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  • Women in Comics: New York Film Academy (NYFA) and Final Draft Host “Write On” Podcast

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    On August 20, 2018, the New York Film Academy (NYFA) partnered with Final Draft to host a live taping of Final Draft’s podcast, Write On, focused on women in comics. The panelists were Shannon Watters, Kirsten “Kiwi” Smith, and NYFA screenwriting school instructor Christina Weir. The event was moderated by Pete D’Alessandro."Write On: Women in Comics"

    Shannon Watters is the senior editor at BOOM! Studios and co-creator and co-writer of the award-winning comic book series, Lumberjanes. Kirsten Smith is a writer and producer (Legally Blonde, 10 Things I Hate About You, She’s the Man, Ella Enchanted, The House Bunny and The Ugly Truth) and Christina Weir is a writer (New X-Men, Skinwalker, Three Strikes, Maria’s Wedding, Bad Medicine, Play Ball, Dragon Age: Deception).

    The panelists were first asked what makes comics unique as an artistic medium. Smith said that, in her opinion, comics are special and intimate because they are “a work of art.” Weir added that, in the comic medium, it is essential to keep things moving; even if the scene is just a conversation, it’s important to keep it visually interesting to the reader. Watters shared that she likes using “the page turn” as a tool to surprise and entertain readers of comics in book form.

    The production of a comic is similar to the production of a play or TV show or film because, to be successful, the comic has to tell a story and, in order to tell a story well, there must be trust and communication between all parties involved. Watters described the relationship between a comic writer and artist as symbiotic and “like a marriage.”

    "Write On: Women in Comics"Weir added that comics are “great learning tools for screenwriting” because they “force [the writer] to get to what’s important… You only have so much space to get your point across.”

    The panelists were asked what they believe the future of the comic industry looks like. Watters said that she believes that in the next couple decades, there will be more and more women, people of color, and LGBTQ comic writers and artists. Weir added, “We are in an age now where kids are encouraged to read comics… Comics are cool!”

    Lastly, Watters’ advice for aspiring comic writers and artists is to “Get your stuff out there!” She encouraged students to share their work on the web and to meet other creative people to network, collaborate, and grow.

    The New York Film Academy would like to thank Shannon Watters, Kirsten Smith, and Christina Weir for sharing their experiences and advice for young writers.

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    August 28, 2018 • Guest Speakers, Screenwriting • Views: 1611

  • Final Draft’s Write On With Altered Carbon Writer Nevin Denham Live From the New York Film Academy Los Angeles

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    The New York Film Academy (NYFA) Los Angeles recently welcomed Final Draft to the NYFA Theater for Write On: A Screenwriting Podcast. The live Q&A event featured Final Draft’s Pete D’Alessandro and writer Nevin Densham, executive story editor for Netflix’s original series, Altered Carbon.

    NYFA and Final Draft, the entertainment industry’s standard screenwriting software, have a relationship that goes back many years. NYFA provides a 12-Week Fellowship for the winners of the Final Draft Big Break Screenwriting Contest, yet this was the first time that Final Draft held Write On: A Screenwriting Podcast at the NYFA Los Angeles campus.

    “We’re excited to extend our relationship with Final Draft and build upon the great work we’ve done with the Final Draft Big Break Fellowship,” said Dean of Faculty and Chair of Screenwriting Nunzio DeFilippis. “Having the Write On: A Screenwriting Podcast take place at the NYFA Theater provides our students with additional networking opportunities and even more chances to gain insights from podcast guests.”

    Final Draft’s Write On: A Screenwriting Podcast provides listeners with insights into writing from industry experts and professionals, and in this case the audience of NYFA students and guests from Final Draft who were able to learn more about Densham’s journey as a writer. 

    Before delving into writing for Altered Cabon, Densham admitted that his path into writing for television was not traditional. He grew up in Los Angeles in a household where he had the unique experience to learn from his writer, producer, director father Pen Densham.  

    “I was mentored from a very early age on story and a love for storytelling,” said Densham. “At the time, in the late ‘80s, a version of a hero was a man who killed other men, and he did not want me to be raised seeing that as what a hero was. A hero was a man who fought for other people even though you didn’t necessarily get what you wanted. Selfishness versus, you know, being selfless. And from a really early age, those kind of things were made really clear to me because it was just what he believed.”

    Densham shared that he learned early on that it was about “thoughtful storytelling. It wasn’t just ‘hey let’s make a buck.’ It was how do you tell a story that matters? How do you do something that hopefully leaves a little good left in the world? And I was encouraged to write.”      

