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“What’s your story about?” Do you completely dread this question? A top-notch logline can help! It’s a content creator’s most important asset – invaluable for query letters, for keeping focused on what makes a story unique, and for having the perfect elevator pitch ready to go. Authors and screenwriters alike can use this amazing tool to hone their outlines, treatments, synopses, books, screenplays and pitches. Learn the secret to crafting this vitally important selling sentence.
Regular Registration:06/04/16Class Begins:06/04/16


Posted: May 28, 2016 Hosted By: Max Timm

As part of the ISA's regular, monthly Third Thursdays social events, we are launching a quarterly live panel series where we bring on panelists from various aspects of the industry to educate, inform, and inspire.


In May 2016, at Busby's East on Wilshire Blvd in Los Angeles, CA, the ISA invited representatives from the Nicholl, Nickelodeon, Fast Track, and Universal fellowship writing programs. The fellowship realm of the writing industry is an aspect of the industry offerings that most writers are not well-informed. They're essential to the educational and career-launching realms of the screenwriting business, and all four of the participating fellowship and writing programs have spawned extensive success stories. The original event's details are below to learn more.


Listen in and take advantage of the ISA's recordings of live panel events. If you are in Los Angeles, be sure to stay tuned to the Events page on the ISA webpage for upcoming schedule, however you can always count on a big crowd and a welcoming social atmospher at our monthly Third Thursdays socials and parties.


Original Event Posting:


Join us for an informative panel at Busby's East in Los Angeles on screenwriting fellowships and writing programs preceding our May Third Thursdays - LA mixer with representatives fromthe Academy Nicholl Fellowships in Screenwriting, Universal Pictures' Emerging Writers Fellowship, the Nickelodeon Writing Program, and the ISA's Fast Track Fellowship to get the answers to questions on the difference between a fellowship and a contest, which fellowship is right for you, and how a fellowship can help your career. This event is open to persons 21 years and older. 




The panel will feature Joan Wai, Program Manager of the Nicholl Fellowships in Screenwriting competition at the Academy of Motion Pictures Arts and Sciences, Heather Washington, development executive at Universal Pictures and manager of Universal Pictures' Emerging Writers Fellowship, Karen Kirkland, V.P., Talent Development and Outreach for Nickelodeon Group where she oversees the Nickelodeon Writing Program, and Max Timm, Director of Community Outreach at the ISA where he is co-manager of the ISA Fast Track Fellowship. See below for more detailed information on the panelists. 


The panel will be moderated by Thom Geier, Deputy Managing Editor of TheWrap. The Wrap News Inc. is the leading digital news organization covering the business of entertainment and media. Founded by award-winning journalist Sharon Waxman in 2009, The Wrap News Inc. is comprised of the award-winning, industry-leading website with its high-profile newsbreaks, investigative stories and authoritative analysis; it also includes premium, glossy magazines with stunning original photography and editorial, distributed to entertainment industry professionals. See below for more detailed information on Tom Geier.  



Posted: May 26, 2016 Hosted By: Max Timm

For the very formulaic and logical reasons, I am combining both sequences into one episode here because sequences 10 and 11 are usually the shortest sequences in your script. They normally contain two, maybe three scenes in total...and this, as I always say, completely depends on your chosen genre, but nonetheless, they're short sequences. Why are they short? Because we don't need to see the main character dwelling on his failures for 20 minutes. We don't need to see her reverting back to her emotional flaws and core problems for 20 minutes. We just don't. We get it. But why do we get it? Because we, personally, do this every time we experience some kind of a failure in our own lives, and who the hell wants to watch us feel sorry for ourselves? And that's an important point to stress, because these two sequences are a macrocosm of the little moments in our lives that occur constantly. We fail at something every day - big or small, we experience some kind of a let down, but...we then pick ourselves back up, pick ourselves up by the boot straps, and move forward with a new purpose. That is the essence of sequence 11. Rally the troops. Picking ourselves up by the boot straps and no longer tolerating the old ways. The old emotional issues or problems. We have a new plan, and by God, we're going to see that plan through to the end even if it kills us.


So sequence 10 - as a summary and using my multiple road trip example: every time I chose or was forced to move back home, I was devastated. I fell back into my old patterns, thought all was lost and couldn't see how I would ever get back. In your scripts, you have to set your character in a state that makes sense to the condition of the story itself, of course, but the main character has to have a reaction to the recent low point, and almost always is that reaction based within a sense of doubt, failure, and feeling sorry for yourself - why hast thou forsaken me really means that you're blaming others for your problems, and not taking responsibility for the hell you're going through.


Sequence 11 is the sudden flip to taking responsibility. Forming a new plan. Receiving a completely new form of hope that the character didn't expect. It's what I like to call the Rally The Troops or Bootstraps sequence. Dig in. Own it. And move forward with a charge toward that final climax, weapons blazing and with a completely new determination to win.


Filmosphere Critiques, avant-premières, interviews, dossiers... Take Hollywood Takehollywood is a social, mobile library of exclusive online resources, giving aspiring actors access to video content to supplement their acting skills & instruct them how to succeed. Film Crash Screenplay Competition Founded by Sundance Jury Prize winning director Matthew Harrison in 1985, Film Crash has enjoyed playing a part in the creative life of stories, which have gone on to be produced. Hollywood North Film Festival The Hollywood North Film Festival (HNFF) is a community driven organization focused on bringing quality films, workshops & networking events to the Bay of Quinte region. Interview with Screenwriter, Dan Kay

Episode 98

Screenwriter Dan Kay Talks About His Career And His Latest Film, Pay The Ghost (Nicolas Cage)

Filmmaker IQ “We have reached a technological turning point in filmmaking. What was once expensive and time consuming is now a press of a button and a few mouse clicks." Yellow Dolphin Films Yellow Dolphin Films are a UK based production company, created for the sole purpose of producing high quality, intelligent feature films. New York - Audience Now he audience now, lands in New York and award the best of urban cinematic culture, and the best of what is currently the world and New York culture. Mississippi Film Office Location scouting and research; pre-production help with casting, extras, crew, equipment; trouble-shooting during production and wrap; we will work with you every step of the way. Big Sky Documentary Film Festival The mission of the Big Sky Film Institute is to celebrate and promote the art of non-fiction filmmaking, and to encourage media literacy by fostering public understanding. Conquering Writer's Block with Jacob Krueger

WriteYourScreenplay.com founder and the creator of the Jacob Krueger Studio in New York (and online) talks with host, Laurie Lamson, during one of the ISA's recent free teleconferences about getting and breaking through that dreaded cycle of writer's block.


