Tag Archives: screenwriting

Writing for TV – Then and Now … by Trai Cartwright

I love Downton Abbey. I love House of Lies, House of Cards (both UK and USA), Orange is the New Black, Black Orphan, Girls, and I especially love The Walking Dead.

I’m a TV junkie, have seen since I was parked, along with the majority of my Generation X co-horts, in front of a TV rather than sent to after-school programs. My babysitter was Wonder Woman and reruns of One Day at a Time.

To this day, I don’t need bowls of macaroni and cheese or a glass of wine after a hard day – I need a marathon of The X-Files.

When I first moved to Hollywood in the 1990’s, I had a yen for TV writing, but it just felt insurmountable. I’d never even seen a teleplay, much less had any idea of how to write one. But Buffy the Vampire Slayer was on TV and I had dozens of Buffy episodes dancing in my head. I knew I needed to write TV spec scripts, because that’s how writers got started in TV.

But what exactly was a spec script? How did I write one? And what did I do with it when done?

I got lucky. My temp agency sent me to be the writer’s assistant for a legendary TV writer named Jay Tarses. He wrote for The Bob Newhart Show, and that infamous clown funeral episode on The Mary Tyler Moore Show? That’s him.

His first and best writing lesson to me was this: “See that bookshelf packed with TV scripts over there? Start reading.”

So I did. I spent the summer transcribing his notes into teleplays (he still wrote longhand, four hours every morning), answering his phone, making him coffee, and eavesdropping on all the meetings for his new show. And I read. And read and read and read.

Then I started writing. I loved it—just loved it. Something about the way Act Breaks formed the structure and how every episode followed a pattern that pleased rather than bored audiences.

I was hooked. I wrote a dozen spec scripts (turns out, this meant I wrote sample episodes for a range of shows on “speculation” – the speculation being that an agent would see talent and send me out to interview for the writer’s staff of a show. Not the show I loved, see, that’s not how it worked—any show that was willing to talk to a baby writer.)

That summer was blissful, and I thought my future was sealed: I’d be Jay’s assistant on the show I was transcribing scripts for, I’d get to learn TV on the set and in the writer’s room, and eventually, I’d get a chance to write an episode for that show, and boom! zang! I’d be a TV writer.

It didn’t work out that way.

The show was a sitcom about a police vice squad, and as it turns out, no one found sexual assault funny. We didn’t even make it past the pilot.

I shook hands with Jay at the end of the summer and he said, “You got talent, kid, keep at it.” I swooned.

I kept at it, but I never could get those writer’s room interviews. I wrote pilots no one would look at without it being packaged with a prominent show runner. Hacking into TV was damn near impossible back then—assisting a show runner like Jay really was my best shot, and I never got another shot like that again.

Meanwhile, the siren’s call of feature length film was louder than ever, and hacking into films was way easier than TV, so I walked away from my dreams of TV.

Still, every now and again, I’d get an idea for a TV pilot and couldn’t help myself—I’d dash it out with a mad gleam in my eye.

Now that I live and teach screenwriting in Colorado, I’ve had an audience-member’s seat for the radical, unprecedented changes in the TV business model over the last few years. TV is no longer a tiny pipeline you could only squeeze into if someone on the other end was yanking you through.

TV has been democratized, and the old rules (and rulers) are dead. Love live TV!

Now anyone can create a series, and there are dozens of “distribution outlets” awaiting—from Netflix to the internet, from cable to Amazon.com, for goodness sake. The pipeline is so vast that there is a desperation for content I haven’t seen since the indie film revolution of the 1990’s.

You don’t need showrunners, you don’t need season bibles, you don’t need an agent making magical phone calls. What you need is an amazing idea for a TV series.

That, and some teleplay writing skills.

So welcome, TV lovers and dreamers, to RMFW’s first ever Writing for TV class in Denver. 8 weeks to pilot. $225 for RMFW members. Begins May 13.

Teleplays have their own formatting and structural secrets, and the range of approaches are numerous. From sitcoms to network procedurals to mythology series to straight up dramas, we’ll discuss the most current techniques in putting your show to paper. This class will help you to identify and develop the storytelling elements at the core of every episode, every series, and every pilot. Don’t have a pilot in mind but want to start building a spec portfolio? No problem—come with an episode of your favorite show in mind.

