Selasa, 30 Desember 2008
Charlottesville Area Real Estate: Another Local Builder Faces Mass Foreclosures
Weather Hill Development is facing mass foreclosure on 27 properties on January 15, 2009, when an auction takes place on the steps of the County Courthouse. But the company says Hauser Homes is to blame. The property is part of Poplar Glen, off Rte. 250 just west of Charlottesville in Albemarle County.Recently, Church Hill Homes faced mass foreclosure on 37 properties, and still owes
2008. End of.
HIGHLIGHTS
January: wrote the pilot for a new kids' show for an Asian animation studio and script edited the remaining 25 half-hour eps (which would spread out over the year).
February: shortlisted for the inaugural Times/Chicken House Children's Fiction Award with a children's book I co-wrote with Sam. Didn't win but got down to last 5 out of 2,000 manuscripts so we were well chuffed.
March: Sofia's Diary makes its UK debut on Bebo and becomes an instant hit. I wrote four weeks' worth of webisodes (including the launch) but a lot of credit has to go to Melanie Martinez, creator Nuno Bernardo and the rest of the team for moulding its success. Way to go!
March/April: pitched ideas for Badly Drawn Roy, a new CBBC show (an Irish co-production, too, with JAM Media) and got a commission to write an episode.
May: got EastEnders after writing a trial episode in March!
July: relaunched the Red Planet Prize with Tony Jordan at the Screenwriters' Festival.
September/October: visited the set of Badly Drawn Roy to see my ep being filmed. Also start to develop another new kids' series for the Asian studio as well as script editing a feature film script that's been given some cash by the Irish Film Board.
December: EastEnders commission is confirmed and I begin writing my ep.
A good year, no, a great year, with the two stand out higlights being Badly Drawn Roy and EastEnders. But this is just the beginning, really, so time to knuckle down and keep improving. It's also been a year where I deliberately focused on TV to ensure consistent pay cheques after a few years of exciting but ultimately frustrating experiences with the world of film. That's okay. I'm patient, and getting better all the time. 2009? Bring it, baby.
January: wrote the pilot for a new kids' show for an Asian animation studio and script edited the remaining 25 half-hour eps (which would spread out over the year).
February: shortlisted for the inaugural Times/Chicken House Children's Fiction Award with a children's book I co-wrote with Sam. Didn't win but got down to last 5 out of 2,000 manuscripts so we were well chuffed.
March: Sofia's Diary makes its UK debut on Bebo and becomes an instant hit. I wrote four weeks' worth of webisodes (including the launch) but a lot of credit has to go to Melanie Martinez, creator Nuno Bernardo and the rest of the team for moulding its success. Way to go!
March/April: pitched ideas for Badly Drawn Roy, a new CBBC show (an Irish co-production, too, with JAM Media) and got a commission to write an episode.
May: got EastEnders after writing a trial episode in March!
July: relaunched the Red Planet Prize with Tony Jordan at the Screenwriters' Festival.
September/October: visited the set of Badly Drawn Roy to see my ep being filmed. Also start to develop another new kids' series for the Asian studio as well as script editing a feature film script that's been given some cash by the Irish Film Board.
December: EastEnders commission is confirmed and I begin writing my ep.
A good year, no, a great year, with the two stand out higlights being Badly Drawn Roy and EastEnders. But this is just the beginning, really, so time to knuckle down and keep improving. It's also been a year where I deliberately focused on TV to ensure consistent pay cheques after a few years of exciting but ultimately frustrating experiences with the world of film. That's okay. I'm patient, and getting better all the time. 2009? Bring it, baby.
Selasa, 23 Desember 2008
End of Year Report: 26 Months of Inventory in the Charlottesville Area
26 months of inventory. And the 26 months inventory figure does not include "shadow inventory," properties that owners or banks want to sell, but which are not in the MLS because they are:*Houses that have been pulled off the market for the winter or until the market "turns;"*Foreclosures not yet put up for sale again;*Houses that have been offered for sale but are now rentals due to lack of
Senin, 22 Desember 2008
UK TV Specs
In the US, it is common practice to write spec episodes of existing television shows in order to convince producers that you should be let in to a writers' room. The system works like this: if you want to write for, say, House, then you write a spec episode of Battlestar Galactica, or Desperate Housewives or anything else that ISN'T House. The producers of that show want to see that you can write but they don't want to read your take on Hugh Laurie mainly because of legal reasons. If they don't like your script but then use a storyline that was similar to your episode, then you'll get all huffy and want to sue. Writing spec episodes is a big deal for new writers in the US, and a lot of time and care goes into the process as it may lead to a big break.
Over here, writing a spec episode doesn't hold the same currency at all. If you write a spec Dr Who script and send it to Casualty, they won't care how good the writing is because the script isn't applicable to them, and, more crucially, you're an 'unknown quantity' as a writer. If you write a spec Dr Who script and send it to Russell T Davies, well, he won't read it, because you might sue if he uses something similar to your episode. Of course, you could charm and hustle Russell to read your Dr Who script and convince him to take you on. It has been known to happen (a writer being hired based on the spec ep they wrote for the producer's show), there's always an exception, but generally, in the UK, if you want to get ahead, you have to write an original spec script. Your own idea, characters and story.
Producers and execs in this country want to know what your 'original voice' is like. But even if they're impressed by your work, a commission may still elude you because the next thing they want to know is if you're been through the system, and if you're able to cope. In other words, they prefer it if a writer has experience and has been through the mill, i.e. the process of going through 1st draft, notes, 2nd draft, all the way to production. That's why they'll be more inclined to go with someone who's had a credit or two on Doctors, or has done a notable radio play, or theatre piece.
This might sound like it's pretty pointless to write a spec episode of your favourite show. Well, it's not. It all depends on what you want to get out of it. Regardless of what a producer may think in terms of actually hiring you, a spec script will always be a writing sample, and if it's fairly decent, then that's always going to leave a good impression. And, on some occasions, you may be asked directly to write a spec episode of the show that you're trying out for, like EastEnders, or Not Going Out.
When I was fresh off working on the set of Black Books (1st series, god, almost 9 years ago!), I decided to write a spec episode, naively thinking it would be snapped up by the producer for the second series. The producer liked it, complimenting me on getting the tone and characters right (when she had seen many spec scripts that hadn't, apparently) but they were going to use two experienced writers for the 2nd series, and my episode wasn't going to get a look in. Still, the script has served me well as a general sample, especially if a producer, agent or exec wants to read a good batch of scripts from your portfolio. I've put the script up on my site (in the blog download section), in case you want to have a peek. Looking back, it's a bit on the short side and patchy in places but it's not bad, all things considered.
