Status: Writing Chapter 14 to Stories of the Dead Earth-Book 3: Jasper
Doing: Writing this blog; surfing the net; answering e-mails; working out
Watching: American Dad
Listening to: "Canaan" by Mindless Faith
Reading: Kushiel's Scion by Jacqueline Carey (Page 123)
TOPIC: ART IMITATES LIFE
Watching this episode of "American Dad" where Steve Smith becomes a famous author; and ends up hating it--gave me some insight on what I've been dealing with trying to get published myself.
I particularly liked it when Steve's dad said he wrote over 3,000 books about "Patriot Pigeon" fighting evil wherever he went with his red, white, and blue turds of justice--and then showing his son the TEN THOUSAND REJECTION LETTERS he had collected for his books; before finally getting accepted himself!
(And I had like 100 so far over the last 8 years.)
Suffice to say, I'm laughing my butt off over this one.
Sunday, January 6, 2008
Saturday, January 5, 2008
SATURDAY SURPRISE.
Status: Writing Chapter 14 to Stories of the Dead Earth-Book 3: Jasper
Doing: Writing this blog; surfing the net; answering e-mails; working out
Watching: Football! (GO SEAHAWKS!)
Listening to: "What I've Done" by Linkin Park; "Doomsday Clock" by Smashing Pumpkins (From the Transformers movie soundtrack)
Reading: Kushiel's Scion by Jacqueline Carey (Page 123)
TOPIC: INVITE TO SUBMIT AGAIN IN 2011.
The last of the query submissions for The Price of Freedom have finally run their course and this one rejection was a bit of a surprise.
From the Spiridon Literary Agency:
"I’m glad you’ve a project you feel so positive about. But from a publishing perspective, it is best to wait until the book is complete before approaching an agent. An agent is someone who tries to sell an already complete book to publishers. You need to finish writing this, revise it, and make sure it is in top form before submitting to agents. A few years is a long time. When it’s complete, you can query again if you like based on what is done.
Thanks again and best wishes."
I just hope that Alethea doesn't mind when it comes back nearly three times the current word count amount. (Of course, I'm not planning on submitting this book again until after I get The Starchild up and running. I'll need the extra funds to help with the editing of POF.)
I still have lots to do with the book. :0)
Doing: Writing this blog; surfing the net; answering e-mails; working out
Watching: Football! (GO SEAHAWKS!)
Listening to: "What I've Done" by Linkin Park; "Doomsday Clock" by Smashing Pumpkins (From the Transformers movie soundtrack)
Reading: Kushiel's Scion by Jacqueline Carey (Page 123)
TOPIC: INVITE TO SUBMIT AGAIN IN 2011.
The last of the query submissions for The Price of Freedom have finally run their course and this one rejection was a bit of a surprise.
From the Spiridon Literary Agency:
"I’m glad you’ve a project you feel so positive about. But from a publishing perspective, it is best to wait until the book is complete before approaching an agent. An agent is someone who tries to sell an already complete book to publishers. You need to finish writing this, revise it, and make sure it is in top form before submitting to agents. A few years is a long time. When it’s complete, you can query again if you like based on what is done.
Thanks again and best wishes."
I just hope that Alethea doesn't mind when it comes back nearly three times the current word count amount. (Of course, I'm not planning on submitting this book again until after I get The Starchild up and running. I'll need the extra funds to help with the editing of POF.)
I still have lots to do with the book. :0)
Wednesday, January 2, 2008
WEDNESDAY NEWS.
Status: Writing Chapter 12 to Stories of the Dead Earth-Book 3: Jasper
Doing: Writing this blog; surfing the net; answering e-mails; working out
Watching: News!
Listening to: "Numb" by Linkin Park
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: PUBLISHING TRANSFORMS EVEN MORE
I find this a bit interesting--simply because I've known for quite some time that on-demand, self-publishing, and e-publishing would finally transform the way we approach the topic of traditional publishing.
It just took awhile before things began to catch up in terms of affordability and technology.
Not to mention time.
Before, it used to mean waiting years or even decades to finally be picked up. But print-on-demand technologies has made it so that the final curtain to publishing could be made available to all aspiring writers and authors--no matter whom they are.
