2, 2008

May Short Story Contests and Awards

May brings a number of good opportunities, including the Eastern Washington University Press Spokane Prize for Short Fiction (May 15), the University of Georgia Press Flannery O’Connor Award for Short Fiction (May 31), and a fun online contest hosted by the online zine Ramble Underground (May 15).Also, see articles on how to publish your short stories — and how to know if you’re even ready to publish.

To submit the names of contests and awards for the month that I may have missed, please email me at fictionwriting.guide@about.com.

Living as a poet May 2, 2008

How to Make a Living as Poet

Thinking about the looming tax deadline reminded me of Gary Mex Glazner’s book, How to Make a Living as Poet, in which he describes various ways he’s supported himself as a full-time poet, including convincing a hotel to create a poet-in-residence position, securing sponsorship to take poets across America and make a movie about it, and getting Pontiac to hire him to promote a new car. In How to Make a Living As a Poet, he reminds us to put our biggest asset — our creativity — to work in supporting ourselves.

a writer’s getaway May 2, 2008

Get Away to La Muse Artists’ and Writers’ Retreat

If you’re looking to get away to write in a beautiful setting, you couldn’t do better than La Muse Writers’ and Artists’ Retreat in southwest France. Rooms are available for rent or barter to writers and other artists who are serious about getting work done within a creative community. For more information about — and pictures of — this beautiful place, see the profile. (And if you have your own favorite retreat, please share below.)Photo courtesy of Kerry Eielson.

A counting exercise May 2, 2008

Counting: This Week’s Exercise

Thinking about tax time, I turned to the chapter on money in The Artist’s Way. At the end of the chapter, she advised artists to spend a week taking stock of where their money goes. So this week, record every nickel you spend in a small pocket notepad. Be thorough, without being judgmental. She writes, “It will teach you what you value in terms of your spending. Often our spending differs from our real values. We fritter away cash on things we don’t cherish and deny ourselves those things we do. For many of us, counting is a necessary prelude to learning creative luxury.”

Bathing Beauties May 2, 2008

Bathing Beauties

What is it makes bathing bodies so compelling?

Beside the natural urge toward procreation,

I mean. A certain beauty. Certainly that, though

that too often depends on the bather or bathers

in particular. Is it the vibrancy of health,

or perhaps the symmetry of the human form—

when it is symmetrical, anyway. What is it

that draws the eyes to the curves of hip,

dark ovals of the nipples, angular strength

of shoulder blades, knees, elbows, ankles . . .

Is it the astonishment of nudity,

perhaps a protective urge for a herd member

exposed and vulnerable? Or empathy

with the freedom of nakedness, longing

for the most natural state of being?

Inspiring Lecture May 2, 2008

Very Inspiring Lecture. Could change your life!

Google video – Professor Randy Pausch was on Oprah recently and gave is “Last Lecture” speech once more. I really recommend everyone to watch this. It could change your life. Here are some things I learned from it. But please watch the video at least.

- Experience is what you get when you don’t get what you want.

- When you’re doing a bad job and nobody points it out to you, that’s when they’ve given up on you. When somebody is gonna ride your for 2 hours, they’re doing that because they care to make you better.

- Brick walls are for a reason: they let us prove how badly we want things.

- Have fun all the time. Have a sense of fun and wonder. That should never go away.

- Never underestimate the importance of having fun.

- Work and play well with others

- Tell the truth.

- Apologize (properly) – There are 3 parts: (1) I’m sorry, (2) It was my fault, (3) How do I make it right.

- Wait, and people will show their good side.

- Don’t complain, just work harder. Complaining and whining doesn’t solve the problem.

- You can choose to take your finite time and effort and you can spend it complainging or you can spend it playing the game hard, which is probably going to be more helpful to you in the long run.

Trade your old books for new ones May 2, 2008

Trade Your Old Books for New Ones

planetgreen.discovery.com – We’ve all got more books than we need. They’re popular gifts, and the good ones contain lots of useful information, so once we’ve got ‘em, they can be deceivingly difficult to get rid of. While programs like WorldCat are awfully useful for finding a book you don’t have, what do you do when you’ve got too many on your hands? With BookMooch, you can swap them out with other books you haven’t read and don’t need to buy.