So, if you're just starting out, it may be helpful, and indeed fun, to write a spec episode of your favourite show. Let your excitement and imagination run free, and get your portfolio underway before moving on to your own personal stuff, where your 'original voice' can shine.
To end on a more festive note: if you're not really bovvered by the Hallelujah hoopla that's been going on, here are a few other tracks that might spice up your Christmas playlist: James Brown - "Santa Claus Go Straight to the Ghetto", Stevie Wonder - "One Little Christmas Tree", The Beach Boys - "Little Saint Nick".
HAPPY CHRISTMAS! Don't eat too much, now.
Over here, writing a spec episode doesn't hold the same currency at all. If you write a spec Dr Who script and send it to Casualty, they won't care how good the writing is because the script isn't applicable to them, and, more crucially, you're an 'unknown quantity' as a writer. If you write a spec Dr Who script and send it to Russell T Davies, well, he won't read it, because you might sue if he uses something similar to your episode. Of course, you could charm and hustle Russell to read your Dr Who script and convince him to take you on. It has been known to happen (a writer being hired based on the spec ep they wrote for the producer's show), there's always an exception, but generally, in the UK, if you want to get ahead, you have to write an original spec script. Your own idea, characters and story.
Producers and execs in this country want to know what your 'original voice' is like. But even if they're impressed by your work, a commission may still elude you because the next thing they want to know is if you're been through the system, and if you're able to cope. In other words, they prefer it if a writer has experience and has been through the mill, i.e. the process of going through 1st draft, notes, 2nd draft, all the way to production. That's why they'll be more inclined to go with someone who's had a credit or two on Doctors, or has done a notable radio play, or theatre piece.
This might sound like it's pretty pointless to write a spec episode of your favourite show. Well, it's not. It all depends on what you want to get out of it. Regardless of what a producer may think in terms of actually hiring you, a spec script will always be a writing sample, and if it's fairly decent, then that's always going to leave a good impression. And, on some occasions, you may be asked directly to write a spec episode of the show that you're trying out for, like EastEnders, or Not Going Out.
When I was fresh off working on the set of Black Books (1st series, god, almost 9 years ago!), I decided to write a spec episode, naively thinking it would be snapped up by the producer for the second series. The producer liked it, complimenting me on getting the tone and characters right (when she had seen many spec scripts that hadn't, apparently) but they were going to use two experienced writers for the 2nd series, and my episode wasn't going to get a look in. Still, the script has served me well as a general sample, especially if a producer, agent or exec wants to read a good batch of scripts from your portfolio. I've put the script up on my site (in the blog download section), in case you want to have a peek. Looking back, it's a bit on the short side and patchy in places but it's not bad, all things considered.
So, if you're just starting out, it may be helpful, and indeed fun, to write a spec episode of your favourite show. Let your excitement and imagination run free, and get your portfolio underway before moving on to your own personal stuff, where your 'original voice' can shine.
To end on a more festive note: if you're not really bovvered by the Hallelujah hoopla that's been going on, here are a few other tracks that might spice up your Christmas playlist: James Brown - "Santa Claus Go Straight to the Ghetto", Stevie Wonder - "One Little Christmas Tree", The Beach Boys - "Little Saint Nick".
HAPPY CHRISTMAS! Don't eat too much, now.
Minggu, 21 Desember 2008
Charlottesville Albemarle Economic Downturn, December 2008
"Insulated" economy? Sadly, no.Like the rest of the United States, the Charlottesville / Albemarle area is suffering from the Recession, the housing downturn, and the world-wide credit crisis.*Local bankruptcies have skyrocketed, according to the DP. Between Oct. 1 and Dec. 19, there were 175 families who filed for bankruptcy protection. During the same period in 2006, there were 22
Jumat, 19 Desember 2008
"Housing Prices Always go UP!" - "Insulated/steady/different"
The RealCentralVA blog has a satirical video posted: "Housing prices always go 'UP'!" The featured "homeowner" can't believe his property has lost value.Realtor blogger Jim Duncan knows the bubble is over, and crunches the numbers in a way no other blogger or agent seems to be willing or able to.And there's perspective over there: From the RealCentralVA Twitter feed this morning: "Talked to
Kamis, 18 Desember 2008
935 Belmont Avenue - "Free" Rent
We first looked at 935 Belmont last May, when the price was $375K without the yard.Now, after more than a year on the market, the price is $275K without the yard, which goes for an additional $125K.The house needs extensive renovations. So now it's available for "free" rent--if you're a drywaller. In all seriousness. Q: Why hasn't the price dropped further?A: Seller doesn't need to sell. And
Tales From The Trenches
This time last year, I got a commission to write an episode for a new series. It came out of the blue, I didn't know the producer or the production company, so it was a very welcome offer, especially in the run-up to Christmas. There was more episodes potentially available, too, providing all went well with my first script. Naturally, I was determined to make my first episode a success.
To start, pitch a few ideas. This is the norm. The producer commissioned one idea quite quickly, and wanted an outline/script done before Christmas, if at all possible. I was visiting relatives in Ireland BEFORE the holiday break but I thought I could accommodate the producer's pressing deadlines. I did an outline, she approved it without much fuss, and I happily went to 1st draft script. Within a couple of days, I had it done, and I was keen to send it on. However, my agent told me to hold on for a second while she had a closer look at the contract, just to be sure that everything was ay-ok. All very standard and above board.
I sat by my computer but didn't want the producer to think that I was missing a deadline or falling behind, so I dropped her an email, telling her that I had the script ready but was just waiting for my agent to give me the nod after she read the contract. I then travelled to Dublin, thinking all was well but when I next checked my email, my face fell to the floor.
The producer took great offence at my previous message and claimed never to have been so insulted in all her working years. Plus, she was really irritated that my agent was 'holding things up' and asking for more money (standard negotiation request, and all very politely dealt with). Furthermore, she blasted my script as one of the worst she'd seen, and clearly I hadn't grasped the show or the characters from the couple of scripts I had been given as a guide. Ouch! I felt sick. It seemed just as soon as the opportunity came out of the blue, it was going to be taken away over a stupid misunderstanding.
