Nancy Yuen: Bio

I was born and raised in east Los Angeles, and lived a block away from the plaza where the mariachi bands gather every day to find jobs. I went to high school in San Gabriel.

When I was a kid, my dad was a doctoral student at USC studying experimental pathology; our family of six lived on his small stipend. I learned about love as I saw him sell his blood to a blood bank to pay for music lessons for me and for my brothers and sister.

My passion for writing was born in the downtown LA Library, where my parents would take us summer nights when the sweltering heat at home became unbearable (we didn’t have air conditioning). My brothers, sister, and I would scatter throughout the grand building to find new books. One of my happiest days was the day I filled out the paperwork and was given my first library card; I could choose 10 books to check out, and they had to be true stories. That's when I experienced the magic of storytelling; I learned that no matter who you are or where you live, a story can take you around the world and beyond.

I first dreamed of becoming a screenwriter when I discovered a book in the library, “The Trouble With Tribbles: The birth, sale and final production of one episode,” by David Gerrold. “People really do that for a living?" I thought. "I want to do that.” I was in elementary school and for years, my brother and I enthusiastically created storylines for our favorite TV shows.

I completed a degree in journalism at Pacific Union College, Angwin (in the Napa Valley), and then worked in the public relations and marketing fields for White Memorial Medical Center in East L.A.; Loma Linda University, and later, Loma Linda University Medical Center where my days were filled with writing stories about the careers, work and lives of nursing and dental students, physicians, and others. I also traveled to remote clinics in places including Djibouti, Nicaragua, and Peru, and Rwanda, among others.

I rediscovered my screenwriting dream while working as director of marketing for a dental school. As we were finishing a monthly publication a nursing student who was assisting in my office asked, “Is this what you want to do for the rest of your life?”

I applied to USC and completed the Master of Professional Writing (MPW) degree/emphasis Screenwriting, in 2008. The program encourages multidisciplinary writing, and in addition to screenwriting I studied fiction writing and playwrighting. A screenplay I wrote was selected as a finalist in a film fest.

While in the MPW program I was invited by faculty to participate in the 2007–08 Academy Internship program. I received a scholarship from the Academy of Motion Picture Arts & Sciences Foundation that allowed me to work with my mentor, Irvin Kershner. I also worked with Syd Field, transcribing hundreds of pages of notes from recordings of his lectures at USC, and from a seminar he led in Europe. He used the transcripts to revise his book, "Screenplay."

In addition, I’ve completed courses in USC School of Cinematic Arts (SCA) summer production workshops: Wendy Apple (documentary filmmaking); Sandra Berg (beginning screenwriting); and from SCA writing division faculty Ronald Friedman, Don Bohlinger, and Frank Wuliger.

In May, 2009, I was invited to join a National Academy of Television Arts & Sciences panel judging regional EMMY Award entries in the category “Human Interest Segment.”

Response to "War of the Words"

Good afternoon:

I'm looking forward to class tomorrow, and am doing research to prepare for the meeting at Paradigm.

I'm writing to email my response to the article: War of the Words

As a beginning screenwriter, I’m determined to be well prepared and I enjoyed reading the article, “War of the Words.” The examples of writer/director relationships cited in the article added to the arsenal of information you are providing that is preparing us for the realities of the business.

As I write I hear my mentors in the School of Cinematic Arts’ Writing Division and in the USC master of professional writing program.

From Irvin Kershner (shouted passionately at me while he was holding a draft of a story I’d written for him, standing in a hallway outside of class): Why is this character, this child, like no other who is living or who has ever lived? Why is his mother like no one who is living or who has ever lived? If you can’t show this you don’t have anything.”

And from Gina Nahai: Before you write your first words, ask why am I telling this story? Why am I telling it now? And as you begin, answer the question: Why is this day like no other in the characters’ lives?

Thoughts on dialogue: Write the dialogue the best I can. Rewrite. Then make it tighter. Leaner. Then let it go—it’s fun to think the actors may read the words, then re-reading them, intrigued: I can say it like this. No, Like this!

I hope the story will capture the imagination of the producer, the director, costume designer, location people, lighting crew, actors.

And as I write, Kershner’s words echo. “One character wants something. He may not say a word. What does he do to get it? Now that is interesting.”

