On The Page

When actor/writer Mia Serafino was given the opportunity to audition for the Netflix show Beef, she knew this was a script worthy of changing her Christmas plans. Here she talks about what speaks to her in scripts and how this has informed her own journey as a writer.

Lynn Renee Maxcy, writer for The Handmaid’s Tale and The Complex talks about her love of sci-fi and speculative fiction where, no matter how dark it seems, a story can always provide hope.

Screenwriters Rafael Aguilo and Neal Thibedeau have written more than ten projects over the past four years and Pilar thinks they need their big break! Here they talk about their favorite projects and their style of collaboration.

Producer Kim Zubick (Togo, The Zookeepers Wife) emphasizes the need for emotion in verbal pitches, pitch-decks and sizzle reels.

Filmmaker and marketing specialist Chris Brennan discusses ways that screenwriters can market themselves and their work by creating a new mindset, thinking about how they can “add value” and strategizing their social media and e-mails in more effective ways.

Writer/Director/Professor Shahari Moore draws from her “well" of experience and knowledge as she writes personal stories that grab the attention of industry and writers labs.

Adrian Colón Jr went from being a Wayans fan to working in the writers room with them on the new CBS show Poppa’s House. Hear what he learned as he went from Writers PA to CBS Fellow to working writer.

Actress, director, writer Tiffany Yvonne Cox (Reasonable Doubt, Napa Ever After) talks about the work she does on screen, on the page and behind the scenes to improve artists' lives and "expose the world one story at a time."

How do you write a character over 50? By writing them as a superhero. From their secret lair to their Kryptonite, Pilar gives a tip-packed lesson in writing mature characters.

From working in development for Ivan Reitman to writing short stories and making the Love List with her feature film, Victoria Male has done it all. Here she shares a wealth of information including her unique take on IP and the secret skills that come with being a “fan girl." 

Director Elliott Lester returns to talk about how a gender swap and involvement by Peter Dinklage brought him to his latest project, The Thicket. 

Career coach Lee Jessup discusses Hollywood’s current “contraction” and suggests that it might ultimately result in a positive outcome.

Writer/Director Tracie Laymon turned a painful truth into an award-winning independent feature. Hear how she conceived, wrote, directed and produced Bob Trevino Likes It, earning the jury prize for Best Narrative Feature and the Audience Award at the 2024 South by Southwest Film Festival. 

Writer James “Doc” Mason digs into the elements of the logline as discussed in his book, Mastering the Logline: How To Excite Hollywood in a Single Sentence.

From getting stuck in a Zoom room to working in hospice, everything that writer Lauren Glover (Chicago Med, Fight Night) thought was an obstacle, came full circle to help her in her writing career. 

Barbara Stepansky, writer/producer on Outlander and head writer on Woman of the Dead, talks about how the rules of the shows she writes on present creative challenges that make her job even more interesting.

Writer/Director Marie-Emmanuelle Hartness comes from a personal place in her work and asks the same of her students at Emerson College. 

Writer and “good witch,” Glenda L. Richardson describes her process for capturing voices and crafting stories for celebrities such as Kevin Hart, Tiffany Haddish and Taraji P. Henson.

Entertainment attorney and composer Corey Field sees his work as helping writers and creators achieve their dreams. Here he explains the difference between sales, options and work-for-hire and discusses potential gains and traps along the way. 

Writer Delondra Mesa (American Rust, Pretty Little Liars) talks about her approach to discovering story and creating content even as the industry experiences “The Great Contraction.”