Free tickets to screenwriting event!

June 11th, 2013 by

For any of you who will be in the vicinity of Los Angeles on Saturday, June 29th, there are five free tickets to this event: “Craft Your Future: Surviving and Thriving as a Screenwriter”.

Sat, June 29, 2013
10:00 AM – 6:00 PM

This year, we’re going all out for our Screenwriting Craft Symposium, with an entire day’s worth of panels full of exciting guests:

We’re still bringing more panelists on board, so check back here for updates.

The Early Bird discount is still available. So get your tickets now!

Quite a lineup! Also note the event is sponsored by the Black List.

Tickets cost $85 and you can purchase them here.

But Franklin has some free tickets he’s giving away and here is how you can be eligible to get one:

In comments, post a question you would want asked to any of the participants on the panels during the event.

Now is your chance to ask something of importance about the craft to screenwriters John August, Craig Mazin, Travis Beacham, Karl Gajdusek, Evan Daugherty, or Edward Ricourt. Or perhaps you have something interesting to ask Franklin, Greg Beal or Matt Dy about screenwriting competitions.

Come up with a great question, post it in comments, and if Franklin likes your question, 5 lucky people will not only win a free ticket to the event, Franklin will make sure your questions are raised at the session.

We ran the contest last week and here is Franklin’s response to the questions:

Wow. Those are AMAZING questions. It was really difficult to narrow it down (seriously, I could have chosen five others and been just as happy with the choice) and you can reassure everyone that many of those questions will be asked (with credit) on the day.

Here are those five winners and their questions:

EitanTheWriter says:
June 6, 2013 at 5:59 PM

In what ways has success as a writer been exactly what you expected as a screaming and kicking newbie, in what ways has it been completely different?

James I. says:
June 6, 2013 at 6:30 PM

What do you think the number 1 thing was, in terms of personality, or beliefs, that was most influential in getting you to where you are today?

kellisays@gmail.com says:
June 6, 2013 at 8:04 PM

Why are there no female panelists scheduled to be a part of the event?

Devin McKay says:
June 6, 2013 at 8:59 PM

What do you think’s the hardest stretch of one’s screenwriting career? Obviously, getting in is tough. What about just after “getting in”, but you have little to no money coming in, assignments to secure and meetings to take? Or is it later when you have established yourself, and the new car smell wears off, and people start gunning for you? Or are there some other lurking horrors awaiting that aren’t obvious?

Eric Baker says:
June 7, 2013 at 6:46 PM

In the book ‘Which Lie Did I Tell”, William Goldman said that Chinatown wouldn’t work today because people can’t be shocked or feel shame anymore. Do you feel that cynicism plays a larger role in cinematic storytelling than it did in the past?

So we’re doing the contest again this week. Same drill: Midnight (Pacific) Friday deadline. Five more lucky winners.

You can find out more about the Writers Guild Foundation here.

You may follow the Writers Guild Foundation on Twitter: @WritersGuildF.

Would the 5 winners from last week’s contest please contact me via email? I will tell you what to do to get your ticket!

23 thoughts on “Free tickets to screenwriting event!

  1. Joe Nava says:

    In the last few years since I made the switch from strictly being a screenwriter to becoming writer/director, I’ve noticed that the way I write my screenplays has altered. I’m curious, what you gentlemen think is the difference between writing as a screenwriter and writing as a filmmaker/director intending on directing his own film? That said, what do you think are the traps that a writer/director can fall into writing his own work?

  2. Cortney Matz says:

    How do you know when you’re done?

  3. Susanwrites says:

    How has today’s process of “breaking in” changed from five, ten or twenty years ago?

  4. kkareem says:

    Do you keep a “character bible” of sorts where you keep track of character histories –their biggest fears, greatest secret longings, life-changing moments etc?

  5. JustinL says:

    As a screenwriter, do you ever find yourself being too descriptive or specific with characters? When I write, I want to put exactly how I imagine a character saying a line or giving a look. Do you ever struggle to balance being descriptive while leaving room for actor/director interpretation?

  6. bsk says:

    Where do you see the state of the industry in ten to twenty years, and how should screenwriters, both beginning and veteran, adapt and negotiate the heady waters?

