So, you want to be a Broadway producer?

If you’re a bit of a theater (or theatre) buff, there’s an excellent article in the New York Times by Patrick Healy titled, I Want to Be a Producer (Me, Too!).

Flashes of Mel Brooks’ The Producers naturally come to mind, but producers today are more and more like investors in a Kickstarter rather than the traditional investor of yesteryear. Considering the cost of a Broadway production, it’s no wonder.

From Mr. Healy’s article:

Packs of investors, a conga line of above-the-title names: These sights were rare for decades, when shows were cheaper and a few powerful producers usually took the credit. But today investors want the spotlight for bankrolling Broadway. “Gentleman’s Guide” ended up giving billing to 44 above-the-title producers, who represent close to 100 additional, unbilled investors, unheard-of numbers until recently. And more are coming this season, backing musicals like “Side Show”and “Honeymoon in Vegas.”

The shift has called into question the meaning of the word “producer” — a sacred title in the theater, reserved for the people who worked with artists to shape shows and with landlords and unions to mount the productions. Many people now call themselves producers simply for writing a check and are listed as such in their Playbill biographies; some brag about being “Tony-winning producers” when they post photos on Facebook of their Tony awards, which they are allowed to purchase for $2,500.

Mind you, it’s been a while since I’ve been inside a Broadway theater–I kind of over-dosed on Broadway when I was first living in New York. I think I went to see Jim Dale in Me and My Girl five times. Just because I’m a big Jim Dale fan, here’s a link to the Roundabout Theater Company’s YouTube site where Jim talks about Just Jim Dale, his one man show.

Point is, everything costs more than it did when I was standing in line at TKTS, so I’m happy there are investors able to keep Broadway productions moving forward, so if you have the cash, do patronize the arts. You get to see your name in Playbill.



Today in Oh, Jobs!

This definitely deserved its own posting. Happy job hunting.


Am I a terrible person for laughing with evil glee over job postings for writers and editors with misspellings in them? I don’t care, it gives me a sick joy. Here you go, today’s posting from–for an editor-in-chief. Just because they’re promoting a Bohemian lifestyle doesn’t mean one should be Bohemian about spelling POSSESS–yes people, possess has four and not three of those letters called S.

Also, I’d like to point out that Bohemian, by definition, has nothing to do with luxury–or a vibe thereof unless you’re talking about buying clothes from Free People while acting insouciant.

Quick hire someone fast!


We are a startup Bohemian Lifestyle website that profiles Los Angeles for people, places and products that fit our “Bohemian-Luxury” vibe. Our team discovers entrepreneurs, artists and trend setters to find out what makes them tick and how they found themselves where they are today. Whatever the next “cool” thing may be, we’re the first to know and ready with an exclusive story. We bridge businesses with mutual synergy (huh?) through editorials and featured products, to promote creativity while driving traffic and sales.


YOU MUST have prior experience as an Editor in Chief or ample experience as an Editor & Project Manager. YOU will be in charge of a team of creatives who will be looking to you for direction. YOU MUST have strong people skills, be deadline driven, think out of the box, multitask and be an all around go-getter. Do you have a network of writers that feed you new content? Are your “feelers” always out looking for new story ideas? Is your finger on the pulse of LA? Well then YOU might be OUR Editor-in-Chief / Superhero.

Responsibilities Include:
-Posses strong tactical planning skills & the capacity to execute through a team of writers (or maybe possess a dictionary?)
-Managing website content & layout
-Conceive & assign stories to a team of writers
-Create headlines, subheads and photo captions
-Have proven leadership success in managing a team of writers/ photographers
-Assists in web design
-Edit all content for factual info & grammatical correctness (you could just say edit for grammar and call it a day, but that’s not Bohemian, is it? hmm, nothing about spelling though)
-Sign off on completed pages prior to publishing (who signed off on this one?)
-Do In-person interviews
-Cultivates & maintain relationships with prominent public relations firms
-Review restaurants, events, arts, entertainment & fashion
-Posses journalistic innovation and initiatives to consistently improve the website (definitely possess a dictionary)
-Have to be highly motivated and posses excellent judgment and decision-making skills (yep, a dictionary)

Please send a dynamic cover letter, resume, writing clips and any other relevant material for consideration. (I’d send them a dictionary.)