I replied to the producer, trying to assure her that no offence was intended. Perhaps my email had been naive. I apologised. And if my script was rubbish, then please let me have another go to get it right. My agent also sent an apology, both she and I quite flabbergasted at the turn of events. However, the producer replied in an aggressive tone, still offended by the whole affair, but this time insulting me and my agent, accusing us of playing silly games. Now I was annoyed. Still, I was still determined to fix the script, if not the situation.
So, after some notes from the irked producer, I rewrote the script. She conceded that the 2nd draft was better but she did a rewrite of her own, and sent me back the finished result. Fine, not a problem but that was it, opportunity over. OK, it didn't work out, and it won't pop up on my CV but I least I got paid. What did I learn? Even if you apply what you think are the highest professional standards to an assignment, it can still go pear shaped over unforeseen, and often trivial, developments. Or sensitive egos. Who knows.
This year, on completely the other end of the scale, I had a dream commission with Badly Drawn Roy, which was a joy from start to finish. Just goes to show you can never tell how things are going to go, even when you think you're doing the right thing.
To start, pitch a few ideas. This is the norm. The producer commissioned one idea quite quickly, and wanted an outline/script done before Christmas, if at all possible. I was visiting relatives in Ireland BEFORE the holiday break but I thought I could accommodate the producer's pressing deadlines. I did an outline, she approved it without much fuss, and I happily went to 1st draft script. Within a couple of days, I had it done, and I was keen to send it on. However, my agent told me to hold on for a second while she had a closer look at the contract, just to be sure that everything was ay-ok. All very standard and above board.
I sat by my computer but didn't want the producer to think that I was missing a deadline or falling behind, so I dropped her an email, telling her that I had the script ready but was just waiting for my agent to give me the nod after she read the contract. I then travelled to Dublin, thinking all was well but when I next checked my email, my face fell to the floor.
The producer took great offence at my previous message and claimed never to have been so insulted in all her working years. Plus, she was really irritated that my agent was 'holding things up' and asking for more money (standard negotiation request, and all very politely dealt with). Furthermore, she blasted my script as one of the worst she'd seen, and clearly I hadn't grasped the show or the characters from the couple of scripts I had been given as a guide. Ouch! I felt sick. It seemed just as soon as the opportunity came out of the blue, it was going to be taken away over a stupid misunderstanding.
I replied to the producer, trying to assure her that no offence was intended. Perhaps my email had been naive. I apologised. And if my script was rubbish, then please let me have another go to get it right. My agent also sent an apology, both she and I quite flabbergasted at the turn of events. However, the producer replied in an aggressive tone, still offended by the whole affair, but this time insulting me and my agent, accusing us of playing silly games. Now I was annoyed. Still, I was still determined to fix the script, if not the situation.
So, after some notes from the irked producer, I rewrote the script. She conceded that the 2nd draft was better but she did a rewrite of her own, and sent me back the finished result. Fine, not a problem but that was it, opportunity over. OK, it didn't work out, and it won't pop up on my CV but I least I got paid. What did I learn? Even if you apply what you think are the highest professional standards to an assignment, it can still go pear shaped over unforeseen, and often trivial, developments. Or sensitive egos. Who knows.
This year, on completely the other end of the scale, I had a dream commission with Badly Drawn Roy, which was a joy from start to finish. Just goes to show you can never tell how things are going to go, even when you think you're doing the right thing.
Rabu, 17 Desember 2008
Mortgage Modifications: HUD Head Calls "Hope for Homeowners" a Failure
From WaPo:Secretary of Housing and Urban Development Steve Preston said the centerpiece of the federal government's effort to help struggling homeowners has been a failure and he's blaming Congress.The three-year program was supposed to help 400,000 borrowers avoid foreclosure. But it has attracted only 312 applications since its October launch because it is too expensive and onerous for lenders
Selasa, 16 Desember 2008
$2 Trillion in House Values Lost in 2008
Zillow's latest projection for 2008 is that US home values lost more than $2 Trillion due to the collapse of the housing bubble.One in seven of all homeowners, or 14.3 percent, were "underwater" by the end of the third quarter, the reports showed, meaning that they owe more on the mortgage than the house is worth. That's 11.7 million homeowners. More will be reported during the fourth quarter."
Senin, 15 Desember 2008
Professional Screenwriter, Step 10: Doing the Do
Now that you’ve accumulated all these steps, what do you do now?
You keep going. You put yourself out there. You hustle, work, write, stay focused and keep determined. Unfortunately, it’s not as easy as it sounds. Stuff gets in the way. Life. Kids. Relationship. Illness. Pesky distractions. The rejections pile up. Confidence takes a knock. Maybe screenwriting isn’t for you? Well, now at least you know for sure.
If you’re still determined to keep going, then you need to constantly assess and revise what you're doing. It’s easy to slip into a routine where you might send out your stuff but essentially, you're sitting around waiting for people to make it happen. Waiting for the call. Waiting for a reply. Waiting.
So, ‘doing the do’. What does this mean? It means that you’re not going to wait for someone else’s permission to do what you want to do. You know that any rejection or disappointment doesn’t mean you’re rubbish. You know that it’s part of the process, and that you’ll get there eventually. You know you have what it takes, that you’re not deluding yourself and it’s just going to take a bit more time to convince the industry to let you in.
But it’s not just a positive attitude that will see you through. You’ll develop this inner-confidence by staying proactive and raising your profile through quality endeavour rather than relying on wishy washy sentiments, like 'you’re following your dream’.
Write a short film. Find a director. Or a producer. (Don't know how? Try Shooting People, Talent Circle or UK Screen.) Get it made. Better still, write & direct a short. Make it yourself. Get it out there. If you have the funds and the ambition: make a low-budget feature. What’s stopping you?
Start a blog. Maintain it well. Promote yourself. Get to know the community. At the very least, have a website. Put up your essential details. Everyone turns to Google the minute they want to know something about someone. Do you really want your web reference to be ‘zero’, or worse, an ill-informed comment on someone else’s blog, or an embarrassing family photo that your cousin has uploaded? By having your own website or blog, you can better determine what information appears in the Google searches.
Don’t forget to write. New ideas, new scripts. Pages per day. Per week. Whatever discipline and routine works for you. Keep writing. Hard work, talent and a bit of luck, that’s what you need to succeed. And a lot of luck will emerge from hard work alone, so it really is in your hands.
