It’s been said before that the life of a writer can be a lonely one. We spend countless hours buttoned up, away from the world and we falter by getting too comfortable with that station in life. As humans, we cannot exist without social interaction, and as writers, it is detrimental to ignore the real world and the characters that inhabit it.

In a previous article, I discussed how important it was that every writer understands the full filmmaking process to improve their craft. To do this I advised taking on the position of a Production Assistant.  Becoming one may seem intimidating to some writers so let me clarify any preconceptions or fears about the position.

You may think that you can sift through the bookstore, purchase a few screenwriting books, watch a few movies and then type out the next big flick to hit the theaters. Maybe you can, but I sincerely doubt it.

When you put together a model car, you follow directions and glue together the pieces but when you are through, do you understand the essence of the car? Do you understand the organism of a thousand parts working in unison after slapping on the last pin stripe decal? 

For every prop mentioned on the page of a screenplay there can be hidden items you might need to be prepared for a shot set up. If you are an all-in-one filmmaker, making a film by yourself or with friends who have little or no experience, you might not know some of the tricks of the trade. This ‘essentials only’ list of “support” props will help you temporarily age the prop/set or clean it up so the shot is crystal clear.

If you have an experienced prop master, chances are they already have these items and more in their kit, but just in case…

You are an up and coming screenwriter. You’re wheeling and dealing, making contacts and pitching every story in your repertoire. However, for some reason, no one is calling you back. Do you know why?  It’s because of that freebie business card you ordered off of a discount business card shop online. That’s the reason no one has offered you six figures. Okay, I’m kidding. That is not why they are avoiding you, but what if it were?

In my previous segment yesterday I wrote about how to approach a long screenwriting seminar so as a writer you get the most out of it.  This final segment will show you how to behave at one of these events and what to bring.  

In Seminar Funk: Part One, I covered some of the pros and cons of "short-form" screenwriting seminars, i.e., one and two day seminars.  And one of my conclusions is that Only You Can Make Yourself a Better Writer.  Now that I'm freshly returned from the one-week Screenwriter's Conference in Santa Fe, NM -- which included a Pitchfest -- I now ask, "Are long seminars worth it?".  Let me pass on what I've learned.

If you have found yourself questioning the validity of attending a screenwriting seminar, you are not alone. Screenwriting seminars tout they will improve your writing skills, but they can be costly, over-hyped, and give you nothing more than a deeper hole in your already vacuous wallet.  Some of these seminars can be beneficial to new writers, and even breathe new life into bitter, pessimistic lumps that swill coffee and moan all day about that one lost sale. But figuring out which seminar you need, if you need one at all, can be confusing.