I remember discovering the book about the writing of the Star Trek episode, The Trouble With Tribbles, in the sixth grade and my heart stopped as I made the amazing discovery, “People really do this? People write for the screen for their life’s work?”

And as I’ve reconnected with my childhood dream, I’ve found it to be the most complicated type of writing I’ve attempted and yet I gain energy from the process. It truly is magic.

So the writer does the best he or she can, drawing from a powerful palette: art, history, wardrobe, setting, sound (learned from another USC/SCA mentor, Ron Friedman).

And when the story is experienced by the reader, assistant or agent or attorney and passed along hopefully excitement will grow. And through collaboration, it will become stronger.

The article “War of the Words,” taught me that some directors, including Clint Eastwood, don’t consult with the screenwriter at all. But if the screenplay is created from the strength of the writer’s vision and palette, hopefully as real people speak the words and enter the settings that were first imagined by the writer, the essence, the magic of the story, will endure.

From working in several settings and seeing numerous projects through to completion and observing many more, I could also write an essay on getting along, what it takes to make a contribution instead of being difficult. And if the screenwriter’s presence is beneficial to the project, I believe that in many cases the writer will be invited to continue shaping the project to its completion.

Best,

Nancy

Feature writers, Part II

Class notes

Panel - Wednesday, February 3, 2010

USC School of Cinematic Arts/Writing Division

Course: The BusinessProfessor Frank Wuliger
On the panel: Robert Nelson Jacobs: Chocolat, Extraordinary Measures

Cinco Paul: Horton Hears a Who, Despicable Me, Bubble Boy

Moderator: Frank Wuliger

Panelists, on pitching

As you are pitching, you have a story to tell that you are passionate about, that you love.

FW: What writers do is amazing. I hold your talent in tremendous esteem. It's not easy; it is difficult. This [artistry] will work for you. During a pitch you will feel the energy in the room; if you feel low energy, it's not a good idea to try too hard to convince the people in the room to like your story. That's often a mistake and will show up later; it's much better if they like your story/presentation from the beginning.

FW sent out Son of Rambow 1,300 places in the U.S. and U.K. before it was made.

RNJ: During preliminary conversations with the company hiring you as a screenwriter, you will come up with a "Take." You can feel the energy and that will tell you if you need to modify your approach or if it's working. It's beneficial to let the other person talk first. You may present/use your original idea and after the other person states what they are envisioning, you then have the chance to to phrase your thoughts differently (this is much better than presenting your ideas first and then having them shot down).

During the preliminary conversation, be sure to talk/ask questions so you don't waste time writing a treatment that's not what they want. The treatment (or "scriptment") requires an incredible amount of work for low pay. A scriptment is a treatment that contains snippets of dialogue and even a few scenes written in screenplay format, crafted to present the story in the most powerful way.

[From my mentor, Irvin Kershner: Write the story first. It can be a short story. After it's written and polished, the actual screenplay will take two weeks to write/I've tried this and it works. The two weeks were very long weeks but the resulting screenplay was a finalist in a film fest].

Panelists: Meetings will become a huge part of your lives as a writer. It's helpful for you to envision/"see" the movie, before the meetings and before you start writing.

You must go into rooms and wow people; CP and his writing partner began their careers being terrible in a room. As they matured as screenwriters they learned to enjoy the process, they played with each other and had fun. When they were pitching they acted as if they really didn't care about what the people in the room (the people with the power to hire them or to pay them) thought because they themselves were convinced the story was worthwhile, thrilling, and fun. They played out scenes. They sang and harmonized.

FW: A writer can want it too much; that's not good. Be relaxed and prepared and the people in the room will often want to hear more.

The panelists, on preparing for the pitch:

It's important to keep each presentation fresh; the writers on the panel don't practice their pitches too much because they feel don't want to grind them into the ground.

RNJ: Doesn't like spending hours perfecting his pitches; he does pitch to his assistant. "I can feel something [while telling the story to my assistant]; as I'm pitching I can tell: 'this is getting too long.'"

More general thoughts from the panelists:

• Attitude is important: listen to notes you're given. What is their issue? Fix it
• If you're told something isn't funny enough, say: "show me exactly where."
• Prescriptive notes: Move this scene or give this character more lines
• You can turn your idea into their idea, do not become a scribe. The solution comes from the writer.