These must be the same people with this ad (excerpted below) from Craigslist back in July of this year, at least the spelling was better.

Content Writer/ Editor for Boho Lifestyle Website (Venice)

compensation: TBD (can you imagine applying for work as say, a dental hygienist and not being told how much the compensation is worth?)

New Online Niche Lifestyle Magazine seeks Content Writer/Editor
WE are not your typical high-end, big brand, celebrity website (whew, I was worried about that, them being typical and all) Are you ready to hit the streets to find the hidden pop up off Abbot Kinney Blvd? Are you chomping at the bit to be sent into the field to interview young entrepreneurs and up and coming artists? Will you help shape the next hipster trend? If you answered “hell yes!” to those questions, you may be our next content writer/superhero (is compensation tied to superhero status I wonder). This is not so much of a job as it is a full-time lifestyle that you must embody and yearn to be a part of. If dreaming of creative content, profiling night life and conducting interviews in any way sounds like ” work, ” you need not apply.

(it won’t be work unless you get paid, it’d be something else entirely)



Ouch, Amazon; a letter from the Orwell estate to the New York Times.

As a Kindle Direct Publishing customer I did receive the letter (two actually) from Amazon asking for my help with their issue with Hachette. I don’t have much, if anything, to add to the whole Hachette v. Amazon debate/battle that is going on. As an indie author and a big Amazon customer I am not sure why Amazon cares how high Hachette prices their ebooks–let them, the market will sort itself out–isn’t that how it’s supposed to work?

But I did find Amazon’s use of the Orwell quote in the letter quite silly, since they didn’t use the quote in its proper context.

And I found this letter to the editors of the New York Times from the literary executor of the Orwell estate a great response to Amazon’s bad usage. Ouch indeed.

To the Editor:

Re “In a Fight With Authors, Amazon Cites Orwell, but Not Quite Correctly” (Business Day, Aug. 11):

As you point out, Amazon is using George Orwell’s name in vain: It quotes Orwell out of context as supporting a campaign to suppress paperbacks, to give specious authority to its campaign against publishers over e-book pricing; and having gotten as much capital as it can out of waving around Orwell’s name, Amazon then dismisses what was an ironic comment without engaging with Orwell’s own detailed arguments, which eloquently contradict Amazon’s.

This is about as close as one can get to the Ministry of Truth and its doublespeak: turning the facts inside out to get a piece of propaganda across.

As the literary executor for the Orwell estate, I’m both appalled and wryly amused that Amazon’s tactics should come straight out of Orwell’s own nightmare dystopia, “1984.” It doesn’t say much for Amazon’s regard for truth, or its powers of literary understanding. Or perhaps Amazon just doesn’t care about the authors it is selling. If that’s the case, why should we listen to a word it says about the value of books?

London, Aug. 11, 2014


Do you know your dramatic purpose?

Photo courtesy m.e.welman.

Photo courtesy m.e.welman.

Admittedly there are times, like now for me, when writing is like this photo:

  • It’s fun to look at—I’m enjoying reading what I’ve written so far;
  • I’m curious as to what it is—the plot is moving my characters forward and as I re-read the ‘wanting to know more’ is definitely there and;
  • My story has some teeth—interesting plot twists; great, relate-able characters and humor.

But like this little green whatever it is (from a hamburger meal my sons insisted they needed to have) I’m not sure that what I have written has the dramatic purpose I had intended. I want my audience to be on the edge of their seats, dazzled and entertained!

And it’s not for a lack of a full outline on my part, no.

It’s the dreaded, awful realization that (despite knowing the full plot) the climax just isn’t enough. And that, my fellow writers, is a real bummer. Because what this means is that what I thought was going to be the single turning point, maybe now, is really part of the rising action and that means a whole reassessment of the entire plot. And more writing.

When this happens to you.