  7. jcnicodemus says:

    To Craig Mazin, and John August:
    What’s the best way you’ve found to guard your craft, and heart against umbrage?

  8. SandiE says:

    I recently got script-notes feedback on one of my scripts that I felt very attached to. I got a lot of negative but extremely helpful feedback, (which I appreciated because I really want to refine my script to make it better.) Have you ever had to tear apart a script you loved, and how did you go about breaking it apart when you felt emotionally tied to it?

  9. jtthieme says:

    How important is writing in a certain genre in order to establish your “brand” as a professional writer? How hard is it to get out of that box once you’ve put yourself in it?

  10. Annie Griggs says:

    What was the most difficult scene you’ve written?

  11. With advancements like the Black List 3.0 site and various contests, is there less of a filter for breaking in? If so, is that a good thing?

  12. John Geraci says:

    What’s the one thing you would change in your career? When you were starting? And now?

  13. Blake Kuehn says:

    A newbie, non-WGA screenwriter, through fortunate circumstance and tremendous luck, sells an original feature screenplay to a WGA designatory company. Would the writer be afforded the protections of a WGA member, i.e. WGA membership, minimum payment (assuming the lack of a writer’s quote), etc.? Or, do those benefits apply only to future work once said writer has been accepted to the WGA thanks to their first sale?

  14. It seems like studios/producers want screenplays geared more towards international audiences. Do you think about this when you write? And if so, how does it change your approach to writing?

  15. Brian says:

    What is the most valuable mistake you’ve made in your career thus far?

  16. Keith Strausbaugh says:

    If comedy is routinely acknowledged as the hardest to write, then why doesn’t it receive Academy respect?

  17. Luther Floyd says:

    I have a good friend who’s very close with a big name Hollywood Actor. Someone who’s been in big films with the biggest name Directors, Producers, and Actors in the business. I’’ve met the Actor in a social setting… its legit. He was huge in the 1990’s – early 2000′s, fell off everybody’s radar, went through rehab, etc., and is now coming back. My good friend has suggested I abandon whatever it is I’m working on in the moment (‘writing what I know’) and begin writing a dark, twisted, sinister, thriller script idea with his Hollywood Actor friend in mind as the lead. I’m a complete newbie and no one knows or has read any of my work, so the question is- should I ‘bite’ and spend the next three months writing something not up my alley on the chance that ‘Hollywood Actor’ likes it… or stay the course with ‘writing what I know’ as the first thing I’m actually wanting to circulate in the community?

  18. Are you now, as paid screenwriters, solely writing in and for the interest of future works? i.e. “what’s selling?” Or are you also working, or hoping for, your pet projects to be lifted off from the ground, despite their marketability? What storytelling aim takes precedence for a paid writer? The answer seems obvious, but you never know when your script will be the herald of the next big thing.

  19. You attend a panel of the screenwriters you most admire. What question would you ask and who would be on the panel?

  20. astoria26 says:

    Did you have a mentor early on in your career that really helped you, and if so, what was the one piece of advice that got you to turn the corner, or still guides you today?

  21. I recently read an article “It’s Money (Not Sexism) Keeping Women Down in Hollywood”

    - See more at: http://www.filmschoolrejects.com/opinions/women-underrepresented-in-hollywood-not-due-to-sexism.php#sthash.xyupYuCp.dpuf

    where it more specifically quoted the following

    “Put simply: the male-to-female ratio among studio filmmakers is 15.24:1. The stats are about as bleak for female screenwriters, so there’s your first problem — there aren’t enough women given opportunities to create complex roles for women…”

    This is my greatest concern as a female filmmaker myself hoping to get a chance in the “big boy’s club” (referenced in the article)

    The article is long and delves into the subject on a many fronts, but I’d like to know what are some of your experiences and thoughts on this issue. Do you think that female screenwriters are treated unfairly in Hollywood?

    On another note, congratulations on your continued success in the biz! Thanks!

  22. pliny-rising says:

    As the entry level for digital film and TV continues to get cheaper and avenues for distribution multiply, how do you see the writer’s role changing in this new digital frontier? How should writers embrace the new opportunities arising from this change, and what skills do you see writers needing in order to be successful, both artistically and financially?

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