available at writersconference.com

OF WHAT VALUE is a column such as this? I don't know, frankly. My sincere belief is that the parameters in which to write a professional Hollywood-type screenplay, either for feature-length movies, episodic television (drama & sitcom--as there is a distinction in format) and made-for-TV movies, are so well defined that only two real challenges remain for the emerging screenwriter: 1) To write a good script, and 2) To get your good script in the hands of somebody who will buy it, even, hopefully, make it. As a flagrant believer in the twin notions, You can not teach anybody how to write, only how not to and You have to know the rules to break them effectively, I don't believe there's anything more to say about it. What else I believe is that Writers Write! Period.

In what I hope are uniquely simplistic and sobering island homilies in the ever-churning sea of wares and contradictory opinion-hocking geared to rinse away the spare change in aspiring scriptwriters' pockets, anything more I can offer in this space would simply rehash what so many others so widely propagate in books, magazines, seminars, on-line chats, and newsgroups. The issues I feel at all passionate about regarding approach, structure and criticism have already been covered in past "Prognosis" columns. From them, I believe, can be gleaned the essential tools needed to best facilitate one's ability to write a commercially viable screenplay. From this point on the challenges that you, the emerging talent, must face are inherent only to the execution of your story's spin in your uniquely individual script.

The only person who can write and improve your script is you. Others may help, but ultimately it requires you to have the confidence to commit to your judgement that your script is the best that it can be, communicating everything you intended, evoking every response in the reader that you had dreamed.

As I bid you farewell and good luck, I leave you with these random offerings that also may help you on your journey, as I've found them notable on my own:

SCENARIO - An invaluable quarterly publication in which each issue features four screenplays published in their entirety, coupled with some of the best interviews I've ever read with regard to the respective author(s) approach. Recent issues contained Lone Star, Quiz Show, The Usual Suspects, Big Night, and others. Subscriptions aren't cheap at $49.95, but when you figure you're getting some 16 scripts at around three bucks each, it's a steal. Write 3200 Tower Oaks Blvd., Rockville, MD 20852 to order, or call 1-800-222-2654. (URL: www.scenariomag.com)

WRITTEN BY - The award-winning magazine by the Writers Guild of America, West offers TV market information, interviews, and often fascinating insight into the politics, practices and opinions of professional scriptwriters. Subscription are $40.00 a year. Write The Journal of the Writers Guild, 7000 W. 3rd St., Los Angeles, CA 90048-9968.

WRITERS GUILD OF AMERICA WEBSITE - Lots of online content extracted from the hard copy journal, as well as other useful information. (URL: www.wga.org)

THE DRAMATIC WRITING HOMEPAGE - Tremendous analysis and essays on craft, characterization, premise, structure, and lots more. A "must bookmark" for writers of all fiction, regardless of genre or medium. (URL: www.teleport.com/~bjscript/index.htm)

TV WRITER.COM - "Everything you ever wanted to know about the medium everybody loves to hate!" (URL: www.tvwriter.com)

AMERICA ON-LINE WRITER'S CLUB - The vitriolic behavior of many stalking the screenwriting folders gets tiresome and predictable but now and again you can find some good stuff, partake of sometimes interesting debates, etc. Under key word "Show Biz" there's also a couple other screenwriting folders. (NOTE: As of August, 1999 participation in these boards has virtually stopped.)

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