See ya on the small screen!

Register here.

~~~~~~~~~~~~~~~~~~~~~~~~~

Trai-Cartwright-HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.

Scriptnotes…Do You Think in Movies?

By Mark Stevens

Do you think in movies?

Can you see your work in progress scene by scene, playing out on the screen?

I do.

I’d be surprised if you don’t.

I’d be surprised if you don’t cast your story. Yes, I happen to think Hilary Swank would make a great Allison Coil. Or Amy Adams.

Go ahead, shoot me for dreaming.

As long as the actress knows her way around a horse, I’d be fine.

I’m interested in story-making, no matter the medium. Novels are my thing. I could never write a play or screenplay. Or epic poem, for that matter.

And this brings me to Scriptnotes, the best podcast you might be missing.

Why?

Because John August and Craig Mazin understand what makes a story work. Each week, for free, they talk about specific issues. Sometimes they spend time on mildly interesting inside-Hollywood industry stuff, but the meat of Scriptnotes is the nitty-gritty of screenplay writing itself. I give you the recent extended conversation over “Frozen” (not just another animated feature!) or the brilliant deconstruction (Episode 73) of “Raiders of the Lost Ark.” But every week has something good.

August and Mazin have serious screenplay credentials. For August, it’s “Go,” “Charlie and the Chocolate Factory” and “Frankenweenie,” to name a few. He also writes musicals and develops apps. He’s a cool geek and tends to take things a bit more seriously than Mazin. But if I’m not mistaken, Scriptnotes was August’s idea and the pairing with Mazin was a great choice.

Mazin—“Identity Thief,” “The Hangover Part II” and many others—brings the attitude, maybe a touch of venom every now and then, and a strong point of view. Dig it. From what I can tell, he takes nothing seriously. He might be the loud one at the dinner party, but you’ll probably die laughing. Okay with me.

Here’s what I like: these two care deeply about what makes stories work and that passion comes through.

My favorite segments involve the “Three Page Challenge.”

Bold podcast listeners and would-be screenwriters submit the first three pages of their screenplay-in-progress and August and Mazin have at it (the three pages are posted online so you can read along, too).

When the pages work (which happens), August and Mazin dole out praise and encouragement and we learn what works—and why. When the pages don’t work (the majority of the time), it’s like attending a forensic exam of a corpse with Temperance Brennan as your guide.

Remember that great workshop (“The Agent Reads the Slush Pile”) at the last Colorado Gold conference where two agents, Kristin Nelson and Sally Harding, dissected the openings of novels in progress? Insightful—and brutal. “The Three Page Challenge” is along those same lines. Character, pacing, action, plot, setting—what is tripping up your story?

I’m always picking up something from August and Mazin. I listen while walking the dog or working out and I can’t begin to tell you how many times an idea has surfaced while listening to them chat about movies and screenplays.

The last 20 episodes are available for free but for a whole whopping $1.99 you can get access to the entire back catalog.

I highly recommend Scriptnotes. A different point of view, perhaps. But it’s all about storytelling and, you know, it’s all good.

~~~~~~~~~~~~~~~~~~~~~~~~~

Mark StevensMark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan. Book three in the series, Trapline, will be published by Midnight Ink in November 2014.

Awesome Events Ahead from Rocky Mountain Fiction Writers

Attend a Class

Online Class
Editing and Revision
for Fiction Writers
Presented by Cindi Myers
3 Week Course

Start Date: Monday, February 3
End Date: Sunday, February 23

$35 Members – $40 Non-Member

Register

E.B. White said “The best writing is rewriting.” No matter how much care you put into your first draft, only when you’re done and you’re able to see the book as a whole will you be able to give the work the polish it needs. If you’re a rough draft writer like Cindi Myers, the editing and revision process is where the real magic of creating a book happens. Cindi will share her process and techniques for taking a story from a messy rough draft to a polished gem ready for submission. Exercises and class interaction will help you address your particular editing and revision problems and learn techniques for making the daunting task of editing a complete manuscript more manageable.

