You Deserve to be on the Hit List

The Black List is dead--the Hit List is where it's at.
Well, the Black List isn't exactly dead--it's still quite well read and influential. But following in its path, the Hit List provides a rundown of spec screenplays by promising unrepped writers.
That was the Black List's mission originally. But while most of the Black List scripts are in productions or are being flogged by major agencies, Hit List scripts don't have agents pushing them nor production deals in place. It's a list of some of the year's best undiscovered scripts that perhaps gives a wider perspective on fresh talent than does the Black List. In short, if you're an unrepresented screenwriter it's a list you'd want to see your name on.

Off With Their Heads at 'The Walking Dead'

 The entire writing staff of "The Walking Dead," AMC's series based on the post-apocalyptic comic book of the same title, has been given the heave-ho.
Word has it that they'll be replaced with freelancers. That's cause for both outrage and celebration, according to writer Ken Levine.
It's obviously bad news for the canned staff scribes, however it opens the possibility that some fresh talent will get a crack at the big time. And as Levine recalls, way back in ancient times (the 1970s), writers had to prove themselves by creating a spec script of a given series to get hired onto its staff. Maybe this house cleaning thing isn't such a bad idea.

To Move or Not Move to LA-LA Land

A question many screenwriters ask themselves is whether or not they should relocate to Los Angeles. While leaving Boise may initially sound like a sensational idea, the actual act of pulling up stakes and moving west may make you jittery.
Among the possible issues to examine are your ties to family and friends, the expense of moving and whether or not you're really committed to the craft of screenwriting. 
If you've completed a couple of polished scripts, have the financial means to start anew in a strange city and possess the overriding urge to get into the business, the answer is probably yes.
Some folks at Script magazine have tackled the question. They've covered some of the pros and cons, but as a whole, all signs appear to point toward an answer in the affirmative. If you want to make industry contacts and be taken seriously, you're better off facing the long odds in L.A. vs. the nearly impossible odds anywhere else, with the possible exception of New York City. However, bear in mind that New York's film industry is but a fraction of Southern California's.

A Quote Worth Thinking About ...

"I have two tricks. One is that I write every day, regardless of whether I want to or not because as I just said, in a way I never want to write. It's not even an issue. I just write four pages a day when I'm working. I have a quota. A sub-set of that system is that I am a firm believer that bad ideas lead to good ones. When I am not inspired and I don't know the solution I will just type out the most banal solution and know that at least it's on the page and it gets me to the next story beat."
--Wesley Strick
("Cape Fear," "Wolf," "True Believers," "Arachnophobia") 

Amazon Studios: It's a Jungle Out There

One entertainment lawyer says that screenwriters should think twice before signing on with Amazon's production company: http://tinyurl.com/2bsschh

Actors Unions OK New Deal

The boards of the Screen Actors Guild and American Federation of Television and Radio Artists have approved a new three-year contract. The agreement must still be approved by a majority of the unions' members.

Jonesing for Another 'Mad Men' Cocktail

 I've been watching the first season AMC's "Mad Men" again. I say "again," although I saw only most of the first season when it was originally broadcast. Then, after the onset of this silly little recession, I shut off most of the more expensive (worth watching) cable channels. Fortunately, Netflix has "Mad Men" on disc, and I re-upped my subscription. Ever since, I've been taking in the series from the beginning.
And I'm hooked -- again.
As anyone who has been watching it knows, not only is the series' atmosphere intoxicating -- the amount of liquor poured during and after office hours aside -- but the writing is splendid.
Like the best feature screenplays, "Mad Men" not only presents great characters in the show's leads, Jon Hamm's tormented Madison Ave. advertising executive Don Draper especially, but even the fringe characters at fictitious Sterling Cooper Inc., take on more dimension than do most other TV dramas supporting players in six seasons.
Draper's initially mousy secretary, Peggy Olson, discovers her calling within the creative department shark tank of the Sterling Cooper agency.
Draper's young charge and nemesis at the firm, Pete Campbell, takes drastic steps in an effort to boost his profile at the agency.
And Draper's boss, Roger Sterling, has a revelation, perhaps too late, after his boozing and philandering drives him to the brink of mortality.
This is only part of the story, of course. I'm leaving out Draper's amazing family backstory as well as the supporting cast's personal lives.
I plan to watch all seasons available on DVD, and when I'm through, read the scripts. I recommend that you do, too.