First of all, let me begin by saying despite my grumpiness at this (trust me, I’m really not happy because I thought I had it done–boom, let’s write this bad boy in like a couple of weeks and off to its readers) it’s a good sign. It means I’ve seen the error of my ways before I’ve finished the entire first draft. If this has happened to you, rest assured it’s not the end of the world, but a turning point.You are becoming a better writer.


Because too many times writers become so wed to their fantastic ideas that they lose sight of the fact that they aren’t seeing the whole picture–or plot. And don’t get me wrong, I really am happy with what I’ve written so far, but in turning it into a play (I’m letting my characters speak to me again) I’ve come to realize that the nut of my plot isn’t all it’s cracked up to be. As much as I thought I had it all sewn up, I don’t.

How to fix the problem.

The first step for me was admitting to myself that there was a problem.

Hello, my name is m.e.. and I’m a writer with climax issues.

Hello m.e.

Okay, I miscalculated the oomph that I thought this particular element of my story would give the work as the build up in the rising action. It doesn’t seem as firm a reason for my hero’s call to action the way I thought it would. I mean, it’s good, but maybe it shouldn’t be the central theme of the rising action, but a sub-theme.

Now, if you don’t know what rising action is, it’s high time you get acquainted with that term. It’s part of Freytag’s Pyramid. Who was he? A 19th century German novelist who made this


From Wikipedia.

little pyramid; a visual for the basis of dramatic structure. Rising action is the development of the conflict leading to the climax; the exposition, characters, backstory and resulting complications that bring the tension (and interest) to your story.

Since I have the full outline of my plot (it’s a play in three acts) I applied it to the pyramid.

When I did that, I realized that I had not woven enough of the reasons for the conflict into the rising action to make the climax as wow as I had originally planned. The way for me to fix this will be to create more inter-connections between my characters and allow their motivations to shine through in the dialogue. Think of it like weaving itself; taking a thread or several threads and interlacing them in and out of each other to create a single fabric. Never underestimate the power of allowing these interconnected relationships to reveal themselves, drip by drip, as a way to grab your audience and create good tension.

What I had done, originally, was to rush to the climax too soon without taking care to give my characters the proper justifications for doing what they did. I was proud of the fact that I had the whole plot outlined but I had not taken into consideration that the hero’s call to action wasn’t strong the way it was written.

Using the pyramid to help me sort out my overall dramatic purpose helped me realize my mistake. Now the rest is re-writing.



Jive and jibe and other writing errors.

Jive and jibe

Jive used in place of jibe–a sure way to drive my inner-grammarian crazy. It’s become so common that no one seems to have an inkling that they are making a huge mistake. It’s like butt-naked. The phrase is buck-naked, but now butt-naked has become common, incorrect, but common.

With regards to incorrect but common usage, here’s a sentence I came across just the other day, in a seemingly well-written blog posting:

What doesn’t jive with the theory in my particular case is the names and profiles of the individuals requesting access. 

Arrgh. The writer should have used the word jibe, as in “to be in accord; to agree.” But no, the writer used jive, as in jive talking his way through a blog posting.

Jibe is a sailing term and you can see how the definition as a sailing term has its roots in the meaning to be in accord; a shift was made–things are now in agreement. Everything below is from Merriam-Webster online:

Definition of JIBE

intransitive verb
:  to shift suddenly and forcibly from one side to the other —used of a fore-and-aft sail
:  to change a vessel’s course when sailing with the wind so that as the stern passes through the eye of the wind the boom swings to the opposite side

Definition of JIBE

intransitive verb
:  to be in accord :  agree


Full Definition of JIVE

:  swing music or the dancing performed to it

a :  glib, deceptive, or foolish talk

b :  the jargon of hipsters

c :  a special jargon of difficult or slang terms

— jivey  adjective

Examples of JIVE

  1. She grew up talking street jive.
  2. I’m tired of listening to your jive.

Health care vs. healthcare

The has an excellent posting on health care vs. healthcare and I recommend you read it. Why? Because as a freelance writer or a writer of any type, you should be on top of your spelling, grammar and usage. I stick to two words as it was meant to be. From The Grammarist:

Short answer: Outside North America (Australia goes along with the U.K. on this one), use healthcare. In the U.S. and Canada, make it two words (unless you want to help speed the compounding process).