    Although the lessons from his father shaped his story sensibility, Nevin decided to leave Los Angeles to study sociology. When he returned to L.A. he had the opportunity to jump into the deep end of the pool, but he wanted to understand the business of film and television and first.  

    “I came back to L.A. and I wanted to roll phones,” he explained. “I didn’t know how to do that and I wanted to take notes, ‘cause I didn’t know how to do that. I didn’t know anything, frankly. I knew how to go have a meeting with a top level executive and talk and not be intimidated, but I could not answer a phone, and I knew that was a fatal flaw.”  

    During his time working “on a desk,” he took courses in television writing to learn the things he didn’t know. He wrote spec features and television pilots. His work got him some freelance writing jobs and an offer for a staff position, but his family friend, (and future Altered Carbon showrunner) Laeta Kalogridis told him not to take the job — but she couldn’t tell him why.

    What Densham soon learned was that Laeta wanted him to join her as the story editor of Altered Carbon. Densham took a leap of faith and passed on an offer in hopes that Kalogridis’ project would come through … and it did.  

    Densham knew the Altered Carbon book series well, and over several months worked with Laeta to breaking down the show, learning a lot from Kalogridis during pre-production and production. He praised Kalogridis as the hardest working person, driven out of pure passion.  Through her, Densham learned to not settle for something that could be better.

    Densham spoke about how he approached some of his favorite spec scripts and pilots, saying that he kept giving himself permission to write it the way he wanted. This comment sparked a NYFA student to ask how far out there stories should be.  

    Densham responded, “My advice is to be out there to the degree you’re comfortable with, that you want to be. You have to be able to sell you. You have to be you to the most you can be, and as interestingly and effervescently or at least marketably as you can be. If I’m going to hire a writer or someone is going to hire a writer, they’re looking at not just, can they write?They’re looking at, can I bear to be with them — for hours and hours? Can I have conflict with them? You have to be you, because any kind of inauthentic you will ‘out,’ because you’re going to be working hard with a lot of people. Best to be yourself and to make that what is marketable about you.”  

    The final question to Densham was, what advice would you have given to yourself 10 years ago? After a moment, Densham said he would have told himself, “have a little be more faith.  Have a little bit more confidence.”

    His final piece of advice to himself would be to write more, be more industrious, and to know that “you don’t have to be the natural talent, you have to do it, keep doing it.”

    This was the first Final Draft podcast recorded at NYFA but we look forward to hosting more in the future. Listen to the full episode of Final Draft’s Write On: A Screenwriting Podcast with Nevin Densham here.

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  • NYFA’s Final Draft Fellowship Pitch Fest

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    The New York Film Academy’s Final Draft Fellowship came to a close on May 12, launching the Final Draft Fellows into their careers with a Pitch Event that introduced them to potential managers and industry executives.

    final draft

    Final Draft’s Big Break Competition is a major opportunity for writers, and among the prizes for finalists and winners is a twelve-week Fellowship at the New York Film Academy. This Fellowship offered intensive screenwriting classes on Feature writing, Television writing, Rewriting, which involved a complete table-read by working actors, Business and Pitching classes, and a series of “Life In” panels by working writers in the industry: Life in Feature Films, Life in Television, and Life in Transmedia.

    Recently, this year’s winners put that Fellowship to good use, developing not just new story ideas and scripts, but also pitches for those new ideas and their contest-winning material. And they took those pitches to NYFA’s Final Draft Fellowship Pitch Event on Thursday, May 12th.

    final draft fellows

    Hosted at the Academy by Associate Chair of Screenwriting, Adam Finer, the Pitch Event was a chance for Fellows to get meetings with representation and industry figures. Each fellow met with the industry guests for half hour meetings that centered on their pitches but then continued as a way for the Fellows to make new contacts that will benefit their career. Among those in attendance were representatives from Cartel, Super Vision, and Haven Entertainment. In addition the Fellows were put in touch with Radmin Entertainment.

    The classes on preparing to pitch gave the Fellows confidence in their material, and they impressed the execs with their ideas and delivery. Many scripts were requested and several important relationships were started. Final Draft and NYFA congratulate our hard-working Fellows and we look forward to the success we are sure awaits them.

