Film Courage: Why writers should educate themselves throughout their careers?
What are they using for those tools [to continually educate themselves]?
Jen Grisanti: I love that you asked that question!
So the interesting thing is I have taught all over the world.
I have found in countries like Israel, Australia and cities like Toronto and London that the
type of writers that attend story events and ongoing education are working writers versus
in the U.S.
The story events that are like the bigger story events that are massive, are for usually
I would say, the higher percentage of attendees are writers across the U.S. who had an idea
and want to make it happen versus working writers.
And I definitely believe that this holds writers back from creating longevity in their career.
I believe a writer should always be educating themselves.
I always say about myself that I am a teacher for a moment and a student for life and I
am constantly reading every book that comes out on story and promotion and business and
anything that can make me move to a higher level, spiritually, work-wise, on a personal
level.
Like I am all about the idea that we have to constantly…everyday I wake up and think
about how can I be better than I was yesterday?
And for the writer, it really is how can I expand my knowledge of story through continuous
learning, as well as my observance and absorption of life and being able to communicate that
story.
How can I continuously do that in a way that will fuel my career?
Film Courage: Do you think it’s Western culture and the emphasis on over-confidence
[that plays into this] a little bit?
Whereas in other cultures it’s okay to be…
Jen Grisanti: I do.
I do.
I sit there and I think…I look at these story events that have all the top story people
in the business, many of whom you’ve interviewed, and I think “Why would you not take the
opportunity to continuously learn?”
I’ve been in the business 25 years.
I have seen every side to the business.
And I always think why would you not take a sounding board…many of these writers…I
mean when you look at Michael Hauge, you look at Chris Vogler who’ve had incredible careers…you
look at John Truby and Eric Edson…there is so much that they have to say that brings
value to the story process and that’s important.
So ongoing education in my view, is the key to creating a writing career that will last.
Film Courage: So just to re-iterate, in the States, you’ve seen many what you call ‘Baby
Writers’ (and I think you used that term and it doesn’t refer to their age.
It’s in terms of experience) but then outside the States, Europe and beyond, these are working
writers and they are willing to…
Jen Grisanti: I’ll ask the question at the beginning of an event “How many of you have
sold a pilot?”
or “How many of you are currently on staff?”
And everywhere else it is mind blowing to see two-thirds of the room raise their hands
versus here you’d maybe see 10 people raise their hands.
And it’s a very different thing.
I don’t know why that is?
Now I can say with my personal events because I’ve worked with so many working writers,
I get writers of all levels show up at those events.
But when I do these big story events where there are 20 or 30 speakers, (in my world)
I’m like “Are you kidding me?
That’s incredible!”
I want to soak it up.
Another one of my favorite story people is Dara Marks, I look at it and I want to soak
up everything they have learned and how they see story and how it aligns with how I see
story because that makes me a better teacher.
And I always love seeing how we coin things in different ways and it comes from our world
view and how we teach story.
And I think what we’re all trying to master is teaching story in a way that leads the
writer to sell the story.
Film Courage: In terms of questions, do you see a difference in the type of question and
even the tone that you get in the U.S. based groups versus…you know how there are always
certain people in a class that want to debate the teacher, whereas those who have a healthy
curiosity and they want to know the answer [laughs].
Jen Grisanti: Well one thing I found that’s interesting between the audiences…I definitely
think the U.S. audiences absolutely have a curiosity and I think that people want to
learn.
I definitely think that in the U.S. we’re connected with the idea of the ‘Quick Fix.’
I have an idea.
I want to sell it and make it work.
And that’s definitely part of it.
Where the writer in Australia does not make the type of money that the writer in the U.S.
makes.
Like many Australian writers end up coming here because they don’t make the kind of
money but they get the foundation there and then they come here.
I think that there is a tone in the questions definitely from different countries based
on the world view of how the writer is seen in that country.
I mean we are very fortunate that the writer is seen in a very strong light in the TV world
and the Film world, even though in the TV world the writer has more power.
So I think it causes writers from around the world to want to get a foundation in their
own culture and succeed there and then come here.
I definitely have noticed at a number of events I’ve done internationally that the writers
who are…I mean I remember in Australia I met one writer who had like 4 shows but was
still wanting to come to the U.S. and wanting to expand because they viewed the U.S. as
the end all, be all because of the pay and because of the way people see writers.
Film Courage: Right…Do you think film and television writing is open to all class and
education levels, whereas with the literary world (especially in the let’s say the East
Coast) it’s more of a closed network?
Jen Grisanti: Yeah, definitely.
I mean the literary world, it’s interesting.
I have worked with several novelists, not near the about that I have with TV and feature
[film] writers because that’s my background.
I mean I definitely know that story is story and you’re going to benefit and learn from
anyone.
Certainly there are more closed off communities then how they see.
But all I also see a massive trend right now for a screenwriter writing a book and then
writing a screenplay.
So I think that is opening up the idea and I personally love the process because I love
the idea of really deeply going into an internal story in the book and then showing that in
visual and action in the adaption into the screenplay.
Film Courage: So then it creates this whole new viewer which is the one who reads the
book first and then they want to see it and weigh it against the novel.
Jen Grisanti: Yes.
And then the writer has more power, too, when they write the book and then sell the film.
Film Courage: I’m thinking of writer Janet Fitch who wrote White Oleander.
Which was a book someone recommended to me but I never read it.
And then I absolutely loved the movie!
And now I’m almost afraid to read the book but for me I had been recommended the book.
Jen Grisanti: And that also happens, are you an internal person?
The reason I am not a screenwriter is because I am an internal writer and I know that about
myself, you know?
Film Courage: …Going back to self-awareness.
Jen Grisanti: Yep…
Question for the Viewers: What have you learned the most about screenwriting?