In Person Class
RMFW Screenwriting 101 with Trai Cartwright
Tuesdays, 6:00 P.M. – 9:00 P.M.
Start Date: March 4
End Date: April 22
2369 Trenton Way, Suite M
Denver, CO 80231

$225 Members – $250 Non-Member

Register
~~~~~~~~~~~~~~~~~~~~~~~~~

Submissions for 2014 Conference Workshop
Submit Workshop Proposal
RMFW is now accepting workshop proposals for Colorado Gold through March 31, 2014.

If you have any questions, email Susan Brooks at conference@rmfw.org.

~~~~~~~~~~~~~~~~~~~~~~~~~

RMFW Anthology 2014 Submission Guidelines
Download PDF of Theme and Guidelines
Anthology Theme: Crossing Colfax
Submissions are due by March 14, 2014.

~~~~~~~~~~~~~~~~~~~~~~~~~

Attend the 2nd Annual RMFW Writers Retreat

With Special Guest, Agent Kate Schafer Testerman
Organized by Angie Hodapp
March 16-21, 2014
Table Mountain Inn,
Golden, CO
REGISTRATION CLOSES FEBRUARY 15TH

The 2013 writers retreat was a smashing success! It’s back in March of 2014 and will become an annual spring event. How much does it cost to attend the retreat? We are pleased to introduce flexible registration options. Attend for two days (minimum), three days, or all four days, and pay only for the days you attend. How do I register? Go to the RETREAT EVENT PAGE for more information and the link to register.

~~~~~~~~~~~~~~~~~~~~~~~~~
New events and other announcements are available on the Home Page of the Rocky Mountain Fiction Writers website.

The Time is Now

By Trai Cartwright
Post 6 of a 6-part monthly series

Happy New Year’s, writers! Just like everyone else, we’re making our resolutions, dedicating ourselves to special projects. Maybe it’s a book we’ve been trying to finish, or personal essay careers we’ve been longing to launch, or short story publications we promised to pursue, if only we had the time.

The time, of course, is now. The time is always now.

In doing my own soul searching and trying to find just what was going to make 2014 extra special and gratifying as a writer, a very surprising answer came to mind: TV.

That’s right, TV.

While working in Hollywood for 15 years, I’d focused primarily on feature films; despite Buffy and The X-Files and the early years of The Sopranos, TV was never “the place to be.” It was all about film. I’d done my share of work in TV—I’d been the writer’s assistant to legendary 70’s TV writer Jay Tarses, had worked for several months for the “pixie father” of reality TV, Mike Darnell, and had even spent a few glorious weeks on a desk in Chris Carter’s X-Files office (swoon!).

And just like every other writer in town, I’d written my share of “specs:” teleplays that riffed on hit shows in the hopes of getting a staff job, and had even written three or four pilots, even though it was nearly impossible for an outsider to launch a show.

Still, I wasn’t convinced I was a TV writer. I couldn’t nail the voices like so many great TV writers can, and couldn’t fathom being in a tiny room with other writers, jamming out draft after draft for twelve hours a day. Staff writing seemed like its own special hell, and I might never get to have my own voice craft a show.

TV had always been there…and had never been of particular interest.

What a wonderful thing to discover that TV has changed.

Last month, I spoke to an agent taking pitches at an MFA residency, and this is what he had to say:

“There are so many people and production companies looking for TV content right now, there’s actually not enough. I’m disappointed more people didn’t pitch me pilots. Features are tougher than TV right now—you don’t need a show runner, you don’t need a show bible, you don’t need a resume, you just need a great idea.”

A writer friend of mine in LA just told me that 85% of the jobs for screenwriters right now are in TV.

And three things occurred to me:

  1. Without even trying, I came up with three ideas for TV shows I’d love to watch.
  2. I know a lot of people who’ve expressed interested in learning to write for TV.
  3. NOW is a great time to pursue that dream of creating a TV show.

My New Year’s Resolution: write as many pilots as I can (I’m halfway through my first one already—23 pages, so easy!), and add Writing the TV Pilot to the Film Program I’m designing for RMFW.