Finally, have a plan. 'It takes ten years to make it', or so the saying goes, but positive developments should be occurring along the way, so mark down things you want to achieve and set a realistic timeline. For example, if you're just starting out, you could plan by 2012 to have a couple of short films made, perhaps a TV commission or two (on Doctors, or similar) and have an agent by this time. That would be a good four years' work, especially for a newbie. But we're nearly in 2009 already so it's time to get moving. What are you waiting for? Seize-um the day-um.
You keep going. You put yourself out there. You hustle, work, write, stay focused and keep determined. Unfortunately, it’s not as easy as it sounds. Stuff gets in the way. Life. Kids. Relationship. Illness. Pesky distractions. The rejections pile up. Confidence takes a knock. Maybe screenwriting isn’t for you? Well, now at least you know for sure.
If you’re still determined to keep going, then you need to constantly assess and revise what you're doing. It’s easy to slip into a routine where you might send out your stuff but essentially, you're sitting around waiting for people to make it happen. Waiting for the call. Waiting for a reply. Waiting.
So, ‘doing the do’. What does this mean? It means that you’re not going to wait for someone else’s permission to do what you want to do. You know that any rejection or disappointment doesn’t mean you’re rubbish. You know that it’s part of the process, and that you’ll get there eventually. You know you have what it takes, that you’re not deluding yourself and it’s just going to take a bit more time to convince the industry to let you in.
But it’s not just a positive attitude that will see you through. You’ll develop this inner-confidence by staying proactive and raising your profile through quality endeavour rather than relying on wishy washy sentiments, like 'you’re following your dream’.
Write a short film. Find a director. Or a producer. (Don't know how? Try Shooting People, Talent Circle or UK Screen.) Get it made. Better still, write & direct a short. Make it yourself. Get it out there. If you have the funds and the ambition: make a low-budget feature. What’s stopping you?
Start a blog. Maintain it well. Promote yourself. Get to know the community. At the very least, have a website. Put up your essential details. Everyone turns to Google the minute they want to know something about someone. Do you really want your web reference to be ‘zero’, or worse, an ill-informed comment on someone else’s blog, or an embarrassing family photo that your cousin has uploaded? By having your own website or blog, you can better determine what information appears in the Google searches.
Don’t forget to write. New ideas, new scripts. Pages per day. Per week. Whatever discipline and routine works for you. Keep writing. Hard work, talent and a bit of luck, that’s what you need to succeed. And a lot of luck will emerge from hard work alone, so it really is in your hands.
Finally, have a plan. 'It takes ten years to make it', or so the saying goes, but positive developments should be occurring along the way, so mark down things you want to achieve and set a realistic timeline. For example, if you're just starting out, you could plan by 2012 to have a couple of short films made, perhaps a TV commission or two (on Doctors, or similar) and have an agent by this time. That would be a good four years' work, especially for a newbie. But we're nearly in 2009 already so it's time to get moving. What are you waiting for? Seize-um the day-um.
Minggu, 14 Desember 2008
Fannie Mae to Let Renters Remain in Foreclosed Houses
At issue in the recent C-Ville story "A Tale of Two Foreclosures" was that the owner of a house hadn't yet notified his tenant of the a foreclosure auction just weeks away. In recent months, foreclosure rates have exposed as many as 70,000 renters to evictions, through no fault of their own, according to analysts.Giant mortgage entity Fannie Mae is taking action and will sign leases with the
Kamis, 11 Desember 2008
Mortgage Rates & Availability December 2008 Charlottesville / Albemarle and Beyond
Part II - Q&A - The Mortgage BuzzWe're fortunate to have Jason Crigler from Crown Mortgage Services contributing. Jason is a loan officer who, along with Michael Martin, writes The Mortgage Buzz, a blog about--you guessed it--all things mortgage.Don't miss Part I, which ran on Tuesday, December 9. We're discussing recent actions by the Fed, buying $500B of mortgage-backed securities and
Friday December 12 Econ Links
These links appeared in our sidebar on Friday, December 12, 2008.White House may use TARP funds for auto bailout. 8 really, really scary predictions.The 7th grader's guide to why housing values may take decades to recover.Jumbo Prime Loans: Uh-Oh.Economists: worst is still to come.Retail sales cliff dive in November.A failure of business leadership.This is completely disconnected from housing,
Professional Screenwriter, Step 9: In the Know
Ever heard of Broadcast? How about Screen International? The Writers’ and Artists’ Yearbook? I’m sure most of you have but there’s an alarming amount of wannabes and graduates who have yet to clue themselves in to these essential publications.
If you want to know what’s happening on the UK scene, and swot up on the media’s movers and shakers, then it’s time to research the industry and raise your overall knowledge and awareness of how the system really works. Time to feel part of the community, find out what’s going on and discover who people are. Who’s the Head of the Film Council? Who’s Head of Drama at Channel 4? Who are the development executives at Working Title? Don’t know? Why not? The truth is out there, and it’s not difficult to find.
First of all, start with Broadcast, the UK’s weekly media magazine which gives a comprehensive rundown on the TV & radio industry. It’s full of news, opinion and gossip, and is a must read. You can subscribe to their RSS feed and get news updates for free.
Next up is Screen International, the UK’s film newspaper. It’s not as vast or detailed as Broadcast but it still covers a lot of ground and is always worth a peek, even if it’s five minutes in WH Smith before you grab your train home.
You simply cannot be without The Writers’ and Artists’ Yearbook. There’s probably no need to buy it every year (as a lot of the info stays the same) but it’s chock full of producers, production companies, agents, and just about everything else you need to know about the UK media arena. One of the most common questions asked is ‘where do I get a list of UK production companies/agents/producers…?’ Well, the Writers’ and Artists’ yearbook is your answer.
Other places worthy of a bookmark: The Guardian’s Media Section (the newspaper publishes this every Monday but the website is updated daily). Similarly, The Guardian’s Film Section (news, reviews, comment). What else? The Irish film & TV scene is covered by the IFTN, and there’s a good Irish filmmaking network here. In the UK, Twelve Point continues to find its stride, both with its website and forum. The Writers’ Guild, The Script Factory and the BBC’s writersroom are also good places of reference (links in the sidebar).
Stay in the know. Find out what's actually going on and who's doing what. Knowledge, as they say, is power. At the very least, it's always interesting and sometimes even fun.