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    May 18, 2016 • Community Highlights, Screenwriting • Views: 5015

  • Screenwriting Panel: Life in Transmedia

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    On Thursday, March 24th, the New York Film Academy’s Screenwriting Department, in cooperation with Final Draft, hosted the third, and final, in its second annual series of “Life In” panels. Arranged for NYFA’s Final Draft Fellowship (a 12 week Writing Fellowship for the finalists in Final Draft’s Big Break Contest), this panel focused on “Life in Transmedia” and saw the panelists explore working in franchises, transmedia and individual mediums like comics, web-series and games.

    dunlap

    The Transmedia panelists (many of whom teach at NYFA) included:

    Nunzio DeFilippis & Christina Weir, writing team in comics (NEW X-MEN, BAD MEDICINE, FRENEMY OF THE STATE), games (Unititled Jet Li videogame), and TV (ARLISS, KIM POSSIBLE)

    Josh Eiserike, comic writer & artist (MAD MAGAZINE, ANYONE BUT VIRGINIA, ANNA AND PAT)

    Margaret Dunlap, writer of webseries (THE LIZZIE BENNETT DIARIES, WELCOME TO SANDITON, EMMA APPROVED) and television (THE MIDDLEMAN, EUREKA)

    Emmett Furey, writer/producer of webseries (THE NEW ADVENTURES OF PETER AND WENDY, FUREY OF SOLACE)

    Scott Rogers, writer/producer of video games (LEVEL UP! THE GUIDE TO GREAT VIDEO GAME DESIGN, GOD OF WAR), comics (BEDBUG: SINGLE FATHER SUPERHERO)

    Adam Finer, NYFA’s Associate Chair of the Screenwriting Department, moderated and provided advice and insight. He said, “We tell stories. It’s something inherent in human nature. You’re here because storytelling matters.

    transmedia panel

    Adam started the discussion with the big question: What is Transmedia? Margaret Dunlap joked that with six panelists you would get about seven different answers, but Nunzio DeFilippis’ answer garnered general agreement. Nunzio explained that transmedia is story told across multiple media, where, ideally, each new media format expands the world, characters, and story. He said that transmedia is a way to, “Think beyond film and television.

    The conversation moved to how to get started working in transmedia. Scott Rogers discussed the available technology and software in today’s world that can help a person create their own material – software to render video games, technology for drawing and animating, phones and cameras to film. Scott said, “It’s completely doable. There’s going to be a big amount of luck, and skill, and talent, but it’s doable.” Emmett Furey added, “There’s nothing to stop any of you. You just gotta do it.”

    final draft panel

    One way to get involved in creating your own content that the panelists discussed was to borrow from pre-existing franchises. Scott Rogers said, “If you love Star Wars, create your own Star Wars.” Take what you love from a franchise – the world, characters, relationships – and create your own, unique, version. Josh Eiserike added, “Tap into what you really love about the world and then create your own version.” Nunzio DeFilippis, who has written for X-Men and Superman, offered a counterpoint, though, saying “if you create your own team, you have to wait to see if they have the cultural impact of the X-Men.” He spoke about the thrill of working in a franchise that has an existing fanbase.

    The panelists also explored getting started with content based off property in the public domain. Margaret Dunlap, an Emmy Award winner of The Lizzie Bennet Diaries and Welcome to Sanditon, said of writing new media content for property in the public domain, “Part of the appeal is that it gives people the hook in. This is familiar ground. It’s easier to take on something new if there’s something familiar at the same time.

    This segued into how creating your own content in new forms of media can lead to other, more traditional, forms of media. The comic writers, Nunzio DeFilippis, Christina Weir, and Josh Eiserike, all agreed that one should never set out to write a comic, or any other form of new media, with the intent of having it turned into a film or television series. They did agree that if you create compelling content it can be easier to turn it into something else, but that should never be the original intent. Nunzio insisted, “If you can’t be with the one you love, love the one you’re with. You have to love the form you’re writing in.”

    tv panel

    Adam Finer then asked the panelists to discuss audience engagement within the transmedia world. Emmett Furey told an amusing anecdote one of his The New Adventures of Peter and Wendy characters interacting with a fan, role-playing a fairy character, to the point of other fans “shipping” (seeing two characters in a relationship) them. At the end of this story Emmett said, “We facilitate fanfiction by making it fanfact.” In terms of the web and social media, there is no lag between the content being delivered and fans responding to it. Fans want to be, and will be, involved. Margaret Dunlap said, “When you bring your story out into the real world, storytelling gets messy, and that’s okay. Stuff is going to happen that you hadn’t anticipated and you have to embrace it.