Not only am I going to teach screenplays in 2014, but I’m also going to teach teleplays, and I can’t wait.

So if you’ve got a pilot (or 6!) rolling around in your head, contact me, and I’ll put you on the list for this exclusive class. Join me in the newest media gold rush—it’s an amazing time to be a TV lover!

Are any of you venturing into a new writing medium?

~~~~~~~~~~~~~~~~~~~~~~~~~

Trai Cartwright HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.

Screenwriting Comes to RMFW!

By Trai Cartwright
Part Four of a Six-Part Monthly Series

Come on, admit it. You’re curious. Something about it speaks to you and that part of you that’s a little rebellious, that loves trying new things. Well, come on, then, give in to the dark side! Or at least just a dark room. All the better to see the screen…

In what must have been a bit of magic (and some cheering on from a few key folks), Rocky Mountain Fiction Writers have agreed to let me head a screenwriting program.

If you’ve ever had a story that you thought was just perfect for the movies or if the scenes in your book come alive in your head, here’s your chance to come play. Writing for film is easier than it looks (and a lot harder!), and it’s going to be my pleasure to guide a handful of intrepid souls into this amazing medium.

The first class we’re offering is an online class, and it’s ideal for any writer: “The Top 10 Things Movies Can Teach Novelists.”

This two-week, do as much or as little as you want class will demonstrate that there’s plenty novelists can steal from how movies tell their stories. Beginning in early December, we’ll discuss all the things that movies do wonderfully and how thinking in film terms can actually help you focus your writing.

All for $25!

And then in the Spring, I’ll be teaching an Introduction to Screenwriting class that will get 12 students rolling on the first half of a screenplay. While we do begin at the beginning with formatting, even those who’ve done a lil’ scriptwriting will find tricks and tips that will advance their movies. This is an in person class complete with vital workshopping and lots of clips from modern classics.

It’s my absolute honor to bring my Hollywood know how to Denver and be the first screenwriting teacher for RMFW! If you’re interested in joining us, drop me a line and I’ll put you on the list to contact when we’re ready to roll.

Meanwhile, I gotta keep this short. I gotta save my words for NaNoWriMo.

Always so much more to learn and to explore—glad I’ve got 50,000 words this month to give me a leg up! See you at the finish line.

To register for Top 10 Things Movies Can Teach Novelists:

http://www.rmfw.org/events/online-classes/#12021513

~~~~~~~~~~~~~~~~~~~~~~~~~

Trai Cartwright HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.

Are You Serious?

By Trai Cartwright
Part Two of a Six-Part Monthly Series

Am I misguided or perhaps a tad, a bit, a dollop delusional, or are the forces behind the world of storytelling building like a Gangnam-style viral video? Have you felt it too?

I’m convinced this groundswell of creativity has been coming on for the last year or so: more and more folks, both in film and in fiction, have been taken over by the urge not just to write, but to be amazing at it, and to be serious about it. And, as if vindicating these impulses, more and more avenues to publishing and to audiences are arriving by the digibyte-load.

Why do you suppose that is? I know when I worked in Hollywood (pre- and post-Internet/cell phones/Blackberries/Smart phones, etc. etc. etc.), business stopped in August. Had to take our month-long vaca’s from living in paradise, don’tcha know. And from mid-December to mid-March everyone was at or thinking about the Holidays, the Sundance Film Festival, the Oscars, Cannes, so no go then either.

These were the times writers wrote in earnest, knowing that the minute the executives and the producers came back, they’d look around and say, “Whoops! Guess I haven’t developed any material for a while, and without material, there’s no product to sell, and without product selling, I don’t get to travel the world on Disney’s dime anymore.”

And the floodgates for submissions would open wide.

Oh, how I loved September and April.

In the publishing world, August suffers from the same absenteeism because, really, have you tried to live in NYC during that month? Even the AC has AC. And that love of month-long vacations infected a whole nation of agents and editors. (I’m not as familiar with this world — is there another time to avoid trying to pitch because everyone’s on vacation?)

So while our erstwhile moneymen and gatekeepers and greenlighters are fanning themselves in spectacular locales (at least, that’s what I wish for them), writers of every ilk are hunkering down.

