MISCELLANY

• Can I deduct writing expenses for tax purposes, and if so, how? [Marcia Yudkin]
  

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GALLEYS

• Reformatting And Submitting Your Galleys (romance especially) [Diane Potwin]

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BOOK PROMOTION

• 10 Ways to Promote Your Book [Michael Banks]
• "Letter Sent in Reply to Requests for Blurbs" [Margaret Atwood]
• Doing book-signings [Nancy Barnet]

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TELEVISION WRITING

• What's a typical day in the life of a freelance TV writer really like? [Larry Brody]
• What's a typical day in the life of a TV writer on the staff of a series really like? [Larry Brody]
• Writing for episodic television [Erica Byrne, et al.]

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SITCOM WRITING

• Behind the scenes with writers of the sitcom FRASIER [WGA]
• Behind the scenes with writers of the sitcom PEARL [WGA]
• Behind the scenes with writers of the sitcom LIVING SINGLE [WGA]
• Behind the scenes with writers of the sitcom ROSEANNE [WGA]
• How to become a sitcom writer [WGA]
  

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MOVIES OF THE WEEK

• How many drafts does a script go through in general before it goes into production? [Ken Raskoff]
• Do you usually work with the original writer all the way through? Is it common to bring another writer in? [Ken Raskoff]
• As producer, how much impact do you have on the script? Do you ever rewrite them yourself? [Ken Raskoff]
• What is the ballpark figure paid for the rights to an average true story? [Ken Raskoff]
• What does a network pay, on average, for a MOW script? [Ken Raskoff]
• Is an annotated script required for true-story MOWs? If so, is its submission required before or after the deal is made? [Ken Raskoff]
• How much time elapses, on average, between a network's purchase of the rights to a true story and the airing of the completed MOW? [Ken Raskoff]
• Will a network accept writer-supplied depiction releases from the principals in a true-story MOW? Or are there network-supplied release forms that must be used? [Ken Raskoff]
• Suppose a network was interested in a true-story MOW about, say, a female athlete who overcomes huge obstacles to achieve her goal of making it to the Olympics. Would the network wait until the outcome of the Olympics to buy the story, or buy it early on so that the MOW could be broadcast at the time of Olympics? [Ken Raskoff]
  

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MOVIE PRODUCTION AND THE WRITER

• What happens after a writer sells the script to a studio [Max Adams - from Screenwriters & Playwrights Home Page]
• Screenwriter acting as co-producer [Robert Strauss - from Screenwriters & Playwrights Home Page]
• The Inevitable and Optional [WGA]
  (The cost of making movies)
• The Writing Jackpot [WGA]
  (A study of writers salaries)
• I've Got a Few Notes [WGA]
  (Surviving meetings with network executives)
• Knights of the Roundtable [WGA]
  (Writing with a group ... well, at least trying to)
• Development Hell [WGA]
  (They will always try to change your script)
• The need for name actors in your screenplay (PART I) [ScriptTutor]
• a writer/director on his experiences making the Hollywood film [Richard Linklater]
• Director's Possessory Credit [Brad Mirman]
  
• "The Independent Producer and the Screenwriter" [Andrea Leigh Wolf - from Screenwriters Utopia]

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PLAYWRITING

• Production Team for Playwrights [Playwriting Seminars]
• - Literary Managers [Playwriting Seminars]
• - - Competitions [Playwriting Seminars]
• - - Play Development Process [Playwriting Seminars]
• - - - Reading the Audience [Playwriting Seminars]
• - Directors [Playwriting Seminars]
• - Dealing with Designers [Playwriting Seminars]
• - Producing It Yourself [Playwriting Seminars]
  

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WRITERS GUILD OF AMERICA

• Writers Guild of America [Playwriting Seminars]
• The Cheese, the Raspberry Sparkler and the Writer [WGA]
  (True-life adventures of attending a WGA seminar)
• Hearing Voices [Pamela Douglas]
  (When your characters start talking to you)
  

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