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  1. What percent of spec scripts are sold by NEW writers?
  2. Good/Bad Notes vs Attachments
  3. Going to the theatre anyone?
  4. How much should I say to Asian producer
  5. DVD market
  6. Script response times when going out
  7. New Script Protocol
  8. Wait. When do you pitch?
  9. Giving up now?
  10. Staying attached to direct
  11. What kind of contract?
  12. Do CEs read or is it left to reader?
  13. Can Someone Explain?
  14. Contingent compensation
  15. Computers, Corporations and Ownership
  16. Hong Kong screenwriters / agents / lawyers
  17. What were the results of the WGA Writers Survey?
  18. The power of vulnerability
  19. Process for Optioning a Novel
  20. For a new feature film based on TV series, who to contact?
  21. Sci-fi or Family?
  22. Non-WGA rate for writing a treatment?
  23. Contact details for ACTOR, Christoph Waltz
  24. How do film tax credits work?
  25. Breaking in through TV, or Movies?
  26. Submission release contradictory clauses
  27. 10 Movies To Know Before Meetings
  28. What goes on a script cover...
  29. Have two great scripts - now what?
  30. Best place to find film budgets?
  31. Copyright question about second draft scripts...
  32. Graphic Novels
  33. Rewrite question
  34. Giving Work To Others
  35. Option vs sale
  36. Getting a college degree
  37. Do sold specs always get rewritten?
  38. Define 'too 90s'
  39. WGA signatories
  40. Adjusted Gross
  41. Optioned scripts
  42. Thoughts on the Blacklist
  43. Do spec sales have hidden attachments?
  44. Basic Spec Contract
  45. International copyright?
  46. Already repped but Another Mgr/Producer Wants to meet
  47. Craig Mazin on the WGA Survey
  48. Difference between Rewrite and Page One Rewrite
  49. How much do pitch sales go for?
  50. 6-page contract for 15-page short?
  51. Animation Residuals: Up to your agent?
  52. A nice lil' disclaimer
  53. South African Producers
  54. Option Q
  55. Writing a bio
  56. Question...
  57. Problem With Writing Partner
  58. Script Title Change
  59. Los Angeles and Proximity: What's It All Mean?
  60. Screenplay contracts & merchandising etc
  61. Does the WGA have any power?
  62. Time Between Going Wide
  63. Question for the Pros
  64. Assets v. Income v. Intellectual Property - Starting a Prodco
  65. WGA -- is New Media a loophole?
  66. Making an Animation
  67. Coverage from San Francisco
  68. Moral Dilemma?
  69. Can a spec script be a biography?
  70. Chernin into Fox and New Regency... what?
  71. Casting for your script
  72. MovieBytes - Request
  73. Novel/ Screenplay - keeping ownership of the other
  74. When someone asks you to send your BEST work.
  75. Please help me understand
  76. To Transfer or Not Transfer Rights to a Partnership?
  77. Does a Union Scale Rate Sheet exist?
  78. "Hollywood’s Lack of Ideas Is Getting Old"
  79. Can a contractor still submit material to a Studio?
  80. Can I take a pitch and write my own spec?
  81. Option deals for baby writers?
  82. Writing Under A Pen Name?
  83. Low-level Writing Assignments
  84. Option offer
  85. Is one script enough?
  86. IMDb Pro - "Help!"
  87. Getting into Pixar
  88. Genre switching?
  89. Anybody done the independent thing?
  90. Querying for Graphic Novel
  91. Will my indie feature help or hurt my chances of getting new script read?
  92. Handling Meetings When You Don't Live In CA
  93. What are presales?
  94. No
  95. Manager relationship/notes
  96. Collecting contacts before marketing your script
  97. Does your money move through your rep?
  98. The Hit List and the Blood List??
  99. Too High Concept?
  100. Defining "published" and "unpublished" related to screenwriting competitions
  101. How can I sell the concept without writing the whole book?
  102. Trying to elicit interest through promo posters
  103. Use of copywrited product names in the title
  104. Option Question
  105. Evil language in a release form
  106. Opinion?
  107. DDP Shopping Agreement
  108. Do Working Title Films still have a discretionary fund?
  109. How much story to outline for a pitch
  110. Has anyone ever cried in a pitch?
  111. Given Option & Purchase Agreement, but out of my element
  112. Life vs. Screenwriting
  113. Can you pre-sell the theatrical premiere screening to finance an independent film?
  114. Licence for a classical piece - any ballpark estimates on how much it would cost?
  115. How Can I Sell My Reality Series?
  116. South Korea- Any leads?
  117. $$$ split between story and screenplay?
