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"I’m a big fan of rewriting. I take notes. I listen to people’s notes.
"So many writers receive notes and listen to them, but when they sit down to their computer, they say, 'Oh god, but I love that scene. If I take that note then it will just unravel this whole first act.' But maybe it does need to unravel. Maybe the first act needs to disappear and start with the second act.
"So I think those things are scary because you think you’re brilliant and limited. You think, 'If I throw out this idea, will there be another good idea?' One of the lessons that I’ve learned by being in writer’s rooms is that there is always another idea. By making a radical change, you can unearth a much better story.
"You don’t take everyone’s notes because everyone is opinionated and you want to tell the story you want to tell, but I think when a note rings true or when many people give you the same note, then I am all for accommodation."
Sian Heder
creativescreenwriting.com/tallulah/
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"Sometimes characters come from out of necessity. On Orange is The New Black, I’ll go to write a scene and will think, “God, I really need a person for Piper to talk to, so let me just create a character so she can have someone to talk to because all the other characters are busy right now.” And then that new person can become a character on the show."
Sian Heder
creativescreenwriting.com/tallulah/
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Empathising with the Villain in Tallulah!
Don't miss Orange is the New Black's Sian Heder on creating fully formed characters, juggling distinct POVs, and directing your own script.
creativescreenwriting.com/tallulah/
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"As a writer, the biggest question you can be asked is, 'What are you working on?' So you better have a great freakin’ answer that makes someone say, 'I want to read that.' And that’s what your logline does for you."
Lane Shefter Bishop
creativescreenwriting.com/write-great-loglines/
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"The logline is like the rudder of a boat. It steers you. But it can also tell you what’s wrong."
Lane Shefter Bishop
creativescreenwriting.com/write-great-loglines/
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