If you want to know what’s happening on the UK scene, and swot up on the media’s movers and shakers, then it’s time to research the industry and raise your overall knowledge and awareness of how the system really works. Time to feel part of the community, find out what’s going on and discover who people are. Who’s the Head of the Film Council? Who’s Head of Drama at Channel 4? Who are the development executives at Working Title? Don’t know? Why not? The truth is out there, and it’s not difficult to find.
First of all, start with Broadcast, the UK’s weekly media magazine which gives a comprehensive rundown on the TV & radio industry. It’s full of news, opinion and gossip, and is a must read. You can subscribe to their RSS feed and get news updates for free.
Next up is Screen International, the UK’s film newspaper. It’s not as vast or detailed as Broadcast but it still covers a lot of ground and is always worth a peek, even if it’s five minutes in WH Smith before you grab your train home.
You simply cannot be without The Writers’ and Artists’ Yearbook. There’s probably no need to buy it every year (as a lot of the info stays the same) but it’s chock full of producers, production companies, agents, and just about everything else you need to know about the UK media arena. One of the most common questions asked is ‘where do I get a list of UK production companies/agents/producers…?’ Well, the Writers’ and Artists’ yearbook is your answer.
Other places worthy of a bookmark: The Guardian’s Media Section (the newspaper publishes this every Monday but the website is updated daily). Similarly, The Guardian’s Film Section (news, reviews, comment). What else? The Irish film & TV scene is covered by the IFTN, and there’s a good Irish filmmaking network here. In the UK, Twelve Point continues to find its stride, both with its website and forum. The Writers’ Guild, The Script Factory and the BBC’s writersroom are also good places of reference (links in the sidebar).
Stay in the know. Find out what's actually going on and who's doing what. Knowledge, as they say, is power. At the very least, it's always interesting and sometimes even fun.
Selasa, 09 Desember 2008
"A Tale of Two Foreclosures" - What Will Foreclosure of 1216 Augusta Street Do to "Value" of Nearby Properties For Sale?
C-ville Weekly has an article by Will Goldsmith entitled "A Tale of Two Foreclosures" with the subtitle, And a look at their place in the scheme of things.
1216 Augusta Street in Charlottesville is scheduled to be sold at foreclosure auction on January 6, and 332 Minor Ridge Road, in Albemarle County, is scheduled for foreclosure auction December 11.
The owner of both properties is Doug McGowan
1216 Augusta Street in Charlottesville is scheduled to be sold at foreclosure auction on January 6, and 332 Minor Ridge Road, in Albemarle County, is scheduled for foreclosure auction December 11.
The owner of both properties is Doug McGowan
Senin, 08 Desember 2008
Mortgage Rates at 5.5 % (Possibly Lower By the Time You Finish Reading This....)
Q&A: The Mortgage Buzz blog - Answers to questions about mortgages in December, 2oo8.Is it a good time to buy a house right now? In the Charlottesville/Albemarle area? Or anywhere else? Who knows. But mortgage rates are on the buyer's side.Just before Thanksgiving, Treasury Secretary Henry Paulson announced that the Bush Administration and the Federal Reserve will do more to aid American
Professional Screenwriter, Step 8: Choosing Work
Or, ‘Don’t be Fussy’.
Ooh, step 8 in the professional screenwriter series. That’s quite a lot. Surely you’re well on your way to screenwriting riches by this stage? Um, not yet. While each of the steps is important in the overall picture, there’s one that’s an absolute must if you’re to earn a crust at this writing lark: you’re going to have to get a paid writing gig.
Now, at this point in your career, you’ve got a few important decisions to make about the kind of work you want to do, and what you won’t get out of bed for. A small fork in the screenwriting road lies ahead. Turn left, and you stick to the area that you’re passionate about, not compromising for a second until you’re clutching your Oscar. Turn right, and you take any writing gig going, from corporate videos to computer games, whilst working your way to higher climbs, possibly clutching that Oscar after your long haul.
There is no bad choice here. Just stick to your guns, and what you want to write, or what you're willing to do to succeed. However, if you’re going to draw a line between the medium of your choice and the other opportunities that are out there, then a word about each of the main areas, and what you might expect.
FILM
Most new writers are lured by the cinema. This is where it’s happening. The bright lights, the silver screen, the big bucks. However, contrary to what you might expect, IT IS EXTREMELY DIFFICULT to make any money from film. If you’re a new film writer in the UK, and won’t consider doing anything else, prepare yourself for some financial frustration. Piddly option fees and treatment costs won’t pay the bills, and films take an age to get developed and produced. Sure, some are fast-tracked, and some are even written by new writers, but you’ve got a better chance of standing on a golf course during a thunder storm and waiting for lightning to strike. If you start to rely on even slimmer possibilities or faint enthusiasm: “Working Title are reading my script this weekend”, “the Film Council’s feedback was very positive”, then you know you’re in trouble.
TV
This is where it’s really happening. Lots of drama and comedy. Loads of broadcast hours. Tonnes of programmes actually being made, and vast opportunities for writers to get their break and make some dough. However, as you’ve probably figured out by now, IT IS EXTREMELY DIFFICULT to break into TV. But not impossible. And if you’ve been following these steps, then you might have a better chance than others. Don’t be snobby. Swot up on the soaps. Get your spec scripts read by the right people. Bish, bash, bosh, your first commission. Work your way up the pole, and you’ll be surprised what other doors open because of your TV career.
RADIO
BBC Radio 4 have a good site here, where you can check out all the relevant details. Radio 4 is also where a lot of comedians get their break, either through sketches or comedy series, so it's well worth considering. There's also Radio 3's The Wire slot, which is specifically targeted for new writing. Radio is a good place to get a credit, and the writer has a lot of say in the finished product. Research/be aware of when the commissioning rounds come up, and get your proposal in on time. Even better, try to get your script attached to a radio producer first. Have them submit it on your behalf, and that gives it a better chance.
ONLINE MEDIA
All the rage at the moment. Find out what’s going on. Storygas is a neat site that keeps track on what’s out there. But who to approach? Where are the opportunities? Hmm, it’s hard to say exactly. Dedicated multi-media companies would be a good place to start, and most independent TV production companies are developing their own ‘interactive arms’, so get your name in there. I got Sofia’s Diary by going to Cannes, which highlights the benefits of step 3: network.