This is especially seen in the fiction world right now, right this minute. Fall is the time of year we give ourselves a stringent self-evaluation:

How much have we accomplished this past year?
Did it meet our standards and goals?
Do we have anything close to being ready to sell?
What’s it going to take to get it there?
Just how seriously we’re going to take ourselves for the next twelve months?

Why this brutal going-over now, when everyone else is watching their tans fade and their kids head off to school?

It’s Writers Conference season!

This magical time happens twice a year, Fall and Spring, and it’s serious stuff. Who among us can’t wait to spend our hard-earned money to take classes, network with writers and agents, be inspired by the new author panels and key notes, pitch the future editor or agent of our books? Or are we going to wait for Spring?

The power of a good writer’s conference can’t be disputed. There are endless stories of writers who were blocked going home charged up to write, writers who did indeed find agents (I’m one of them!) that lead to book sales, writers who learned just the right skill when they needed it, and the business acumen to act on it, writers who remembered who they were, just by being immersed in the stew of their people.

We are your tribe. No one else quite understands you the way we do. And we love you.

Needless to say, I love writers and I love conferences. I teach at several a year, and am always thrilled by the success stories I hear, the vibrant life of the classroom, the prosciutto-stuffed chicken breasts. I love seeing old friends, both presenters and attendees, making new ones, and sitting in on classes so I can keep that learning-part of my writer brain alive.

The Rocky Mountain Fiction Writer’s Colorado Gold Conference is one of my all-time favorites. Most of you already know it’s coming right up, and I’ll be there once again to present. My master class on Friday morning is for the particularly brave and sadistic: “The Only Character Class You’ll Every Need.” (I’m a big believer in hyperbole and then trying to deliver on my outrageous declarations.)

And on Sunday, I’ll be teaching a high-level perspective class called “I. You. Them.” This is not just a rehash of your high school English lessons—this is a potent discussion about how story is shaped by POV, and vice versa.

If you haven’t been to a conference, maybe it’s time to go. If you’re going again, I look forward to seeing you there. Regardless, ‘tis the season to ask yourself: how serious am I? How serious am I gonna be?

~~~~~~~~~~~~~~~~~~~~~~~~~

Trai Cartwright HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.

Writing and Reading and Podcasts. Oh my!

By Mark Stevens

If you’re addicted to reading and writing—like me—I’m here with a few tips so you can pack more into your day.

First, an important fact:

I only write—pen on paper—for about 45 minutes a day. Sometimes, it’s an hour. But most days, 45 minutes.

However, I’m thinking about those 45 minutes frequently throughout the rest of the day. I’m thinking about that precise moment in my current story—the attitude of my characters, what’s happening, what’s next, what they are thinking, what they will think next, what they will do next, what memory haunts them. Etcetera. You get the picture.

So when my 45-minute window rolls around, I’m writing (not thinking).

But what about the other 23 hours and 15 minutes?

Well, there’s work. And eating. And sleeping.

But my tip for being able to think about writing (and reading) more is to start listening to three dynamite podcasts—ideal for the car and for walks (mine happen to be with a dog).

  • The Bookworm. Just listening to Michael Silverblatt chat with an author is incredibly inspiring, at least to me. This is ‘serious fiction,’ whatever that is, but I find his questions are thoughtful and the authors are a talented bunch from the literary side of the tracks.
  • Scriptnotes. Yes, a podcast for ‘screenwriters,’ but it’s also about story structure and plot and characters. The three-page challenge is the most useful stuff—it’s where John August and Craig Mazin dissect the opening three pages of a screenplay for what works and what doesn’t. Many of the problems they find apply to writing fiction—and they post the challenges on their web site, too. Is there a similar podcast about ‘regular’ fiction writing? Want to start one? Let me know. In the meantime, check this out: http://johnaugust.com/podcast
  •  Authors on Tour. Do you see the events at The Tattered Cover and wish you could go? I do. Many of the presentations are recorded here. A great way to “meet” new authors or listen to famous ones—and find out how they approach their book tour presentations, how they answer questions. Inspiring—through and through. I’ve found several terrific authors this way. Just can’t your book signed.

I also like the Slate Audio Book Club, The Reading and Writing Podcast with Jeff Rutherford, The New Yorker Fiction Podcast (one short story per month, read by another famous writer, and includes a thoughtful discussion of the work). All of these are available on I-Tunes. All free. All will help you get more reading (and writing) into your day.

By the way, I’m serious about the podcast proposal. I’m thinking it would be very cool to have a podcast with an established agent, a publisher and an author discussing the business as well as the art.

Do you have a favorite podcast? Let me know. I’d love to check it out.