    At the end of the discussion the audience (made up of Final Draft fellows, NYFA students, and alumni) was invited to ask questions, which ranged from virtual reality games, alternate reality games, and traditional media breaking into the web space.

    One student asked about limitations new media formats can have on storytelling. Nunzio DeFilippis brought up that while film and television can control the pacing of the viewer, comics can’t – or they handle pacing differently. A reader can stay on a page for hours or seconds, they read at their own pace. However, surprises can be controlled as long as they don’t come on an even page where the surprise would be seen on the opposite page. In terms of limitations on story, however, Christina Weir said, “You are not limited in comics. If you want to tell a story in space with exploding rockets you can. The artists can draw that as easily as panelists sitting behind a table.” When it comes to games, Scott Rogers, talked about the biggest limitation being that of the user. If a player can’t get past a certain level, or isn’t interested, they’ll never unlock the full story.

    panel transmedia

    One of the Final Draft Fellows asked about finding an audience once your content has been created. Scott Rogers discussed finding other creators with similar interests and commenting on their pages/blogs/content, then, once your material is ready to go out, asking if they will help promote your work. Margaret Dunlap added, “Patience really is the long game. Start small and if you nurture it, it can really snowball.” Josh Eiserike chimed in with, “It’s not just about building a fan base and cultivating fans. It’s also about cultivating your peers. Use your network.” He talked about searching for others with similar interests, promoting their work, and then asking if they would do the same. Nunzio DeFilippis encouraged the audience to show authenticity towards your peers. To be genuinely interested in what they have to offer and be kind, then people will be more willing to help you.

    The ultimate bit of wisdom given to the attendees was to always be creating and making things. To collaborate with others and to make projects with your friends. And to not let the fear of wanting to create something similar to something else stop you from creating.

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    April 8, 2016 • Guest Speakers, Screenwriting • Views: 4025

  • Screenwriting Panel: Life in Television

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    On Thursday, March 17th, the New York Film Academy’s Screenwriting Department, in cooperation with Final Draft, hosted the second in its second annual series of “Life In” panels. Arranged for NYFA’s Final Draft Fellowship (a 12 week Writing Fellowship for the finalists in Final Draft’s Big Break Contest), this panel focused on “Life in Television” and saw the panelists explore the ups and downs of working in the TV world. Eva Gross, the Marketing Coordinator for Final Draft, was also in attendance.

    tv panel

    The Television panelists (all NYFA instructors) included:

    • Jerry Shandy, (DOMINION, PERCEPTION)
    • Justin Sternberg, (THE PAUL REISER SHOW, LOVEBITES)
    • Margaret Dunlap, (EUREKA, THE MIDDLEMAN)
    • Christina Weir and Nunzio DeFilippis, (ARLISS, KIM POSSIBLE)
    • George McGrath, (TRACY TAKES ON, PEE-WEE’S PLAYHOUSE)

    Adam Finer, NYFA’s Associate Chair of the Screenwriting Department, moderated and provided advice and insight from his years as a studio executive and manager.  About maintaining and enhancing your job as a writer he said, “Your job as a visual storyteller is to write visual stories, read visual stories, follow blogs, read magazines. Everything you do is gearing you be a storyteller. And write everyday.

    Adam guided the panelists through engaging and entertaining discussions about the industry and their careers, and each told tales of their time working in television. Justin Sternberg talked about how tragedy made him switch from comedy to drama. Christina Weir revealed how her insecurities made her almost turn down the writer’s assistant job that started her career. George McGrath remembered being contacted by Paul Reubens (Pee-Wee Herman) and suddenly finding himself a writer. Margaret Dunlap talked about finding a mentor who guided her path into television. Nunzio DeFilippis admitted to being too outspoken in the writer’s room and the damage that could do to a career. And Jerry Shandy amused the crowd and his fellow panelists by recalling his first day on his first job in the industry, which involved helping with an exorcism of his new boss.

    tv panel final draft

    Many of the panelists have been on the staff of shows, and they engaged in an animated discussion about the hierarchy and positions in the writer’s room, breaking story, and what to expect as staff on a television show. Nunzio DeFilippis said, “In a writer’s room everything is collaborative. From beginning to end.

    About moving up the ladder in the writer’s room, Christina Weir said, “A great way to learn how to be a Show Runner is to be a Writer’s Assistant. You see everything from the bottom up and know how everything’s done.

    Other than working your way through a writer’s room, the panelists also discussed selling original pilot scripts, shopping samples, and pitching your series. In terms of pitching your series, George McGrath said, “The simpler it is—if you can say it in a sentence you have a better chance of selling it.