Rent your books May 2, 2008

Rent Books at BookSwim

planetgreen.discovery.com – The simplest way to describe BookSwim? Think of it as Netflix for books. Choose from more than 185,000 hardback and paperback titles, including new releases and bestsellers, and BookSwim will ship them to you. You get to hang on to the books as long as you want, without the fear of incurring any late fees (or the wrath of a surly librarian). When you’re done, pop your finished reads back into the mailbox to get the next titles on your list. Bonus: Shipping is free both ways. The cost of your membership depends on the number of books you wish to rent at a time. Two books cost $14.99 per month, while three cost $19.99 per month (or $219.99 per year). For $23.99 per month (or $263.99 per year), you get to take out five books at once. BookSwim doesn’t put a cap on the number of shipments you’re allowed each month, so if you’re a speedy reader, this could be worth your while. And, If you fall in love with a particular title that isn’t rare or out-of-print, you’ll get the opportunity to purchase it.

Pantechnicon Reviewers Needed May 1, 2008

Reviewers wanted.

1 05 2008

Pantechnicon is looking for reviewers to cover genre (science fiction, fantasy and horror) books, magazines, podcasts, radio programmes, computer games or websites.

We need contributors who can offer at least two reviews per month of approximately 500 words a piece. We cannot offer remuneration at this time, and you will need to source most review materials yourself (although we do occasionally receive ARCs).

If you’re interested, please contact Editors@pantechnicon.net and tell us which you’d like to do. Similarly if you know someone who might like to do this, do let them know about us.

Environment May 1, 2008

45 Scientists Dump Global Warming Deniers in 24 Hours

Filed Under environment | Leave a Comment 

Image from wumai

environmentalgraffiti.com – Something phenomenal has happened in the last 24 hours. Our friends over at DeSmogBlog took it upon themselves to see what the scientists who are on the famed list of “500 scientists who don’t believe in global warming” actually think and as it turns out, many of them didn’t know they were on it.

Now, in the past, there’s already been plenty of fun to have with lists of global warming deniers–Sen. James Inhofe took a list of 400 to the Senate floor, not realizing that when he was fact-checked it would come out that he had enlisted 44 TV weathermen. However, this takes the cake. Why? Because the already-incredible result that DeSmogBlog has produced is only 24 hours old. This is only going to get worse for The Heartland Institute, who assembled the list, and now has to deal with quotes like these:

I am horrified to find my name on such a list. I have spent the last 20 years arguing the opposite.”

Dr. David Sugden. Professor of Geography, University of Edinburgh

I have NO doubts ..the recent changes in global climate ARE man-induced. I insist that you immediately remove my name from this list since I did not give you permission to put it there.”

Dr. Gregory Cutter, Professor, Department of Ocean, Earth and Atmospheric Sciences, Old Dominion University

I don’t believe any of my work can be used to support any of the statements listed in the article.”

Dr. Robert Whittaker, Professor of Biogeography, University of Oxford

Yeah. Game, set and match, to people that don’t think that global warming is a cover for the world socialist conspiracy. Stay tuned.

Siminar May 1, 2008

 

presents the

INSIDE STORY

About the book                                     SEMINAR                                       About Dara

 Read a review

 

LOS ANGELES              Click here to register             MAY 24 – 25

“Dara Marks covers everything a writer                                                         Ellen Sandler, Writer/Producer                                                            Everybody Loves Raymond – WHAT’S INSIDE THE INSIDE STORY SEMINAR?     Inside Story is a comprehensive two-day seminar that will take you into the depths of the writing process and teach you how to build a great screenplay from the inside out. Inside Story will not only help you achieve a deeper and more thorough understanding of your story’s core elements–plot, character and theme–but you will acquire a whole new set of tools to write scripts that will make movie executives stand up and pay attention-and theater audiences stand up and cheer!  Inside Story will make you a better writer by helping you get to the heart of what you’re really trying to say, which allows you to focus on expressing your unique creative vision. Most importantly, the Inside Story Seminar opens up a very powerful means of building a solid and compelling story structure based on the transformational arc of character. Inside story will enhance your writing abilities regardless of your level of experience:    Beginning writers will gain fundamental insights into the basic elements of story. Advanced writers will refresh their understanding of the writing process by learning  a more  insightful and meaningful approach. All writers will gain essential tools for building powerful, meaningful, and marketable screenplays. Register Here   “Inside Story is amazing. Before I could write, now I can fly!”   Raymond Singer – Screenwriter            Mulan, Iron Jawed Angels