And--as the below article shows--things have gotten better so that the stigma of being self-published or e-published is no longer a major concern.
***
NEW YORK - Getting a book published isn't the rarefied literary feat it once was.
New printing technologies are making published authors of legions of aspiring writers, a population that once toiled for years on tomes that might not see the light of day.
The vast majority of today's instant authors may sell only a few dozen copies of their books, but on-demand publishing is letting thousands realize the ambitions of generations of would-be writers.
On-demand publisher Lulu.com has churned out 236,000 paperbacks since it opened in 2002, and its volume of new paperbacks has risen each month this year, hitting 14,745 in November.
Retail giant Amazon.com got into the game this summer, offering on-demand publishing through its CreateSpace, which was already letting filmmakers and musicians burn DVDs and CDs.
The programs are easy for just about anyone to use: Authors select basic options, including the book's size, binding style and paperback or hardcover. After the manuscript is uploaded, users go to a page where they select a font and design the book's cover. Even after a book has been printed they can fix typos for later printings.
Unlike vanity publishing, in which aspiring authors pay to have their books run on traditional presses, on-demand publishing doesn't have to cost writers a cent.
Publishers produce books only after they're ordered and paid for, which eliminates overruns and the need for warehousing. They charge for printing, or take a cut of sales, and they set up payment systems, online bookstores and Web marketing tools.
Some authors publish on-demand books in hopes of catching the eye of a major publisher. But not all writers who use on-demand publishers aspire to write the great American novel.
The system also allows small businesses to print high-end brochures, screenwriters to shop their scripts around and others to assemble wedding and other special-event books for friends and family.
"I'm just amazed I have the book in my hand," said Catherine Dyer, a 49-year-old Atlanta resident who co-authored a cookbook with her four sisters through Lulu.com. "I knew trying to get a traditional publisher would take ages. With this, I knew at the onset I could have a book in my hand."
"You Want Me To Bring a Dish?" — the sisters' 104-page cookbook — sells for $22.76. They've ordered about 100 copies to stock stores around Atlanta and are promoting the book through local signings and radio appearances.
Dyer's already brainstorming ideas for a spinoff.
"Cause I know I can get it published," she said.
The challenge for authors now is getting the word out about their work.
"It's all about the marketing and distribution. We realized early on that that was the bigger challenge," said Eileen Gittins, founder and CEO of Blurb.com, an on-demand publisher with 11,000 available self-published titles.
To help authors, Blurb automatically creates widgets that can be dragged and dropped onto other Web sites.
What makes self-publishing viable is the Internet, which gives writers instant access to audiences that share their same interests, no matter how obscure. Authors also use online communities such as blogs, MySpace.com and others to market their works.
"It used to be, if you created a book about an obscure topic, your audience was limited. Now maybe you're part of an online gardening community, and you already have an audience of 5,000 who care deeply about roses," Gittins said.
For most aspiring authors, a book deal with a major publishing house remains the ultimate dream, however.
Big companies like Random House Inc. or HarperCollins Publishers can promote authors on a national scale and get titles in major bookstores. Professional editors also polish copy in the traditional publishing world, a step that can transform a manuscript into a best-seller or perhaps a masterpiece.
"The value and cachet of being with a larger house is still something authors value," said Tina Jordan, vice president of the Association of American Publishers.
Users of Amazon.com's CreateSpace are listed the same way as literary giants online. Keyword searches will pull up self-published books along with those of Grisham, Shakespeare, Hemingway or Rowling.
The writers are willing to live with drawbacks that would drive a purist crazy. Printing quality can vary, with images possibly emerging denser or brighter in some copies. Some in the industry say the quality of on-demand publishing has improved greatly and few would be able to distinguish the difference from those printed on traditional presses. And on-demand books are priced according to their length, making them pricier than books printed en masse.
But Gittins said shoppers are willing to pay a little more for a book tailored to a specific audience.
"It's really an opportunity for people to get their creative content out there to millions of people," said Stacey Hurwitz, spokeswoman for CreateSpace.