• After you're hired, if you don't write for free sometimes, you're dead. Your agent will protect you and will keep a watchful eye on notes you're asked to respond to (minor or major rewrites required. Major time investment and the writer should be paid).
• CP/FW: It is important to create a strong, trust-based relationship with the producer. Producers have pulled screenwriters back onto projects after they have been let go, and on occasion the writer has been invited into the editing room to help craft the story.
  
  
  
  
  On obtaining writing assignments:

• FW: Almost everything is competitive now.
• When you turn something in it should be your best first draft; killer/really well written. If you don't nail it you will flail.
• Writer's Guild membership provides important benefits for writers (WG to be covered on a future panel)

CP: Every actor will tell the writer, Thank you for the words (dialogue). Don't feel too good when an actor says this, it's not special!

CP: Bubble Boy is now a play. Playwrights can say, "This is my play;" they have ultimate say & control. Screenwriting is the opposite, almost everyone has something to say about the script and the screenwriter must respond.

FW: What writers do is amazing. I hold their talent in tremendous esteem. It is not easy; it is difficult.

Feature writers, Part I

Class notes

Panel - Wednesday, February 3, 2010

USC School of Cinematic Arts/Writing Division

Course: The Business

Professor Frank Wuliger

On the panel:

Robert Nelson Jacobs: Chocolat, Extraordinary Measures

Cinco Paul: Horton Hears a Who, Despicable Me, Bubble Boy

Moderator: Frank Wuliger

* * *

Opening comments

What starts a career as a screenwriter: Writing that is unique, can make the reader laugh & cry What sustains a screenwriting career: Hard work.

RNJ: Write because you love it; and for the income. Each sustains the other.

CP: On notes--early in his career he had an attitude, "I'll show them how wrong they are and how smart I am." He later learned that fighting will get you nowhere. The best thing to do is to do it their way; it often comes back around; sometimes they have to see it their way first.

Playwrights have the power to say, "This is my play." Screenwriters don't have that luxury or freedom. The best option is to remain open to their suggestions, use what they're saying and use your vision and creativity to redirect their notes and to take the story where you want it to go. As the project moves forward they often won't remember what they said, and you don't want them to remember. Make the people you're working with feel competent and smart. Remember, they are paying you for your storytelling and writing ability. You don't know everything. You want them to want to work with you.

CP: Producer's pass is additional writing that's done before the screenplay is delivered to the studio.

RNJ: The sooner a good director becomes involved with the project, the better. He or she will help the writer shape the movie: crafting its look/tone/feel.

A good producer can help the story tremendously. A writer will work with and respond to many levels of notes. A strong producer can fend off bad notes; it's important to create a good relationship with the producer.

CP: One of the differences between a feature and an animated feature: animation can take three years vs. an eight-week shoot for a non-animated feature.

CP: It's important to be aware of who has the power.

RNJ: The screenwriter doesn't have the power to cast.

CP: It is helpful to create a bond with the producer; he will fight for you; he will want you to remain on the project. CP has been asked to be present in the editing room.

FW: When a feature is in production, no one is more powerful than the director. No one will say anything to the director that might distract him; during filming, millions of dollars are being poured into the project every day, it's like a powerful train traveling full speed down the track. The director is in complete control.

Q: How are story ideas generated? How many of a screenwriter's story ideas are original?

A: The vast majority of screenplays are other peoples' ideas; they have the money.

RNJ: Every few years he writes a spec script.

Q: Do the screenwriters on the panel feel bound creatively by the project's budget?

A: No; it's easy to remove elements if they are too costly for the production. So don't hold back; let the story unfold. Let them tell you if elements must be removed due to budgetary constraints; you can always pull back later.

RNJ once wrote a spec script, a story he was interested in telling, in a genre he isn't known for writing; he chose to write the storyline so that it could be filmed for a modest budget so that it would be more likely to sell.

CP: With animated films, the sky is the limit, go for it, include every special effect and explosion you can dream up.

FW: Now producers are advising him not to submit dramas to them. A screenwriter interested in drama should find a genre to wrap around the drama. Currently, only 5 to 7 percent of features are dramas.

General class notes:

• Every writer must earn their status; pay their dues.
• If a script can make a reader laugh out loud, that is golden.
• FW: Development isn't hell, it is heaven. That's why studios exist
• All a writer can do is work hard, pour your heart and soul into the project.