Some believe writer's block is an outside force that affects each writer, when really it's something deep down inside of us that we all can control - it is not something that just happens to us. It is something we can harness and take advantage of.


Listen and enjoy, and just keep writing.

American Guild of Musical Artists Artists may be vulnerable to exploitation or illegal discrimination. They need protection. They can find it by joining AGMA, the American Guild of Musical Artists.
Energy Entertainment Brooklyn Weaver owns Energy Entertainment, a management and production company based in Los Angeles - and is a producer on several feature film and television projects. DGA Training Program The New York Assistant Director Training Program is designed to provide opportunities for a limited number of individuals to become Assistant Directors in film and television. Voiceless International Film Festival The Voiceless International Film Festival sheds light to those films who have been ignored by general media and public television. VIFF Provides a voice of the voiceless. EdinDocs A documentary film festival aiming to bring quality, independent documentary film to Scotland's capital. The Los Angeles Thriller Film Fest Here at the LA THRILLER FILM FEST we are seeking out the cutting edge film makers that are interested in pouring their beating hearts onto the screen, evoking the power of suspense! South Dakota Film Festival Featuring films shot in or by filmmakers from the Greath Plains region (SD, MN, ND, IA, WY, MT, NE), the South Dakota Film Festival is a unique statewide event for filmmakers and film How To Give Yourself the Best Possible Chance at Screenwriting Success Listen to this podcast to learn the five main reasons people fail at screenwriting and come away with specific insights and hands-on tools to help give you the best possible shot at success. Perfect for experienced screenwriters as well as beginners. The I S A Reviews: Deadpool, with Derek Asaff

“Deadpool” gleefully slays the conventions of the superhero genre



Just when you think that Marvel can’t make a funnier superhero movie than Guardians of the Galaxy or Ant-Man along comes Deadpool. It pushes the envelope with its R-rated profanity, deviant humor, and narrative disruption more than any other franchise in the Marvel stable. If you thought Tony Stark was glib in the Iron Man movies, wait till you see Wade Wilson/ Deadpool here! First-time director Tim Miller and his screenwriters Rhett Reese and Paul Wernick are clearly fans of the character, and they get everything right about what made his snarky style so appealing on the comic book page. Not only does the movie faithfully adapt his world and worldview, but the filmmakers ensure that every aspect of the film is coated with similar irreverence. It’s as meta as meta can be, lampooning the Marvel world with a running commentary by lead Ryan Reynolds as the film is playing. It plays as satire, DVD commentary, and Twitter trolling all rolled into one. This film gleefully screws with linear storytelling and just about any other convention of your typical action film. DC could learn a lot about how to adapt their top franchise characters for the Cineplex from Deadpool, as this one never takes itself too seriously. This film insults every screenwriting rule going, but it never insults its audience.


Out of the Blue... Entertainment Sidney Ganis is a Greek-American motion picture executive and producer. His company, Out of the Blue... Entertainment, remains active at Columbia Pictures. 10202 W Washington Blvd. Lady of the Canyon Founded in 2010, Lady of the Canyon ALL MEDIA produces a variety of projects for film, television and the web. Miracle Mile Entertainment Miracle Mile Entertainment is a production company specializing in feature film and television production. We develop, produce and source funding for our projects in house. Blake & Wang P.A. B&W entertainment lawyer areas of expertise include: Entertainment Law, Contracts Law, Corporate and Securities Law in all 50 states, Trademark and Tax Law. David Muller Photography Hailing from New Jersey, David started as an actor in New York City. Dedicating the past 8 years to photography, David specializes in shooting headshots for actors. For 2010, 2011, and Five Pitfalls From A Reader's Perspective, w / Joanna Ke & Max Timm As a writer, you always want to put your best foot forward when submitting your work for consideration. Most of the time, the only thing that a producer, director, or reader will know about you is what you've written on the page. This is why it's so important to ensure your script is in the strongest place possible before sending it in and possibly wasting money on film festivals and contests, or getting frustrated without understanding why you haven't heard anything back.

This live recording of another ISA teleconference will help to demystify what makes a strong screenplay. As a currently working professional script reader based in Los Angeles, Joanna Ke has read and assessed countless feature scripts. She evaluates what's presently out on the market and sees first hand what's going into production. Joanna noticed that there are common notes she offers on why a screenplay is not ready for production or consideration. Get those notes BEFORE you submit!

Joanna passes on to you the Top 5 reasons that cause a screenplay to be weaker, knocking it out of consideration and even affecting the writer's reputation. It can be frustrating not knowing why your screenplay didn't go as far as you'd like or hearing crickets when you've put in a lot of hard work. Educating yourself on what readers actually look for can help you be a step ahead in the game before anyone even sees your script.

Hearing it straight from a reader like Joanna is a rare opportunity to gain insight into what might seem like a mysterious process. Even if you've never written before, shedding light on the screenwriting process from the perspective of a reader will help to understand a different aspect of the writing process that's not often discussed.
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