A lot of alots

Another writing error I’ve been seeing a lot of lately is–a lot. It’s two words and always has been. Maybe Twitter is to blame? Just because it’s funny since he points it out:


Official Twitter! I curse and misspell alot! Get over it!!

Irregardless is in the dictionary

Saying irregardless isn’t an accepted word isn’t quite right, it is. You don’t have to use it, but don’t say it isn’t accepted. If it’s in the dictionary, then so be it. And then there’s this excellent point from Wikipedia:

The approach taken by lexicographers when documenting a word’s uses and limitations can be prescriptive or descriptive. The method used with irregardless is overwhelmingly prescriptive. Much of the criticism comes from the double negative pairing of the prefix (ir-) and suffix (-less), which stands in contrast to the negative polarity exhibited by most standard varieties of English. Critics also use the argument that irregardless is not, or should not be, a word at all because it lacks the antecedents of a “bona fide nonstandard word.” A counterexample is provided in ain’t, which has an “ancient genealogy,” at which scholars have not leveled such criticisms.[7]

I say avoid it in general because it’s what you should do, but if you do get into an argument, you can say, with righteousness, it’s in the dictionary like the word ain’t.

Happy writing.


Yes, vegan risotto can be creamy good.

Vegan risotto with tomatoes and basil by m.e. welman.

Vegan risotto with tomatoes and basil by m.e. welman.

If you follow this blog (or not) you may know I am a vegan. And you may also know I used to cook for a living. Here’s one of my then meaty creations, Carbonada Criolla tacos–a riff on an Argentine dish with pumpkin aioli.


Two and a half years (plus 25 pounds thinner) I am still a vegan but I no longer cook for a living. After my husband’s stomach cancer, we decided to go vegetarian and then vegan for our health. I’m also a contributing editor at, my husband’s site for guys who want to be manly vegans :)

Manly (or womanly), I would say most all vegans like their food to be flavorful. I say most all because, you know, some people just don’t like robust flavors. Why? I don’t know, but some people don’t like wine either and that is perplexing to me as well.

Be that as it may, I’m happy to report that plant based or vegan cooking is starting to come into its own with more restaurants offering vegan dishes or entire vegan menus. But there are still some people who, as soon as they hear the word ‘vegan’,  automatically assume flavorless, bland, no-fun food.

I am here to show you otherwise.

Behold the risotto I just made for Sunday dinner. Broccoli is on the side. It is satisfyingly creamy, rich and bursting with a perfect combination of flavors. And there is absolutely no cream, butter, parmigiana or as Gordon Ramsay puts in his risotto in Hell’s Kitchen, mascarpone cheese. How did it get so creamy good? Stirring. You’ve gotta’ stir your risotto.

So what’s in my insanely delicious risotto?


  • arborio rice (I did use Lundberg but Trader Joe’s also has arborio)
  • minced onion and celery
  • vegetable stock
  • Sauvignon Blanc (liberal pours–thrice, once at beginning of cooking and once at end and a glass for the chef)
  • Earth Balance Buttery Spread
  • fresh tomatoes
  • fresh basil (I used about 12 very large leaves cut into ribbons or chiffonade for you cheffy types)
  • salt and pepper

See? No animal products anywhere on that list. And you know what else is lacking? Guilt.

Sautee your onion and celery (1 medium onion and 2 stalks celery) until tender in a good glug of olive oil and two tablespoons of Earth Balance over medium highish heat. Meanwhile gently heat the veggie stock in another pan, keep on low. Add arborio (about 10 ounces) to onion and celery mix, stir to cover and let cook for a minute or two. Reduce heat a little. Then add first ladle of stock and stir. Don’t let the rice become dry. You need to add liquid as soon as the first ladle is absorbed. Add a good glug of wine and some salt to taste. Stir. After about the third ladle of stock, add your tomatoes and some ribbons of basil. Keep stirring and adding your stock until the rice is tender but not mush. You don’t want mush. Add final flourish of wine, allow alcohol to burn off and serve with more basil and final touch of Earth Balance if desired. Decadently tasty and no cholesterol to boot. Enjoy!