______
On the Net:
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10ls9o008/*http://www.Lulu.com
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10m65k9fa/*http://www.Blurb.com
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10s0tjjln/*http://www.createspace.com
Doing: Writing this blog; surfing the net; answering e-mails; working out
Watching: News!
Listening to: "Numb" by Linkin Park
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: PUBLISHING TRANSFORMS EVEN MORE
I find this a bit interesting--simply because I've known for quite some time that on-demand, self-publishing, and e-publishing would finally transform the way we approach the topic of traditional publishing.
It just took awhile before things began to catch up in terms of affordability and technology.
Not to mention time.
Before, it used to mean waiting years or even decades to finally be picked up. But print-on-demand technologies has made it so that the final curtain to publishing could be made available to all aspiring writers and authors--no matter whom they are.
And--as the below article shows--things have gotten better so that the stigma of being self-published or e-published is no longer a major concern.
***
NEW YORK - Getting a book published isn't the rarefied literary feat it once was.
New printing technologies are making published authors of legions of aspiring writers, a population that once toiled for years on tomes that might not see the light of day.
The vast majority of today's instant authors may sell only a few dozen copies of their books, but on-demand publishing is letting thousands realize the ambitions of generations of would-be writers.
On-demand publisher Lulu.com has churned out 236,000 paperbacks since it opened in 2002, and its volume of new paperbacks has risen each month this year, hitting 14,745 in November.
Retail giant Amazon.com got into the game this summer, offering on-demand publishing through its CreateSpace, which was already letting filmmakers and musicians burn DVDs and CDs.
The programs are easy for just about anyone to use: Authors select basic options, including the book's size, binding style and paperback or hardcover. After the manuscript is uploaded, users go to a page where they select a font and design the book's cover. Even after a book has been printed they can fix typos for later printings.
Unlike vanity publishing, in which aspiring authors pay to have their books run on traditional presses, on-demand publishing doesn't have to cost writers a cent.
Publishers produce books only after they're ordered and paid for, which eliminates overruns and the need for warehousing. They charge for printing, or take a cut of sales, and they set up payment systems, online bookstores and Web marketing tools.
Some authors publish on-demand books in hopes of catching the eye of a major publisher. But not all writers who use on-demand publishers aspire to write the great American novel.
The system also allows small businesses to print high-end brochures, screenwriters to shop their scripts around and others to assemble wedding and other special-event books for friends and family.
"I'm just amazed I have the book in my hand," said Catherine Dyer, a 49-year-old Atlanta resident who co-authored a cookbook with her four sisters through Lulu.com. "I knew trying to get a traditional publisher would take ages. With this, I knew at the onset I could have a book in my hand."
"You Want Me To Bring a Dish?" — the sisters' 104-page cookbook — sells for $22.76. They've ordered about 100 copies to stock stores around Atlanta and are promoting the book through local signings and radio appearances.
Dyer's already brainstorming ideas for a spinoff.
"Cause I know I can get it published," she said.
The challenge for authors now is getting the word out about their work.
"It's all about the marketing and distribution. We realized early on that that was the bigger challenge," said Eileen Gittins, founder and CEO of Blurb.com, an on-demand publisher with 11,000 available self-published titles.
To help authors, Blurb automatically creates widgets that can be dragged and dropped onto other Web sites.
What makes self-publishing viable is the Internet, which gives writers instant access to audiences that share their same interests, no matter how obscure. Authors also use online communities such as blogs, MySpace.com and others to market their works.
"It used to be, if you created a book about an obscure topic, your audience was limited. Now maybe you're part of an online gardening community, and you already have an audience of 5,000 who care deeply about roses," Gittins said.
For most aspiring authors, a book deal with a major publishing house remains the ultimate dream, however.
Big companies like Random House Inc. or HarperCollins Publishers can promote authors on a national scale and get titles in major bookstores. Professional editors also polish copy in the traditional publishing world, a step that can transform a manuscript into a best-seller or perhaps a masterpiece.
"The value and cachet of being with a larger house is still something authors value," said Tina Jordan, vice president of the Association of American Publishers.
Users of Amazon.com's CreateSpace are listed the same way as literary giants online. Keyword searches will pull up self-published books along with those of Grisham, Shakespeare, Hemingway or Rowling.