COMPUTER GAMES
Some good opportunities here, too. If you don’t have an agent, or any contacts whatsoever in this field, you’ll simply have to cold call or query letter the production companies involved in making your favourite games, and convince them what a great writer you are. More and more games are narrative-driven, which means they need a good story, and that’s where you come in. Alternatively, you could get hired to write the dialogue for whatever in-game play is going on. A couple of years ago, I wrote the in-game dialogue for Colin McRae: Dirt, a gig that was sourced by my agent, but I enjoyed every minute.
CORPORATE VIDEO
A lot of people turn their noses up at corporate video, but while it may seem a bit dull and dry (in terms of subject matter), it has a few benefits. One of them is that the more creative or entertaining you can be with the subject matter, the more fun you can have, and the client will love you (depending on the brief, naturally). Most people involved in making corporate videos have aspirations similar to yourself (film, TV, etc), so it can be a good way of making new contacts, and opening up other opportunities further down the line. The main benefit is that there’s good money in writing corporate videos. But where are the opportunities, I hear you cry? Again, it’s about approaching corporate production companies and networking, and letting the chips fall where they may.
Ooh, step 8 in the professional screenwriter series. That’s quite a lot. Surely you’re well on your way to screenwriting riches by this stage? Um, not yet. While each of the steps is important in the overall picture, there’s one that’s an absolute must if you’re to earn a crust at this writing lark: you’re going to have to get a paid writing gig.
Now, at this point in your career, you’ve got a few important decisions to make about the kind of work you want to do, and what you won’t get out of bed for. A small fork in the screenwriting road lies ahead. Turn left, and you stick to the area that you’re passionate about, not compromising for a second until you’re clutching your Oscar. Turn right, and you take any writing gig going, from corporate videos to computer games, whilst working your way to higher climbs, possibly clutching that Oscar after your long haul.
There is no bad choice here. Just stick to your guns, and what you want to write, or what you're willing to do to succeed. However, if you’re going to draw a line between the medium of your choice and the other opportunities that are out there, then a word about each of the main areas, and what you might expect.
FILM
Most new writers are lured by the cinema. This is where it’s happening. The bright lights, the silver screen, the big bucks. However, contrary to what you might expect, IT IS EXTREMELY DIFFICULT to make any money from film. If you’re a new film writer in the UK, and won’t consider doing anything else, prepare yourself for some financial frustration. Piddly option fees and treatment costs won’t pay the bills, and films take an age to get developed and produced. Sure, some are fast-tracked, and some are even written by new writers, but you’ve got a better chance of standing on a golf course during a thunder storm and waiting for lightning to strike. If you start to rely on even slimmer possibilities or faint enthusiasm: “Working Title are reading my script this weekend”, “the Film Council’s feedback was very positive”, then you know you’re in trouble.
TV
This is where it’s really happening. Lots of drama and comedy. Loads of broadcast hours. Tonnes of programmes actually being made, and vast opportunities for writers to get their break and make some dough. However, as you’ve probably figured out by now, IT IS EXTREMELY DIFFICULT to break into TV. But not impossible. And if you’ve been following these steps, then you might have a better chance than others. Don’t be snobby. Swot up on the soaps. Get your spec scripts read by the right people. Bish, bash, bosh, your first commission. Work your way up the pole, and you’ll be surprised what other doors open because of your TV career.
RADIO
BBC Radio 4 have a good site here, where you can check out all the relevant details. Radio 4 is also where a lot of comedians get their break, either through sketches or comedy series, so it's well worth considering. There's also Radio 3's The Wire slot, which is specifically targeted for new writing. Radio is a good place to get a credit, and the writer has a lot of say in the finished product. Research/be aware of when the commissioning rounds come up, and get your proposal in on time. Even better, try to get your script attached to a radio producer first. Have them submit it on your behalf, and that gives it a better chance.
ONLINE MEDIA
All the rage at the moment. Find out what’s going on. Storygas is a neat site that keeps track on what’s out there. But who to approach? Where are the opportunities? Hmm, it’s hard to say exactly. Dedicated multi-media companies would be a good place to start, and most independent TV production companies are developing their own ‘interactive arms’, so get your name in there. I got Sofia’s Diary by going to Cannes, which highlights the benefits of step 3: network.
COMPUTER GAMES
Some good opportunities here, too. If you don’t have an agent, or any contacts whatsoever in this field, you’ll simply have to cold call or query letter the production companies involved in making your favourite games, and convince them what a great writer you are. More and more games are narrative-driven, which means they need a good story, and that’s where you come in. Alternatively, you could get hired to write the dialogue for whatever in-game play is going on. A couple of years ago, I wrote the in-game dialogue for Colin McRae: Dirt, a gig that was sourced by my agent, but I enjoyed every minute.
CORPORATE VIDEO
A lot of people turn their noses up at corporate video, but while it may seem a bit dull and dry (in terms of subject matter), it has a few benefits. One of them is that the more creative or entertaining you can be with the subject matter, the more fun you can have, and the client will love you (depending on the brief, naturally). Most people involved in making corporate videos have aspirations similar to yourself (film, TV, etc), so it can be a good way of making new contacts, and opening up other opportunities further down the line. The main benefit is that there’s good money in writing corporate videos. But where are the opportunities, I hear you cry? Again, it’s about approaching corporate production companies and networking, and letting the chips fall where they may.
Minggu, 07 Desember 2008
"Maybe It's Time to Buy That First House." Or is it?
The New York Times and The Washington Post both have opinion pieces about the current housing market.Ron Leiber, who writes the weekly NYT "Your Money" column, wonders if we are in a "golden age" for first-time homebuyers. He cites declining home prices, mortgage rates at +/- 5.5% nationwide, the possibility that rates will go to 4.5%, and the huge selection of available houses.He also mentions
Kamis, 04 Desember 2008
Professional Screenwriter, Step 7: Attitude
Or ‘Learning to Love Rejection’.
One of the more important aspects of whether you’ll make it or not is your ability to deal with rejection. There’s no denying that it sucks, and it hurts, and it is very personal (just not personal to the person rejecting you), but it’s how you dust yourself off and keep writing that will determine whether you can cut it in the biz. You’ll need a steely resolve, a desire to improve, belief that you can make it, that you really do have talent, and the humility to accept that you might not succeed, despite having all the necessary qualities to do so.