    In regards to shopping scripts around and taking meetings, Jerry Shandy said, “You want fans in the industry. You want to take every meeting because you never know who will be championing you.

    justin sternberg

    You have to be an amazing writer, but you also have to talk to people, have conversations with them,” added Justin Sternberg. Learn how to craft your story so they go ‘Oh wow,’ I love that script, but I really love that person.

    Similar to feature writers, television writers have their ups and down. Good times and rough times. When it comes to surviving the hard times in between projects, Justin Sternberg said, “Something new always has to be put on the assembly line. Something comes off, but always put something new on.” Adam Finer added, “Don’t spend all the money that you earn. It needs to last you until you have the next thing. Surviving and thriving means you need to be able to enjoy your life and survive the slow times.” Margaret Dunlap chimed in with the treat she’ll award herself on a success, “Sushi, beer, and ice cream. It’s scalable. Not extravagant.”

    Part of surviving the hard times is to get into writing habits. The panelists all agreed that building and maintaining strong writing habits was key and that you have to write every day, even if it’s only for fifteen minutes. You have to take the time to write. Margaret Dunlap said, “Nibble it to death like a duck. You’ve got twenty minutes, what can you do?” George McGrath added, “Write every day. It doesn’t have to be a ton of pages, write a page a day. Take fifteen minutes to write a page and soon you’ll have a script.

    panel tv nyfa

    The panelists also discussed how to know if you’re a writer. Justin Sternberg said, “I write every day because I wouldn’t know what to do if I wasn’t writing every day. I love it. It’s an addiction. It’s a high.” Nunzio DeFilippis added, “The best way to tell if you’re a writer is: what happens when you stop? Do you get cranky, itchy, like you’re going through withdrawal? Then you are a true writer. It becomes a sickness. You’ve got the writing bug and you’re stuck with it.”

    At the end of the discussion the audience (made up of Final Draft fellows, NYFA students, and alumni) was invited to ask questions, which ranged from writing for Netflix or Amazon to using features as a gateway for television.

    One student asked about the relative importance of talent versus attitude in a writer’s room. Adam Finer said, “I can’t stress enough how important it is to be nice to people. The dirty little secret of Hollywood is that people like to work with people they like.” Margaret Dunlap chimed in with, “You have to be a social animal. You’re spending a lot of time with other people in a room. If you’re pleasant, personable, always there and never bitter, that’s the person they bring back for the next season.

    panelists for tv

    Another student asked about getting staffed on a show as a new writer. Justin Sternberg said, “Just try to get on any show that will take you. You’ll meet the people you need to meet to get your career going. But, just get in wherever you can.

    Christina Weir added, “Don’t go into a writer’s assistant job, or PA job, and hand them your pilot. Save that for down the line.” Adam Finer said that, “People are willing to share their information. Don’t be afraid of reaching out to people.”

    The ultimate bit of wisdom given to the attendees was to be kind to others and to always be writing. Jerry Shandy said, “Success depends on the number of at bats. Keep swinging and you’ll hit something.” Margaret Dunlap said, “Work hard and be nice to people.” Justin Sternberg added, “If you have to be doing this, then you’re in the right place. You’ll enjoy the ups and the downs.” George McGrath intoned with, “Trust the universe. It’s out to help you.” Christina Weir added, “Don’t be afraid to do something you’ve never done before. Don’t be afraid to dive into the unknown.

    Lastly, Nunzio DeFilippis gave words of wisdom from the film BETTER OFF DEAD: “Go that way… really fast. If something gets in your way, turn.

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    March 30, 2016 • Guest Speakers, Screenwriting • Views: 3104

  • NYFA Hosts “Life in Television” Panel with Final Draft

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    Recently, the New York Film Academy’s Screenwriting Department, in cooperation with Final Draft, hosted the second in a series of “Life In” panels. This second panel arranged for NYFA’s Final Draft Fellowship (a 12 week Writing Fellowship for the finalists in Final Draft’s Big Break Contest), focused on “Life in Television” and saw the panelists explore television’s past and its ever-evolving future.