The writers are willing to live with drawbacks that would drive a purist crazy. Printing quality can vary, with images possibly emerging denser or brighter in some copies. Some in the industry say the quality of on-demand publishing has improved greatly and few would be able to distinguish the difference from those printed on traditional presses. And on-demand books are priced according to their length, making them pricier than books printed en masse.
But Gittins said shoppers are willing to pay a little more for a book tailored to a specific audience.
"It's really an opportunity for people to get their creative content out there to millions of people," said Stacey Hurwitz, spokeswoman for CreateSpace.
______
On the Net:
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10ls9o008/*http://www.Lulu.com
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10m65k9fa/*http://www.Blurb.com
http://us.rd.yahoo.com/dailynews/ap/ap_on_hi_te/storytext/business_of_life/25746480/SIG=10s0tjjln/*http://www.createspace.com
Sunday, December 30, 2007
SUNDAY RECOVERY.
Status: Recovering from three days of kidney stones; severe pain and exhaustion
Doing: Writing this blog; surfing the net; answering e-mails
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: COSTLY STRIKE
Studios: Writers' losses mount in strike
LOS ANGELES - Hollywood studios said Friday that striking writers have now lost more in salary and benefits than they had hoped to gain by walking off the job.
In the message posted on its Web site and YouTube, the Alliance of Motion Picture and Television Producers claimed losses by writers in the eight-week strike have exceeded $151 million.
That's the price tag the Writers Guild of America put on its proposed three-year deal with studios.
"The strike continues because the union's leaders are focused on jurisdictional issues that would expand their own power, at the expense of the new media issues that working writers care most about," the alliance said in a statement.
Compensation for work distributed via the Internet and other digital media has been central to the contract dispute. The guild also has called for unionization of writers working on reality shows and animation.
The union responded by saying the contract proposals by the big studios would cause writers even more economic harm in the future.
"To sidestep this fact, they erroneously claim we are focused on other issues," the guild said in a statement. "The conglomerates are responsible for creating the economic havoc. They should put their energies into making a fair deal with writers rather than issuing misleading statements."
The strike that began Nov. 5 has also been costly for other industry workers. Production has been shut down on dozens of TV shows, with losses for crew members exceeding $250 million, according to the alliance message.
The alliance Web site features a constantly updated ticker with the studios' estimate of writers' losses. The figure is based on West Coast guild data from 2006, the site said.
Talks broke down Dec. 7 after the union rejected an alliance demand that a half-dozen guild proposals be taken off the table, including jurisdiction over reality and animation writers.
While negotiations with the writers union are at a standstill, studios are preparing to begin contract talks with the Directors Guild of America, perhaps next month.
Digital compensation also is expected to be a key issue for directors.
Whether a deal by directors will affect the writers dispute is unclear. The guilds traditionally have followed a practice of pattern bargaining, with one contract considered a template for others.
But the writers guild has said previously that it wishes the directors well, but noted they "do not represent writers. Our strike will end when the companies return to negotiations and make a fair deal with the WGA."
The directors guild has gone on strike only once, for just five minutes in 1987.
Doing: Writing this blog; surfing the net; answering e-mails
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: COSTLY STRIKE
Studios: Writers' losses mount in strike
LOS ANGELES - Hollywood studios said Friday that striking writers have now lost more in salary and benefits than they had hoped to gain by walking off the job.
In the message posted on its Web site and YouTube, the Alliance of Motion Picture and Television Producers claimed losses by writers in the eight-week strike have exceeded $151 million.
That's the price tag the Writers Guild of America put on its proposed three-year deal with studios.
"The strike continues because the union's leaders are focused on jurisdictional issues that would expand their own power, at the expense of the new media issues that working writers care most about," the alliance said in a statement.
Compensation for work distributed via the Internet and other digital media has been central to the contract dispute. The guild also has called for unionization of writers working on reality shows and animation.
The union responded by saying the contract proposals by the big studios would cause writers even more economic harm in the future.
"To sidestep this fact, they erroneously claim we are focused on other issues," the guild said in a statement. "The conglomerates are responsible for creating the economic havoc. They should put their energies into making a fair deal with writers rather than issuing misleading statements."