There’s a fine line between determination and delusion, unfortunately. You can tell yourself that ‘I’m gonna make it, no matter what’, and have all the will in the world, and perhaps even some talent, but the chips may not fall your way and the effects can be damaging. ‘Successful writers have one thing in common, they didn’t give up’. True. But it wasn’t JUST their desire to succeed that got them where they are today. They knew, even when they were getting rejected for the 100th time, that they had what it takes, and nobody was going to stop them from writing. For most of us, talent and determination will get you so far, while Lady Luck will have a strong say on which side of the fence you fall.
Making a living as a screenwriter is going to take time. It’s not going to happen overnight, or within a few months. You’ll be extremely lucky if it happens within a few years. Yes, there are those who can jump straight into the professional pool but these success stories are the ones you read in the paper, and are few and far between. The real success stories are the writers who toil away at their craft and their scripts, hoping one day something will break, and that it won’t be their hearts.
If you’re in it for the money, forget it, it’s not going to happen. There is good money to be made but it’s not just handed out willy nilly. You have to earn your place in the system, and work hard for your reward. In the early days of your career, if you’re lucky enough to get a few breaks, the money won’t be regular, and it will be a struggle to survive. That’s when you realise that even when you’re ‘making it’, it’s still just as hard as before, if not harder, as you have to maintain momentum, create more stories and find more work.
It’s exhausting. Physically and mentally. Did you see Eamonn McCabe's "Writers’ Rooms portraits" recently, and there’s one where the writer has a bad back and has to lie on an orthapaedic chair in order to write. She writes facing the ceiling. Now, I’ve got a bad back and have had a couple of operations but – ouch! – at least I can sit upright and focus on the computer. Imagine the will and desire that’s needed to lie down and write. Every day.
There is one positive about rejection. It means you’re doing the right thing. You’re writing, and sending your scripts out into the world. Rejection is the norm but some knock backs are more crushing than others. It will make you question whether you want to continue, and poke you with bothering doubts about your talent. It takes a brave person to know when they’ve been beaten, and to hang up their spurs. It takes a braver one to continue, knowing that they’re going to make it. Some day.
On a personal note, some notable rejections that hit me hard (although the list is endless). The Writers' Academy. Not just the once, which I blogged about, but twice (2nd time not even shortlisted, even after direct encouragement to apply again). Then, I was given a crack at EastEnders. Confident and excited! Did the trial episode. Rejected. Blimey. At least I had ideas at Doctors that were awaiting commission but they were spiked and not used. 2006 was a bad year, and I hit an all time low. I very nearly got a 'proper job'. But no. I stuck at it, and got a few promising breaks along the way. This year, EastEnders gave me another go at a trial episode. I did it, determined not to miss this time, and have just been offered a commission! Get in! I start this Friday. CAN. NOT. WAIT.
One of the more important aspects of whether you’ll make it or not is your ability to deal with rejection. There’s no denying that it sucks, and it hurts, and it is very personal (just not personal to the person rejecting you), but it’s how you dust yourself off and keep writing that will determine whether you can cut it in the biz. You’ll need a steely resolve, a desire to improve, belief that you can make it, that you really do have talent, and the humility to accept that you might not succeed, despite having all the necessary qualities to do so.
There’s a fine line between determination and delusion, unfortunately. You can tell yourself that ‘I’m gonna make it, no matter what’, and have all the will in the world, and perhaps even some talent, but the chips may not fall your way and the effects can be damaging. ‘Successful writers have one thing in common, they didn’t give up’. True. But it wasn’t JUST their desire to succeed that got them where they are today. They knew, even when they were getting rejected for the 100th time, that they had what it takes, and nobody was going to stop them from writing. For most of us, talent and determination will get you so far, while Lady Luck will have a strong say on which side of the fence you fall.
Making a living as a screenwriter is going to take time. It’s not going to happen overnight, or within a few months. You’ll be extremely lucky if it happens within a few years. Yes, there are those who can jump straight into the professional pool but these success stories are the ones you read in the paper, and are few and far between. The real success stories are the writers who toil away at their craft and their scripts, hoping one day something will break, and that it won’t be their hearts.
If you’re in it for the money, forget it, it’s not going to happen. There is good money to be made but it’s not just handed out willy nilly. You have to earn your place in the system, and work hard for your reward. In the early days of your career, if you’re lucky enough to get a few breaks, the money won’t be regular, and it will be a struggle to survive. That’s when you realise that even when you’re ‘making it’, it’s still just as hard as before, if not harder, as you have to maintain momentum, create more stories and find more work.
It’s exhausting. Physically and mentally. Did you see Eamonn McCabe's "Writers’ Rooms portraits" recently, and there’s one where the writer has a bad back and has to lie on an orthapaedic chair in order to write. She writes facing the ceiling. Now, I’ve got a bad back and have had a couple of operations but – ouch! – at least I can sit upright and focus on the computer. Imagine the will and desire that’s needed to lie down and write. Every day.
There is one positive about rejection. It means you’re doing the right thing. You’re writing, and sending your scripts out into the world. Rejection is the norm but some knock backs are more crushing than others. It will make you question whether you want to continue, and poke you with bothering doubts about your talent. It takes a brave person to know when they’ve been beaten, and to hang up their spurs. It takes a braver one to continue, knowing that they’re going to make it. Some day.
On a personal note, some notable rejections that hit me hard (although the list is endless). The Writers' Academy. Not just the once, which I blogged about, but twice (2nd time not even shortlisted, even after direct encouragement to apply again). Then, I was given a crack at EastEnders. Confident and excited! Did the trial episode. Rejected. Blimey. At least I had ideas at Doctors that were awaiting commission but they were spiked and not used. 2006 was a bad year, and I hit an all time low. I very nearly got a 'proper job'. But no. I stuck at it, and got a few promising breaks along the way. This year, EastEnders gave me another go at a trial episode. I did it, determined not to miss this time, and have just been offered a commission! Get in! I start this Friday. CAN. NOT. WAIT.