Should freelance writers reveal how much money they make?


Yes, this is the property of Disney.

There’s an article in the New York Times Op-Talk section about writers sharing their money woes. While I do believe in honesty in most everything (exceptions being when I have to talk to my in-laws, strangers who bring up topics like religion or politics and eating food a friend has cooked) I do think that revealing one’s income can do freelance writers a great disservice.

The New York Times article highlights one such freelancer, Nicole Dieker, and her Tumblr where she posts her monthly income for all to see. I think this is a good idea to help the writer promote herself, but I think, overall, it’s not a good idea to be so open about how much income she is making.

Before you think I’m being too harsh, I like Ms. Dieker’s Tumblr site, she’s a good writer and it shows in her postings. Her work has now yielded her a mention in the New York Times so kudos to Ms. Dieker.

But, in a world where large companies who have money but still want to pay their freelancers anywhere from next-to-nothing to absolutely nothing, this kind of honesty may only serve to back-up their unwillingness to pay for a decent product. I highlight these kinds of jobs in my Oh, Jobs section.

There is a mind-set too, prevalent among many a start-up and some not so start-uppy start-ups, that writers will just fall from the sky; that they’re itching to scribe stuff for free (which does happen) and if they look around, just a little, through various social channels across the internets, they’ll find those excellent writers.

And they’ll work for peanuts.

I had one such experience lately with Pocket Gems, a mobile gaming app company who was looking to hire a writers’ scout. Hmm, wonder why they wanted to put someone under contract to find them writers? Wouldn’t it have been easier and more direct to just put out an ad so they could hire the writers themselves?

My take on it all was they didn’t want to go through the work necessary to find and then pay decent writers for their new narrative-based game, Episode. They wanted someone to lurk around the internet for them and find writers on a pretext of “Hey, buddy, this is like a good gig, you should do it too” —sort of like a sleazy drug dealer recruiting new junkies in MacArthur Park, except for some reason my dealer sounds like he lives in Brooklyn.

“Two hundred big George Washingtons for 400 lines of dialogue. No sweat, huh? Oh yeah, and you gotta’ code a bit, and insert divergent story lines that should all come together. You gotta’ get approved first too so submit a one to two page synopsis. What kinds of stories they looking for you ask? Play their game. You figure it out. Geesh.”

It’s never been easy making a decent living as a writer. The pay Ms. Dieker says she on course to make this year is the same pay my husband received over 25 years ago while writing full time for a large financial company. Problem is, and you might have noticed this too if you are over the age of 40, the cost of living ain’t the same as 25 years ago.

I do think that, maybe, things like income are best left not shared with the world. Think of it like dating. The more mysterious you are, the more desirable you become. Keep writing.


What if you’ve written a turkey?

255854_lowMore importantly, what if you’ve written a turkey of a book and you don’t know it? It happens all the time. Just peruse Wattpad, Smashwords, Amazon or any other self-publishing site where works are sold or given away for free. There are plenty of truly terrible books and stories out there and an equal amount of authors who are clueless to this fact.

What then, makes for a bad book? Let’s start with the easy and painfully obvious stuff:

  1. The work has not been properly edited by a professional. There are grammatical errors and misspellings galore.
  2. The cover was done by someone without any design sense, made on Microsoft Paint with bad clip art.

If you want to be taken seriously as a writer, then take your presentation to the world seriously since outside (cover) usually reflects the inside (manuscript).

But what if the cover is good, the manuscript edited but there’s still something missing? Some less obvious reasons:

  1. The book did not compel the reader forward  past the 20th page.
  2. There are immediate inconsistencies in the plot.
  3. Dialogue is not harmonious to the readers’ ears.
  4. The author has lost sight of what makes his characters tick.
  5. There’s no tension or conflict (see #1).

I’ve only mentioned a few here to get you thinking because as you can see they all depend on one another. A book that doesn’t urge you to turn past the first chapter may have immediate plot issues. Or maybe you already hate the characters.

So, how do you make it so that your story works–besides a lot of practice and reading (you really do have to read a lot)?

I bring you Pixar’s 22 Rules of Storytelling. Yes, 22 rules. No one said good storytelling didn’t have rules, although number 20 is an exercise, it’ll still help.