The strike that began Nov. 5 has also been costly for other industry workers. Production has been shut down on dozens of TV shows, with losses for crew members exceeding $250 million, according to the alliance message.
The alliance Web site features a constantly updated ticker with the studios' estimate of writers' losses. The figure is based on West Coast guild data from 2006, the site said.
Talks broke down Dec. 7 after the union rejected an alliance demand that a half-dozen guild proposals be taken off the table, including jurisdiction over reality and animation writers.
While negotiations with the writers union are at a standstill, studios are preparing to begin contract talks with the Directors Guild of America, perhaps next month.
Digital compensation also is expected to be a key issue for directors.
Whether a deal by directors will affect the writers dispute is unclear. The guilds traditionally have followed a practice of pattern bargaining, with one contract considered a template for others.
But the writers guild has said previously that it wishes the directors well, but noted they "do not represent writers. Our strike will end when the companies return to negotiations and make a fair deal with the WGA."
The directors guild has gone on strike only once, for just five minutes in 1987.
Sunday, December 16, 2007
SUNDAY CHAOS.
Status: Currently writing on The Price of Freedom--Chapter 190.
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: "Can't Stop the Rock" by Apollo 440
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: THE BEAT GOES ON
Writers' strike ends most U.S. scripted TV work
LOS ANGELES (Reuters) - Production on all but two of the last few scripted prime-time television shows shooting in Los Angeles ground to a halt on Friday as a crippling strike by Hollywood writers neared the end of its sixth week, an industry group said.
The dwindling production tally reported by the nonprofit FilmL.A. Inc, which handles location permits for the industry, was the latest sign of mounting damage caused by the worst labor confrontation to hit major studios in 20 years.
The cost of the strike in terms of lost TV production spending in Southern California alone has reached about $135 million a week, and idled some 10,000 crew members, according to FilmL.A. President Steve MacDonald.
With work stopped on nearly all the five dozen dramas and comedies normally produced this time of year in the Los Angeles area, and the supply of new episodes rapidly running out, the networks are bracing for a programming upheaval in January.
Viewers, who have seen little change since the strike began, will soon be treated to an onslaught of reality shows and reruns broadcasters plan to use in place of scripted shows halted by the walkout.
That could lead to further ratings woes for the major networks, three of which have already been forced to compensate advertisers with extra commercial time due to a shortfall in viewership at the outset of the current season.
Programming and ad sales for the next TV season are also likely to take a hit as development of "pilot" episodes for new series and networks' annual "upfront" presentations for those shows to advertisers get scaled back or scrapped.
LATE-NIGHT TV MAY RETURN
Even as the outlook for prime time grows more dire, late-night comedy may soon be back in business. Several show hosts, including NBC's Jay Leno and Conan O'Brien, are expected to return to work early next month, even if the strike is unsettled, after refusing for weeks to cross writers' picket lines, Daily Variety reported on Friday.
NBC declined to comment.
The Writers Guild of America launched its walkout on November 5 after months of contentious negotiations on a new contract covering 10,500 members collapsed. The main sticking point has been disagreement over how writers should be paid when their work is distributed over the Internet.
Talks resumed about two weeks later but broke off in acrimony again last Friday, with no further bargaining sessions scheduled.
While late-night TV took an immediate hit from the strike, work on prime-time series has slowed to a trickle.
By December, no more than 15 scripted shows remained in production, and just five were still being shot at the start of this week, according to FilmL.A., which has monitored the status of the shows through contacts with area production companies and studios, a spokesman said.
One of the last five, the CBS crime series "CSI: Miami," was shut down on Thursday, and two others, the new ABC ensemble drama "Dirty Sexy Money" and ABC's courtroom drama "Boston Legal," were set to wrap production on Friday.
That leaves two other series, both scheduled as midseason replacement shows for ABC, still in production -- "Eli Stone," which is slated to stop next Friday, and "October Road," due to close January 11, said FilmL.A.'s MacDonald.
So far, the movie business has been largely unhindered by the strike, though production on several high-profile films, including a sequel to "The Da Vinci Code," have been postponed.