~~~~~~~~~~~~~~~~~~~~~~~~~

Profile_Mark_StevensMark Stevens is the President of Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan.

You can learn more about Mark and his novels at his website. He can also be found on Facebook and Twitter.

Why Should Authors Care About Screenwriting?

By Trai Cartwright

This is part one of Trai’s six-part monthly series.

Why in the world would a fiction writer care about screenwriting? Turns out, films are a prime educational resource for novelists, and whether you’re a fictioner or a filmite, our communal and cultural understanding of our craft is drawn from both realms of storytelling.

My background is in both realms of world building, the 50-foot high visual and the black-and-white textual. I love them both and work and play in both. However, thought I’d approach this blog as a map of my adventures as a new screenwriting resource in Denver. And what’s more appropriate than introducing myself in the story structure way?

Act 1 – Meet our main character: a teenaged refugee of Fort Collins, passionate about theater and novel writing. I went on to graduate from a highly esteemed but overpriced film school with a new passion: screenwriting! Destined to be in the world of storytelling, I embarked for Los Angeles.

Trigger Incident – Landing a job with an old school Hollywood moviemaking pro! I was mentored by an Academy Award-winning mensch who taught me the ways of the Force: how to use kindness and enthusiasm to get the best out of writers. He optioned one of my own screenplays, let me develop the scripts our company was interested in, and made me believe in myself. On to Act 2! Lots of practice, lots of dead ends, produced a few movies, worked for some major studios, always learning, learning, learning…

False Resolution – The head of CAA, the biggest talent agency in the world, loves one of my scripts! He’s going to “send it out,” and when he sends something out, careers start. It’s my big break!

Oh wait. He was just forced out by the young guns nipping at his heels. My script has been “burned.” He’s out; so am I.

Things turn dark. LA begins to implode. The writers strike, coupled with the burst of their freakishly out-sized housing bubble and the downward-spiraling economy—it all equals no jobs for writers. Or anyone else. No work to be found in the industry I love.

It’s the end of Act 2 and my lowest point…or the beginning of something amazing?

Act 3 – A move to Colorado, my home state, results in levels of professional growth and community-building I’ve never experienced. As a teacher of both screenwriting and fiction writing, I get to connect with hundreds of writers, teach in a myriad of classrooms, edit dozens of manuscripts. I’m having an amazing time, and really developing my skills on all levels. Don’t tell anyone in LA that working outside of Hollywood rocks this hard. They might get wise and get out, too!

Which brings us to The Sequel:

Act 1 – Making the big move to Denver, a storied land where many wildly accomplished and talented writers live and learn and publish. I’ve just finished a screenplay that’ll fly back over the mountains shortly and bang some drums, and I’m nearly done with my first YA book. Could I be more excited to land in the Mile High City at this crucial juncture in my own writing life?

I could, because Denver is also home to a Top 25 Film School, where I’ll be teaching future filmmakers how to get their voices heard. Connecting to the amazing film resources here is important, so I’m meeting folks from the Denver Film Society and the Denver Screenwriters.

But I’m still fiercely in love with Fiction, so I’m also looking for ways to connect to more novelists. How lucky are we that grounding this community is the amazing Rocky Mountain Fiction Writers. What fun you all have, what joy you bring to the study of our craft! I’ve already had some terrific experiences with you all and can’t wait to continue. I’ll see you at the conference in September, for sure. Come find this old Hollywood hack so we can continue this conversation about our love of story.

~~~~~~~~~~~~~~~~~~~~~~~~~

Trai Cartwright HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.