    The Television panelists, consisting of former and current NYFA Instructors, included:

    • Rachel Vine, animation writer, (RAINBOW BRITE)
    • Justin Sternberg, half-hour and sketch comedy writer, (THE PAUL REISER SHOW, LOVEBITES)
    • John Marsh, half-hour comedy and animation writer, (THE PROUD FAMILY, FATHERHOOD, ARTHUR)
    • John Carr, reality TV writer, (THE BACHELOR, THE HILLS, VANDERPUMP RULES)
    • Christina Weir, half-hour comedy and animation writer, (ARLISS, KIM POSSIBLE)
    • George McGrath, half-hour comedy writer (TRACY TAKES ON, PEE-WEE’S PLAYHOUSE)
    • Dan Kay, one-hour drama writer, (THE DIABOLIC, NOCTURNAL)
    adam finer

    NYFA’s Associate Chair of the Screenwriting Department, Adam Finer

    Adam Finer, NYFA’s Associate Chair of the Screenwriting Department, moderated and had several pieces of insightful advice from his years as a manager. He guided the panelists in an animated discussion of their path into the writer’s room and how they found their brand as a writer. John Marsh said,“Whether it’s being a PA on the show, being an assistant to an executive producer, figure out exactly what you want to do and try to gear yourself towards that. …Once you’re in there, use those relationships to help you.” Rachel Vine added, “I think there’s this myth that the industry is unapproachable, but I find that people want to help people. …Don’t be afraid to ask.”

    The panelists also explored the differences in network and audience targets, pitching, and how the world of television is evolving to the point that there are shows and networks niche enough for all tastes. John Carr said, “With the proliferation of networks it’s increasingly niche driven. …When you’re talking about your voice, you’re really talking about what network are you on? What is the micro-niche they’re reaching out to? Those are the questions you can ask yourself as a writer.”

    Dan Kay discussed the need to be savvy about the Business as well as the Craft, “Being a professional writer is not just writing. Although…you have to be writing all the time. But you also have to have a business brain. And you have to spend a lot of your time figuring out how to network and following up on your network and broadening your network. Part of being a writer is doing the business.” Adam talked about the challenges new writers face and the need to not give up,“It’s incredibly tough when you’re getting out of school to survive. To make a living doing what you love. And sometimes you take the jobs that sustain you while you pursue your career. But, you have to be tenacious. You have to keep going.”

    At the end of the discussion the audience, made up of Final Draft fellows, NYFA students, and alumni, was invited to ask questions, which ranged from how to find an agent or manager, to pitching, to specific questions about the writing work of each panelist.

    The ultimate bit of wisdom given to the attendees was to always be writing, to always be creating, and to write stories that speak to you and that you are passionate about. Christina Weir said, “…the focus is always on the story – how to tell a good story in the medium you’re doing it.” Christina’s comments were echoed by Justin Sternberg who said,“Tell your stories. Just keep writing and write you. Just be you.” George McGrath added, “What excites you? What do you want to see on TV? That’s what you should write. Whether that’s a sitcom, hour drama, kids show or animation, or a variety show you have to be excited to have that sense of ‘this is magic, this thing they handed me’ because it’s coming from a place that’s you.”

    The Panel was the second in a series being offered by NYFA, and in cooperation with Final Draft, and was followed by a “Life In Features” Panel.

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    August 4, 2015 • Community Highlights, Guest Speakers, Screenwriting • Views: 4419

  • Final Draft Screenwriting Contest Finalists Heading to NYFA

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    Final Draft Awards

    The 10th Annual Final Draft Awards were held last night by Final Draft Inc. in the back lot of Paramount Studios. The awards, organized by the screenwriting software company, recognizes excellence in screenwriting for film and television.

    For film, the award for best original screenplay went to Birdman, which also took home awards at SAG, DGA, and PGA. Gone Girl also took home an award for best adapted screenplay.

    On the television side of things, The Big Bang Theory nabbed the award for best television comedy. True Detective edged out Downton Abbey, Fargo, Game of Thrones, and House of Cards for best television drama.

    The awards are decided through a vote by the thousands of users of the Final Draft software.

    Also announced during the evening were the awards for the Big Break Screenwriting Contest. The contest is meant to highlight talented, aspiring screenwriters that have yet to be discovered.

    To help them along in their screenwriting careers, finalists of the awards received a share of over $80,000 in cash and prizes.

    The New York Film Academy is also showing their support for the contestants. For the first time ever, we have partnered with Final Draft to provide the New York Film Academy Fellowship in Writing for Film & Television.

    The fellowship will be a 12-week master class held at our Los Angeles campus. We look forward to the attendees expanding their skills at The Academy and setting themselves up for a brighter future in the industry!

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    February 13, 2015 • Entertainment News, Screenwriting • Views: 3647