MacDonald said that overall film production since the strike appears to have actually risen, as measured by the 129 location permits issued by FilmL.A. during the past six weeks, up from 89 issued during the same period a year ago.
He said the increase may be due to a speed-up in some film projects by studios in anticipation of additional labor strife next summer, when the actors' contract is due to expire.
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: "Can't Stop the Rock" by Apollo 440
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: THE BEAT GOES ON
Writers' strike ends most U.S. scripted TV work
LOS ANGELES (Reuters) - Production on all but two of the last few scripted prime-time television shows shooting in Los Angeles ground to a halt on Friday as a crippling strike by Hollywood writers neared the end of its sixth week, an industry group said.
The dwindling production tally reported by the nonprofit FilmL.A. Inc, which handles location permits for the industry, was the latest sign of mounting damage caused by the worst labor confrontation to hit major studios in 20 years.
The cost of the strike in terms of lost TV production spending in Southern California alone has reached about $135 million a week, and idled some 10,000 crew members, according to FilmL.A. President Steve MacDonald.
With work stopped on nearly all the five dozen dramas and comedies normally produced this time of year in the Los Angeles area, and the supply of new episodes rapidly running out, the networks are bracing for a programming upheaval in January.
Viewers, who have seen little change since the strike began, will soon be treated to an onslaught of reality shows and reruns broadcasters plan to use in place of scripted shows halted by the walkout.
That could lead to further ratings woes for the major networks, three of which have already been forced to compensate advertisers with extra commercial time due to a shortfall in viewership at the outset of the current season.
Programming and ad sales for the next TV season are also likely to take a hit as development of "pilot" episodes for new series and networks' annual "upfront" presentations for those shows to advertisers get scaled back or scrapped.
LATE-NIGHT TV MAY RETURN
Even as the outlook for prime time grows more dire, late-night comedy may soon be back in business. Several show hosts, including NBC's Jay Leno and Conan O'Brien, are expected to return to work early next month, even if the strike is unsettled, after refusing for weeks to cross writers' picket lines, Daily Variety reported on Friday.
NBC declined to comment.
The Writers Guild of America launched its walkout on November 5 after months of contentious negotiations on a new contract covering 10,500 members collapsed. The main sticking point has been disagreement over how writers should be paid when their work is distributed over the Internet.
Talks resumed about two weeks later but broke off in acrimony again last Friday, with no further bargaining sessions scheduled.
While late-night TV took an immediate hit from the strike, work on prime-time series has slowed to a trickle.
By December, no more than 15 scripted shows remained in production, and just five were still being shot at the start of this week, according to FilmL.A., which has monitored the status of the shows through contacts with area production companies and studios, a spokesman said.
One of the last five, the CBS crime series "CSI: Miami," was shut down on Thursday, and two others, the new ABC ensemble drama "Dirty Sexy Money" and ABC's courtroom drama "Boston Legal," were set to wrap production on Friday.
That leaves two other series, both scheduled as midseason replacement shows for ABC, still in production -- "Eli Stone," which is slated to stop next Friday, and "October Road," due to close January 11, said FilmL.A.'s MacDonald.
So far, the movie business has been largely unhindered by the strike, though production on several high-profile films, including a sequel to "The Da Vinci Code," have been postponed.
MacDonald said that overall film production since the strike appears to have actually risen, as measured by the 129 location permits issued by FilmL.A. during the past six weeks, up from 89 issued during the same period a year ago.
He said the increase may be due to a speed-up in some film projects by studios in anticipation of additional labor strife next summer, when the actors' contract is due to expire.
Sunday, December 9, 2007
SUNDAY FOLLOW UP
Status: Currently writing on The Price of Freedom--Chapter 188.
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: WRITERS AFFECTED BY STRIKE
Even if it has to drag on, the WGA cannot capitulate to the industry--and expect to come out better in the long run! I know it hurts to be out of work! I should know: I haven't had a job since 2002. (And living on $520 a month on disability really does suck, but what more can I do?)
But you cannot give in! Suck it up and fight for what you believe in!
Idled Hollywood workers urge more talks (Part 2)
LOS ANGELES - The Hollywood strike is rewriting the holidays for idled workers.