Rabu, 03 Desember 2008
Take A Look At This Mortgage Modification
Recently, a number of banks and mortgage guarantors announced they will suspend foreclosures for 90 days. Merry Christmas. Similarly, to help stem the tide of foreclosures, Fan and Fred, major banks, and the FDIC have announced plans for mortgage modifications.But mortgage modifications anger many people. "Anger" is an understatement. "Turn apoplectic," "breathe fire," and throw large objects
Treasury Considering Plan to Lower Mortgage Rates to 4.5%
Last week, on news that the Fed Gov would buy up $500 Billion of MBS (mortgage-backed securities), 30 year fixed rates dropped to 5.5%. We sent a Q&A over to The Mortgage Buzz blog, and it will be posted tomorrow.Meanwhile, in the past week, there's been reports that foreclosures will continue to rise. Apparently in response to this, and in an effort to stabilize the housing market, there's
The Most Expensive Small Towns in America
No, actually, Charlottesville is not on this list. Business Week teamed up with the real estate website Zillow.com to find towns with the smallest year-round populations and highest $ real estate. Only towns with 10,000 or fewer residents were considered. Read the story and view the slideshow.
Selasa, 02 Desember 2008
"Why?"
We received an email on Sunday from a reader who signed off as Confused in Charlottesville. In the subject line was "Why?" In the body of the email was simply "MLS# 459636. New listing."The details: 705 Montrose Avenue, a 1296 sq. ft. 2 bed, 2 bath aluminum-sided cottage, ca. 1953. Located in the Belmont area.Asking Price: $197,400.It's very simple, Confused in Charlottesville. The listing
Senin, 01 Desember 2008
Woolen Mills: 401 Meade Avenue & 119 River Bluff Circle
New landlords:MLS# 455614 - 401 Meade Avenue - Rehabbed farmhouse, ca. 1920, 3 beds, 1.5 baths, $299,000. A larger house among small cottages, at least four of which in a two block radius are for sale, near Meade Park. Corner of Little High Street.Last transfer: 2004, for $206,000. Some upgrades since then.Available immediately for $1250/month "short term rental." Gotta appreciate the
Investor Sues to Block Mortgage Modifications
A lawsuit against Bank of America claims states and banks will short bondholders $8.4 billion and damage the market by cutting home payments. This is big.(Read earlier posts about mortgage mod programs here and here.)
It's Not Even Winter and the News is Bitter Cold
Ugh and ugh.Duh and duh.This is as much eloquence as we can muster at the moment...but fear not. Plenty of properties to see this week.
Professional Screenwriter, Step 6: Discipline
Whether you’re holding down a full-time job, pulling pints in the evening, or going to university, you need to allocate time to write. For a lot of new writers, this can be the hardest part of the process: trying to combine the ideas and inspiration that encourage us to write in the first place with the actual discipline of sitting down and getting a script done regardless of whether you feel up to it or not.
The most common advice is ‘write every day’. Ideas, notes, 5 pages, 10 pages, whatever you can manage. In the morning, during your lunch break, when the kids have been put to bed, or in the midnight hours with a glass of scotch. Still, no matter how accessible and practical you make ‘writing every day’ sound, it’s not always possible or beneficial to fit it into your schedule.
‘Write every day’ is the ideal but it’s not the only answer. The key is to allocate a certain routine so that you’re definitely still writing, and not just saying that you are. Two or three times per week should be possible, even with a heavy workload and other distractions in your life. More than this, you should WANT to write two or three times per week, rather than feel weary or unmotivated to do so. The difference between those who ‘write’ and those who say ‘they want to write’ is fairly obvious but it’s a common trap for most who dip their toes into the screenwriting pool to see how warm the water is.
You either write, or you don’t, that’s the bottom line. One or two scripts won’t see you through a career. You should be burning with ideas and itching with the desire to get more work done. If you’re still finding it difficult, then there are ways to help keep you motivated. Join a writers’ group. Get a friend to impose a deadline. Enter script competitions. Adapt a book or a story that’s out of copyright. Keep reading and watching TV/films. Stay inspired or enthused; keep your energy and ambition going.
I took the ‘all or nothing’ approach when I first started. That is, I gave up the day job and threw everything at becoming a screenwriter. But I had no discipline or routine. I would watch DVDs (videos, back then) and thumb PlayStation, and call it research. My girlfriend would come home from work to find me in my dressing gown. I would hurriedly plonk myself in front of the computer, thinking that I could convince her I was working all day but didn’t have time to dress properly. Shyeah.
After a while, the DVDs and PlayStation were ignored, and I plonked myself in front of the computer all day, surfing and emailing until I got bored, and there was no other option but to write something. Script reading was also helpful in terms of generating the right routine. Read a script, write a report. Repeat. That kind of mindset complimented the attitude required to write, and so, finally, I was churning out scripts on a regular basis.
Find the time. Develop a routine. Teach yourself the discipline. Stick to it.
The most common advice is ‘write every day’. Ideas, notes, 5 pages, 10 pages, whatever you can manage. In the morning, during your lunch break, when the kids have been put to bed, or in the midnight hours with a glass of scotch. Still, no matter how accessible and practical you make ‘writing every day’ sound, it’s not always possible or beneficial to fit it into your schedule.
‘Write every day’ is the ideal but it’s not the only answer. The key is to allocate a certain routine so that you’re definitely still writing, and not just saying that you are. Two or three times per week should be possible, even with a heavy workload and other distractions in your life. More than this, you should WANT to write two or three times per week, rather than feel weary or unmotivated to do so. The difference between those who ‘write’ and those who say ‘they want to write’ is fairly obvious but it’s a common trap for most who dip their toes into the screenwriting pool to see how warm the water is.
You either write, or you don’t, that’s the bottom line. One or two scripts won’t see you through a career. You should be burning with ideas and itching with the desire to get more work done. If you’re still finding it difficult, then there are ways to help keep you motivated. Join a writers’ group. Get a friend to impose a deadline. Enter script competitions. Adapt a book or a story that’s out of copyright. Keep reading and watching TV/films. Stay inspired or enthused; keep your energy and ambition going.
I took the ‘all or nothing’ approach when I first started. That is, I gave up the day job and threw everything at becoming a screenwriter. But I had no discipline or routine. I would watch DVDs (videos, back then) and thumb PlayStation, and call it research. My girlfriend would come home from work to find me in my dressing gown. I would hurriedly plonk myself in front of the computer, thinking that I could convince her I was working all day but didn’t have time to dress properly. Shyeah.
After a while, the DVDs and PlayStation were ignored, and I plonked myself in front of the computer all day, surfing and emailing until I got bored, and there was no other option but to write something. Script reading was also helpful in terms of generating the right routine. Read a script, write a report. Repeat. That kind of mindset complimented the attitude required to write, and so, finally, I was churning out scripts on a regular basis.
Find the time. Develop a routine. Teach yourself the discipline. Stick to it.
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