My favorite? Number 15:  Honesty lends credibility to unbelievable situations.

The most important one on the list? Number 11. Keep writing and the craft of storytelling (and writing) will get easier.

  1. You admire a character for trying more than for their successes.
  2. You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.
  3. Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
  4. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
  5. Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
  6. What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
  7. Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
  8. Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
  9. When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
  10. Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
  11. Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
  12. Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
  13. Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
  14. Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
  15. If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
  16. What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
  17. No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
  18. You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
  19. Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
  20. Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
  21. You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
  22. What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

An excellent site for budding screenwriters

My friend, George, sent this my way. The site is Done Deal Pro and it’s an excellent resource and tool for screenwriters, both budding and bloomed. Besides updates on deals and development news, there is a great contest section. Fresh voices and ideas are always in demand. Keep writing!


Weird Al parodies Robin Thicke with Word Crimes. Better than Strunk & White.

Weird Al may be the new Strunk & White with his parody Word Crimes, but it’s even shorter than the original, rhymes and is to the tune of Blurred Lines. So I have to say it’s a lot better than Strunk & White.

“I saw your blogpost. It was really fantastic. That was sarcastic. Cause you write like a spastic.”

Enjoy and okay, #Yankovic


Today in Oh, Jobs.

Are you a rising star fiction writer for a niche community? An imaginative Twitter writer with loyal followers? Do you have the inspiration and commitment to create a fictional character that folks "have to" follow?

— Someone on Craigslist

This one has such amusing baloney written all over it, that I had to share. As a writer of fiction (it was what I spent years on in school) I find this ad so incredibly smarmy that I can only imagine it being written by someone who is searching for writers to create something for them, really, really cheaply. A fishing expedition, if you will. They do want you to “pitch” them.

The job? Create fictional characters that “folks” just have to follow on social media. Because you know, even dogs have 400,000 followers sometimes. (Psst, at least the dogs are real).

Here’s my take, if you are striving to create fictional characters for 18-30 year olds, then look no further than the games they play (for males) and the books they read (for females). Or go look around the Anime Expo like I did. And guess what? Real money was spent on creating those worlds and characters. The compensation for this job you “rising star fiction writer for a niche community?” Negotiable. Hah.

Writers stay away from this one. From Craigslist:

Freelance Short-Form Fiction Writers (Remote)

compensation: Negotiable

telecommuting okay

Are you a rising star fiction writer for a niche community? An imaginative Twitter writer with loyal followers? Do you have the inspiration and commitment to create a fictional character that folks “have to” follow? Do you want to make real money writing? (no, we writers prefer the fake kind of money, like the one this job is offering) If so, we want to give you a platform and steady revenue stream for your talents. We’re seeking a number of strong, creative, disciplined writers who can create compelling fictional characters for 18-30 year olds. You’ll generate 2-3 Tweets each day to delight, amuse, and hook your audience. In return, we’ll publicize your work, create and distribute merchandise and revenue streams based on your work, and share revenues with you. (how in hell will that happen with just 2-3 Tweets per day? have they seen how many times a day a Kardashian Tweets or Instagrams?)Our initial target fictional niches are comedy, young adult, and satire. However, we’re open to any compelling character/narratives. Pitch us. (so who owns the fictional character?)Requirements
• Short-form serial storytelling genius, with ability to hook and retain an audience
• Disciplined creative writer who can unfailingly deliver on deadline
• Hip, witty, with a great imagination
• Experience with and demonstrated talent for writing for 18-30 year olds
• Proven ability to attract, grow, and retain community of readers
• Experience creating story bibles and rich worlds, characters, and storylines
• Entrepreneurial drive, with a deep desire to be a commercially successful writer
• Natural instincts for marketing and publicity
• Highly desired: Sizable Twitter following and tremendous social media savvy (how will my personal Twitter following help with your fictional character? do I retain rights?)
• Highly desired: Experience creative writing for a niche community and Twitter storytellingSend cover with resume and samples by July 25.
  • Principals only. Recruiters, please don’t contact this job poster.
  • do NOT contact us with unsolicited services or offers