With her income pinched, script supervisor Petra Jorgensen canceled an annual trip to Europe to see relatives. Set decorator Laura Richarz is bypassing pricey malls and fashioning gifts at home — framing photos, sewing a shirt for her niece.
With the holidays under way and the strike entering a sixth week, "It's going to be bleak for a lot of families," said Jorgensen, who's living off her savings.
The two were among hundreds of out-of-work employees and their supporters who marched down Hollywood Boulevard Sunday to call for a resumption of talks to settle the strike, which has sidelined many prime-time and late-night TV shows. Negotiations collapsed Friday between the Writers Guild of America and the Alliance of Motion Picture and Television Producers, with the sides pointing fingers at each other.
The march Sunday was intended to draw attention to the financial plight of workaday Hollywood — those employees whose jobs depend on ongoing productions, from caterers to set builders to hair stylists. With shows silenced, they too are struggling.
Marchers expressed growing frustration with the on-again, off-again talks, and fingers were pointed at producers and union writers. A central issue has been compensation for new-media distribution of work by guild members.
Pam Elyea, whose Los Angeles company, History for Hire, provides props for TV and movies,
was forced to lay off six employees as expected work evaporated. If the walkout continues, she said, more could follow.
"I'm disappointed in both sides," Elyea said.
The writers guild represents 12,000 members, but not all are on strike. About 2,000 news writers and others are covered under a separate contract.
Studios believe they can hold out for months — a stalemate that could impact the regional economy along with the entertainment industry. Hollywood contributes an estimated $30 billion annually to the Los Angeles County economy.
Diana Valentine, a script supervisor for the FX drama "Nip/Tuck," said she has been off the job since Nov. 21 and her husband is an out-of-work actor. She said both sides need to be talking.
"You cannot come up with a deal if people are walking away from the table," she said. Without a paycheck soon, "I'm going to have to start renting out parts of my house."
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: WRITERS AFFECTED BY STRIKE
Even if it has to drag on, the WGA cannot capitulate to the industry--and expect to come out better in the long run! I know it hurts to be out of work! I should know: I haven't had a job since 2002. (And living on $520 a month on disability really does suck, but what more can I do?)
But you cannot give in! Suck it up and fight for what you believe in!
Idled Hollywood workers urge more talks (Part 2)
LOS ANGELES - The Hollywood strike is rewriting the holidays for idled workers.
With her income pinched, script supervisor Petra Jorgensen canceled an annual trip to Europe to see relatives. Set decorator Laura Richarz is bypassing pricey malls and fashioning gifts at home — framing photos, sewing a shirt for her niece.
With the holidays under way and the strike entering a sixth week, "It's going to be bleak for a lot of families," said Jorgensen, who's living off her savings.
The two were among hundreds of out-of-work employees and their supporters who marched down Hollywood Boulevard Sunday to call for a resumption of talks to settle the strike, which has sidelined many prime-time and late-night TV shows. Negotiations collapsed Friday between the Writers Guild of America and the Alliance of Motion Picture and Television Producers, with the sides pointing fingers at each other.
The march Sunday was intended to draw attention to the financial plight of workaday Hollywood — those employees whose jobs depend on ongoing productions, from caterers to set builders to hair stylists. With shows silenced, they too are struggling.
Marchers expressed growing frustration with the on-again, off-again talks, and fingers were pointed at producers and union writers. A central issue has been compensation for new-media distribution of work by guild members.
Pam Elyea, whose Los Angeles company, History for Hire, provides props for TV and movies,
was forced to lay off six employees as expected work evaporated. If the walkout continues, she said, more could follow.
"I'm disappointed in both sides," Elyea said.
The writers guild represents 12,000 members, but not all are on strike. About 2,000 news writers and others are covered under a separate contract.
Studios believe they can hold out for months — a stalemate that could impact the regional economy along with the entertainment industry. Hollywood contributes an estimated $30 billion annually to the Los Angeles County economy.
Diana Valentine, a script supervisor for the FX drama "Nip/Tuck," said she has been off the job since Nov. 21 and her husband is an out-of-work actor. She said both sides need to be talking.
