The Office Is Closed.

Day Three on the line. The sun comes out and hits us pretty hard halfway through the shift, so I followed the lead of another strike captain who brought Trivial Pursuit cards to the line to pass out to circling picketers.

I brought a sleeve of Pop Culture edition and shouted, “Without you, this stack of cards wouldn’t exist! If you find yourself or a friend of yours mentioned in this card, please shout BINGO, because you win!”

I’ve got fifty people on my line, give or take. Fifty random people of the 12,000 in the guild. And within an hour, we had a bingo. Christine Zander, a writer on Samantha Who? found an episode of 3rd Rock From the Sun, which was written by her as a question on the card.

Justine Bateman joined our line today. Wearing her SAG shirt, and walking the circle.

[db]

I got spam email from Creative Screenwriting magazine, with a subject line reading: “How To Break Into TV Writing–And Why It’s Urgent To Start Now!” I thought it would be an amusing little letter about the strike.

I was dead wrong.

The Writers Strike Doesn’t Mean Stop Working; It Means Start Preparing Now

The writers’ strike doesn’t mean stop working. It means get ready and start writing for the Spring TV pitch season. If you want to land one of today’s wonderfully creative (and highly compensated) TV show writing jobs, then you need the November-December issue of Creative Screenwriting Magazine.

CLICK HERE TO SUBSCRIBE NOW
Or find it on your nearest newsstand in just a few days.

An article in this issue is the most important, most nuts-and-bolts-useful piece of information we have ever published about getting into TV writing-so far.

Insiders know there is a definite season for pitching to TV producers. They know the precise set of steps they have to take, beginning now, to maximize their chances of success. And even if that pitching season is delayed by a long strike, it will eventually happen. So if you want a TV job, start preparing now.

This article in the November-December issue reveals what you need to be doing in next eight weeks and beyond – regardless of what happens in the Guild-Studios dispute.

Build a Career On A Foundation of Solid , Actionable Information:

The second part of this report, early next year, will tell you exactly what steps you will need to be taking to target your work to land a TV writing job.

Our Hollywood news sleuths are already digging up the critical inside information you’ll need to have any chance of landing a TV writing job.

So if you take your Hollywood hopes and dreams seriously, there has never been a better or more important time to subscribe to Creative Screenwriting Magazine than right now.

If you subscribe right NOW, we’ll make sure you receive the November-December issue so you don’t miss this vital first part of our report on how to break into TV writing.

That’s not all you’ll find in the newly redesigned, photographically rich Creative Screenwriting Magazine:

American Gangster: the fascinating inside story from Steve Zaillian on how and why he wrote TWO side-by-side screenplays and merged them into one.

Days of Atonement: how writer Christopher Hampton and director Joe Wright worked together after Wright challenged Hampton to be more faithful to the book.

Making The Kite Runner Fly: how David Benioff kept the essence of a novel that spans decades in a 120-page screenplay.

And don’t miss “A Novice’s Guide To Acquiring Literary Material to Adapt,” a concise step-by-step how-to article.

The Screenwriter’s Seven Deadly Sins: read Karl Iglesias’s list; then confess yours to yourself, and go thee forth and sin less, if you want to succeed more.

This issue is just one sample of what you will receive by subscribing to the new Creative Screenwriting. The magazine has been redesigned. We’ve upgraded the editing, added more and more vivid photos. But most important is that we have embarked on a great upgrade of content that can be summed up in a phrase: relevance to you as a working or aspiring screenwriter.

One thing has not changed: Last summer, I cut the subscription price from $29.95 to $23.95 (plus additional postage for Canada/Mexico and other international subscriptions). So subscribe now to be sure you don’t miss the November-December issue.

It’s our best issue ever.

So far.

To subscribe, click here, or look for it on the newsstand.

My best regards,

Bill Donovan
Publisher
Creative Screenwriting Magazine

Creative Screenwriting News
email: info@creativescreenwriting.com
phone: (323) 957-1405

You know, I just got back from walking, shouting, organizing and motivating for hours and hours outside the gates of the lot where I loved my job. And then this. He sent the wrong girl his newsletter. I couldn’t help but hit reply.

Dear Bill Donovan,

Hey, thanks for supporting the strike. Seriously, you couldn’t even ask the aspiring screenwriters and tv writers to come on down to the line and meet a few of the people they’re trying to join one day? Instead of staying in and writing, they could be on the line, fighting for the contract they’re going to have to sign as soon as they’re done “landing” one of today’s most “highly compensated” writing jobs. And if they’re not in a city where there are studios to picket? You could encourage them to write letters, explain the strike to friends, and get them educated on what exactly it is the WGA is working hard to get for your readers.

And by the way — the strike does, in fact, mean STOP WORKING.

Unbelievable.

Pamela Ribon
TV Writer
WGA Member
currently walking the line for the people who BUY YOUR MAGAZINE.

I mean, honestly.

Thanks to everybody who has written to give their support, and have come out to the line to tell the writers you’re behind them. I really hope this strike ends soon. I miss my job.