For beginning screenwriters, it's important to:

• be polite
• after the screenplay is sold, do some things for free (that goes a long way)
• in your relationship with your agent, don't be a prima donna

A treatment:

• should be written as if the feature is already made and it's a must-see.
• is a sales tool
• should include dialogue, it helps the treatment come alive.
• ...is sometimes known as a "scriptment," crafting it as a scene, using screenplay format in the treatment.

When responding to notes:

• don't be a scribe. Lead them to what they need; it's your story, your vision.
• at every step of the way, let the people you're working for think they did it.

During a preliminary call:

• remember, every meeting is about them and not about you.
• let the person making the call speak first, even if you have a clear idea about how you want to approach the project.
• after they speak, you can then present your ideas; and you have the luxury of changing the way you present your idea to make it work.
• be sure to ask questions.

What should a beginning writer do if they don't have an answer as they're working on a script:

• Say "I need some time to think about that"
• Call a friend, talk it out
• FW: No writer I know works in isolation.

Who are the "movie gods?" The unknown powers that control all aspects of a feature, including whether it is a success or a failure; who writes, directs, produces the feature and when it is made. Everyone on a set may think a project is fabulous, things are going smoothly and then no one goes to see it. Other sets are a mess, tensions are high, everyone is at odds and then the feature goes on to become a smash success. Why? It's the movie gods.

Feature writers, Part II will include information about pitching

Agents & Managers, Part 2

Class notes

Panel - Wednesday, January 27, 2010

USC School of Cinematic Arts/Writing Division

Course: The Business

Professor Frank Wuliger

Panel: Managers

Seth Jaret, Jaret Entertainment, CEO/executive producer

Jennifer Levine, Untitled Entertainment, agent/producer

Class notes

When reviewing a new screenwriter's work, what they like to see:

• SJ: The screenplay reads like a story; he doesn't have to labor to get through it.
• The characters' names are memorable/interesting
• The characters have an edge.
• JL: Looks for an unique turn of phrase; can even be seen in a brief email message from a writer.
• SJ: Action blocks in the screenplay should not be more than three lines long.
• Each scene should create tension.
• All elements in the screenplay should be true to the world the writer has created.
• A screenplay that has been constructed as something to sell is a turnoff.

FW: when he reads an amazing screenplay he has a physical reaction, his hands begin to sweat, he laughs, he is completely involved.

JL: It is extremely helpful to read the dialogue out loud and to hear it read out loud.

SJ: It's easy to tell if a funny scene or line will work; if it's funny the person reading the screenplay will laugh.

How to decide what story to tell:

• Always look for projects that speak to your talents; try to find something you and your manager and agent are excited about.
• Be daring; great writing comes when a writer gains the courage to express their own style & ideas and doesn't copy.

FW: The connective tissue must be present--the writer's unique voice/the stories he or she tells and how they're told/ how he or she is in a room. Everything is connected and interrelated and should work together when it does, it is powerful.

After the screenplay is finished and sent out, the screenwriter will be sent on a series of meetings. The agent and manager will not be present. Almost all meetings will progress with these steps:

• Your story/who you are and where you came from; why you're a screenwriter.
• Small talk (could be about current features or maybe about the screenwriter's favorite films)
• The project: The writer must be able to express good ideas. This is critical; FW tells clients who are not comfortable giving presentations to take an acting class.

Meeting etiquette & guidelines

• Do your research--read Variety or Hollywood Reporter and do research on IMDB Pro to learn what the person who you will be meeting with has done and who their clients are.
• If there is a coaster, use it. You may wear a suit if you're comfortable in one, however casual is fine, too.
• After the meeting, send a handwritten thank-you note. Emails are not the best--they aren't personal and will arrive with hundreds of other emails; FW receives as many as 900 emails every day.

General notes:

If you're talking to your agent or manager over the phone listen for the sound of typing to start; it's a good indicator that their focus is somewhere else

Features are democratic--the best writers are able to work with many people involved in the project who are passionate about it and who may be in disagreement; each has a different point of view. A screenwriter who can identify each person's point of view and bring them together will be in strong demand.

The writer shouldn't make every change suggested in notes they've been given; they might not work. The writer should use their talent/instinct as they work on new drafts.