"You cannot come up with a deal if people are walking away from the table," she said. Without a paycheck soon, "I'm going to have to start renting out parts of my house."
SUNDAY'S COLD!
Status: Currently writing on The Price of Freedom--Chapter 188.
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: TALKS COLLAPSE
Idled Hollywood workers urge end to writers' strike
LOS ANGELES (Reuters) - Hundreds of film and television production workers, joined by florists, caterers and dry cleaners, marched through Hollywood on Sunday to urge both sides in the screenwriters strike to settle the 5-week-old stoppage that is crippling businesses linked to the industry.
The "Strike a Deal" march brought together about 500 people who are not on strike themselves but who have been laid off or are losing business because of the strike by about 10,500 members of the Writers Guild Of America (WGA).
"We're not here today to take the side of either party, but rather to make ourselves seen and make ourselves heard and call for both sides to return to the table immediately," said one of the organizers, Christopher Griffin, a line producer for the "Nip/Tuck" TV series.
Dozens of workers from shows where production has stopped including "Ugly Betty," "Desperate Housewives" and "The Office" were joined by representatives from floral, catering and cleaning small businesses that work closely with studios.
The rally and march was intended to "put a face on the thousands of us adversely affected by the current strike" and "to show a united front in calling for responsible and serious negotiations," the organizers said on their blog site.
Studio bosses and the WGA broke off contract talks again on Friday after four days of negotiations ended in acrimony, dashing hopes of a quick settlement of the worst Hollywood labor crisis in two decades.
The writers went on strike on November 5 in a dispute that hinges on how much they should be paid for work used on the Internet. It has halted production on dozens of TV shows as well as several movies and idled thousands of non-writing film and TV workers.
"They are negotiating the what-ifs while we're not even getting work, and while they're on strike the reruns are on and they're getting residuals," said Elizabeth Tompkins, a production controller for the summer 2008 movie "Get Smart."
Griffin called on both sides to try harder to reach an agreement. "Lock yourselves in a room, throw away the key. Stay there until a settlement is reached. All of our lives and our livelihoods hang in the balance," he said.
Doing: Writing this blog; surfing the net; answering e-mails; working out.
Watching: Football!
Listening to: Nothing at the moment.
Reading: Kushiel's Scion by Jacqueline Carey
TOPIC: TALKS COLLAPSE
Idled Hollywood workers urge end to writers' strike
LOS ANGELES (Reuters) - Hundreds of film and television production workers, joined by florists, caterers and dry cleaners, marched through Hollywood on Sunday to urge both sides in the screenwriters strike to settle the 5-week-old stoppage that is crippling businesses linked to the industry.
The "Strike a Deal" march brought together about 500 people who are not on strike themselves but who have been laid off or are losing business because of the strike by about 10,500 members of the Writers Guild Of America (WGA).
"We're not here today to take the side of either party, but rather to make ourselves seen and make ourselves heard and call for both sides to return to the table immediately," said one of the organizers, Christopher Griffin, a line producer for the "Nip/Tuck" TV series.
Dozens of workers from shows where production has stopped including "Ugly Betty," "Desperate Housewives" and "The Office" were joined by representatives from floral, catering and cleaning small businesses that work closely with studios.
The rally and march was intended to "put a face on the thousands of us adversely affected by the current strike" and "to show a united front in calling for responsible and serious negotiations," the organizers said on their blog site.
Studio bosses and the WGA broke off contract talks again on Friday after four days of negotiations ended in acrimony, dashing hopes of a quick settlement of the worst Hollywood labor crisis in two decades.
The writers went on strike on November 5 in a dispute that hinges on how much they should be paid for work used on the Internet. It has halted production on dozens of TV shows as well as several movies and idled thousands of non-writing film and TV workers.
"They are negotiating the what-ifs while we're not even getting work, and while they're on strike the reruns are on and they're getting residuals," said Elizabeth Tompkins, a production controller for the summer 2008 movie "Get Smart."
Griffin called on both sides to try harder to reach an agreement. "Lock yourselves in a room, throw away the key. Stay there until a settlement is reached. All of our lives and our livelihoods hang in the balance," he said.
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