On authors, editors, and the state of the Publishing Union, author Declan Burke (Crime Always Pays and The Big O) says it better than most in a recent guest column in Irish Publishing News:
…like-minded writers should get together and set up a co-op, akin to the United Artists studio of early Hollywood lore. In theory, it can be done: e-publishing and print-on-demand are just two elements of contemporary technology that allow writers to circumvent the publishing circus and go straight to readers.
What worries me is the loss of income for writers in what is a pretty healthy market, the loss of good editors from publishing houses and the disdain for writers by retailers – people who depend on them. If they are not careful the core talent of the book trade may well combine in new types of ventures – collectives and transparent relationships where writers and editors go into business together on a 50:50 basis and are enabled by web platforms, ebooks and print on demand… disintermediation of a more radical sort.
Yes, yes. The smell of books, reading in the bathtub, writing in the margins, a bookshelf full of books, etc. etc. People will still have that choice and there are some books that simply can’t be replicated digitally. But when faced with a better option, consumers shift extremely quickly.
Last night, Anvil! The Story of Anvil won Best Documentary at the 25th Independent Spirit Awards here in downtown Los Angeles. If you haven’t seen it, do. You will witness — and be a part of — lives profoundly changing right before your eyes.
Congratulations Sacha Gervasi, Jeff Renfroe, Andrew Dickler, Chris Soos, and Rebecca Yeldham. And much respect to you Lips, Robb, and G5 for just being you. I’m honoured to have witnessed and shared this journey with all of you.
This, people, is how you change the world: vision, honesty, and killer filmmaking.
This marks the first of what we hope will be many articles written for you, our readers, by you, our readers. As “How to Be a Script Reader and Give Great Coverage” continues to be one of our most popular posts (according to Google, anyway), we’ve invited a script reader living deep in the studio trenches to give us a peek into the inner workings of The Gatekeeper.
Many aspiring screenwriters probably look upon script readers as the enemy: that bitter, soulless person whose only job is to say “no” and crush the dreams of young writers. But that’s not entirely true. A good reader can be your best friend and your most valuable advocate – if you’re a good writer.
Contrary to popular belief, we don’t read scripts solely to find problems with them; we’re desperate to discover something entertaining and enjoyable. Unfortunately, we are often are deluged with submissions from writers who have yet to learn the fundamentals of screenwriting. If you saw a script through my eyes, you’d understand. That is why I now present a “live feed” of my impressions of a recent script submission, Twitter-style at 140 characters or fewer at a time. Read on …
As we love to do, congratulations go out to this year’s nominees in outstanding screenwriting for the 82nd annual Academy Awards — the Oscars to you and me. Never mind that the writers were last on the Academy’s list…