If there are specific notes, that's good and the writer will work on the screenplay and not receive extra pay; however if the notes say: make it tenser, or make it funnier these notes are harder to define and will take time to implement; if the notes are vague FW will ask that the screenwriter be paid for the rewrite.

Signs of a bad manager:

• You know more people in the industry than they do.
• The first words out of their mouth are "I want to produce your screenplay."
• They love everything you write. A great manager will provide criticism and will be able to articulate why they do or do not like the screenplay.

Note: I'm adding this to Agents & Managers, Part I: Agents work with clients who are 50-ish; managers have many clients who are 20-ish. All of the people on the panel agree to represent screenwriters with a handshake, no paperwork/contract. They must fire clients sometimes and it is one of the hardest parts about their job. The screenwriter must continue to write and complete new projects, arrows for the agent/managers' quiver--something for them to exploit & sell.

Agents & Managers, Part I

Class notes

Panel - Wednesday, January 27, 2010

USC School of Cinematic Arts/Writing Division

Course: The Business

Professor Frank Wuliger

* * *

Guests:

Seth Jaret (SJ), CEO & Producer, Jaret Entertainment

Jennifer Levine (JL), Exec Producer & Agent, Untitled Entertainment

Moderator: Frank Wuliger (FW), partner, The Gersh Agency

* * *

General notes: The work agents/managers do often overlaps. Agents generally have more clients than managers. Managers are generally more entrepreneurial; SJ works from his residence.

Both agents and managers look for writers who have a unique voice; they also often feel a strong connection with their clients. It's a commitment, similar to a marriage. FW receives 800-900 emails every day and as many as 150 phone calls; because he is so busy he has less time to talk with clients; when a project needs his time he may talk to a client several times in one day.

Managers spend more time with each client; they are also allowed to produce. They serve as creative advocates for their clients. According to SJ, managers are no different than producers, they package the project and put the pieces together.

Agents are competitive; managers are neutral (Swizerland). Managers are friendly and produsorial (?spelling).

There's an old saying: "You don't need an agent until an agent needs you." Managers can be very helpful to writers who are beginning their careers. They often groom a writer and then may help them find an agent.

Why should a writer have both an agent and a manager?

Having both brings an extra level of energy.

There are two people are promoting and selling the writer's work

Both are trying to find writers whose work they are excited about; both want to exploit the writer's work (exploit is a good thing).

Managers often play a creative role, telling their clients--"That's a good idea" or "that's a bad idea." Many managers accept fewer clients than agents do and have more time to help their writers develop their voice and create their brand. Managers are trusted sounding boards.

Managers also love working on story and becoming involved in each new project as early in the process as possible (before 1st draft; JL has welcomed one of her clients who brought a story idea to her that had been written during a meal and was scribbled on a napkin).

Because of the many layers present in agencies, a screenwriter who writes a book will work with more than one agent; while a manager is able to work with their clients on features, TV, novels, comics, and writing for the theater. A manager is the constant in a writer's career.

JL has guided screenwriters through eight versions of a screenplay; she also mentioned the importance of hearing one's work read aloud. She has called actor/clients & other actors to hold a reading of one of the final drafts of a client's screenplay.

Agent vs. manager: An agent is busier, lawyerly, negotiator, FW can often be priest/big brother/coach in one phone call

Manager: Under a manager's guidance careers evolve & change. The writer may write screenplays then fiction and then write for the stage with a different agent for each genre; a writer may work with one manager throughout their career.

SJ: Has a sixth sense when he reads a good screenplay: "It feels like a movie, it has sizzle." He says "Talent really does shine and stand out. We (managers/agents) all can see it and embrace it."

Good agents/managers: They give feedback & don't just tell you they love everything you write. And they can articulate why they do or do not like your screenplay.

An agent is like a ship's captain. When a project is ready to be sent out he will review every contact he has, draw upon all of the knowledge he has to determine the best places to send the screenplay and set up meetings; from the hundreds of choices and meetings he hopes to receive four phone calls from people who are interested in the project.

Agents & Managers Part II will include: Signs to look for even in an early meeting to help determine if a manager is a good or a bad manager; general notes about what a good manager is looking for; etiquette & tips on what to do and what not to do in meetings. And the screenplay itself--what to do and what to avoid.