  118. At some point you have to give up
  119. Network Development Exec requests hard copy through snail mail...
  120. The Business of rewrting steps
  121. Agent thinks no response from studios after 2 days is bad....
  122. Script writers get blamed but not praised
  123. Would you spend $500K to direct your own film?
  124. Resume for PA intern?
  125. When an indie film sells....
  126. Why do some scripts hit tracking boards and some don't?
  127. Joining the WGA
  128. East vs West
  129. "Hurry up and wait"
  130. Legal advice about documentary copyright
  131. I want to work in Development
  132. Judge rules Warner Bros retain half of Superman
  133. Hypothetically: Would you rather be the first writer to give a pitch?
  134. Conundrum
  135. Letting go is hard
  136. What's The Hollywood Movie Production Hierarchy (Importance Rank) These Days?
  137. This release look okay?
  138. "The Book Of Movies"
  139. Screenwriting/Business Questions
  140. "Categories" of budget
  141. What to do if get offer whilst unrepped?
  142. Prop 30 passed...now what?
  143. Do arbitration fears ruin good scripts?
  144. Is the Motion Picture & Television Industry a Fantasy I should wake up from?
  145. Standard Release language?
  146. Success from short films?
  147. What if your manager offers to fund your film?
  148. Already in Development?
  149. How much do networks pay your for TV show idea?
  150. Writing Credits
  151. As I write this I'm sitting on the set of a film I wrote...
  152. Are credits good even if not a great movie?
  153. Can't decide...
  154. How To Get A Greenlight In Hollywood Chart
  155. A "Director's" Pass?
  156. Period piece scripts
  157. For those who have optioned something...
  158. The waiting....
  159. Who reads; from a different angle
  160. Newbie writers can stick up for themselves!
  161. Mass Mailing Specs via Newsletter
  162. Guild Min confusion
  163. Sucks-At-Queries, Needs Advice
  164. Regarding Treatments
  165. Contract advice
  166. Info on getting points on script
  167. When to go out
  168. Link to Online Slide Show
  169. About to embark on my Directing Debut...
  170. Sequel rights?
  171. Any non-US writers here?
  172. Getting re-written???
  173. "Pages"
  174. The Process - help me understand the stages
  175. Is December A Bad Month To Query People?
  176. Sharing Story Credit
  177. Black List
  178. What is actor bait?
  179. Novel & Screenplay Requests at Same Time
  180. Option agreement
  181. Bleeding the writer
  182. Assignment Work
  183. Understanding your Audience
  184. Experiences from those who relocated to LA
  185. Happy Holidays DDers
  186. Investors timing
  187. Hollywood Horror Stories - John Jarell - must read
  188. Interesting Spec History Stuff
  189. Is this common practice?
  190. Collaboration and protecting my best interests
  191. I got a 9 on the Black List -- now what?
  192. Setting yourself up as a business?
  193. The best response to "What else you got?"
  194. What if you had a Mount Everest High Concept
  195. Target audiences/markets etc
  196. This is how to fire your agent
  197. The next step with my first feature length screenplay?
  198. I got a call from Comedy Central
  199. Is this true - WWII script DOA?
  200. Non-union rates
  201. Developing a script with a new director
  202. Speccing an IP you don't own
  203. Why all the meetings?
  204. The Erotic Thriller
  205. Directors Vision, writing for free on assignment.
  206. Query Question
  207. Would the market be turned off by...
  208. Which would be an easier pitch?
  209. Developing a story as director
  210. Original Creators Need Not Apply?
  211. Published fiction -- worth mentioning?
  212. When You're Driven, It's Normal For People Not To Like You
  213. Finding a female director
  214. Hard truths about writing and publishing, (many of which apply to the film industry)
  215. The Blood List (HAHA)
  216. How do you find non-union writing gigs?
  217. Would you upload your script to the WWW?
  218. Copyright re: Documentary Treatment/proposals
  219. Advice for a potential pitch meeting
  220. Submitting my script after request
  221. Horrible Co-Writer
  222. Credit questions
  223. This is where the comparison with the NBA falls short
  224. Need Advice on Spec Deal
  225. "Story By" credit question
  226. Is there any way in hell....
  227. Option Points Halved if Re-Written?
  228. LA meetings
  229. Garbage gig or creepy perv - Opinions?
  230. First look deal?
  231. How much do you want for a Beat-Sheet?
  232. Working on a pilot as a PA
  233. Email Business Etiquette
  234. Can I Do This?
  235. Option to purchase terms?
  236. Purchase Price vs Budget and more...
  237. Submission Release Form question
  238. Question on shopping and option agreements
  239. Suspicious behavior from potential employers
  240. What happens after co-writer dies?
  241. Distribution of Indie Film
  242. Website Portfolio?
  243. White House thrillers?
  244. Agent etiquette
  245. What is a "preemptive buy"?
  246. What are territories?
  247. Option Rewrites/Purchase Price Question
  248. Look for Melvin Butters
  249. “Cut Your Budget in Half”
  250. Production Entities Pitching "Partnering Deals"