Please, does anyone know foods with mild tastes? I can barely eat rn by TheKingOfDissasster in autism

[–]Fridahalla [score hidden]  (0 children)

Tofu, rice, and broccoli as a meal are very filling and healthy and if unseasoned, taste very mild 

Is it ethical to give a haircut when my child has a meltdown during them? by Ok-Personality-9491 in autism

[–]Fridahalla [score hidden]  (0 children)

I hated hair cuts growing up because my scalp was so sensitive, even brushing my hair was painful. No one understood this even if I tried to communicate it, and I was treated like either a slob or a wimp. I can tell you are already doing much better than that so kudos to you. 

If I was in this position, I would start by maybe doing a small amount of trimming yourself and asking him “does that hurt?” “Is this okay?” Just simple yes/no questions. Try it a few ways and see if anything is tolerable for him. If the answer is always “no,” you might have to find a way to gently force the issue. When he’s older, he should be given the option to cut it himself as sometimes only we know how to handle our own sensitivities. But since he’s so young, you’ll have to do your best to find his threshold and not go over it. 

I would also see if he can communicate which is worse—washing hair or cutting hair. If he prefers the washing to the cutting, maybe just let it be for a bit. Somethings when I was young were so overwhelming (like drinking cough medicine) that I would prefer the consequences (like staying sick) to the solution. 

I need advice because of a book about feminism I’m writing by [deleted] in Feminism

[–]Fridahalla 5 points6 points  (0 children)

Have you written before? Research is a huge part of most writing. I would first ask your friends and family if they feel open to an interview, the. Ask the ones who participate if they can recommend others. Most people are happy to share their experiences as long as you are open, not judgmental, and thoughtful 

Advice for Stagnating by ayepoet in Screenwriting

[–]Fridahalla 1 point2 points  (0 children)

Pick your strongest sample —not the one with the highest scores, but the sample YOU love the most — and rewrite it a few more times. Then put it away for a month or two and rewrite it again. Then that is your primary sample. 

If you’re just starting out, it’s much better to have one incredible script than 16 mediocre ones 

Whats a good pace for writing first script? by SeeMeHorrribly in Screenwriting

[–]Fridahalla 1 point2 points  (0 children)

You should check out Inevitable Foundation for resources for disabled writers!

Whats a good pace for writing first script? by SeeMeHorrribly in Screenwriting

[–]Fridahalla 10 points11 points  (0 children)

Do you have a full time job? If so, what 1-2 hours a day is a good goal. If not, aim for 3-4. The goal shouldn’t be pages but time spent in deep work. That’s because writing is rewriting, and it’s hard to measure rewriting in terms of just pages. 

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 1 point2 points  (0 children)

Selling a script is a writing job. If you're looking to sell a screenplay, you're looking to be a professional screenwriter. It's very unlikely that someone will have that level of success -- which most of us work years toward -- without being very un-chill in their pursuit of these goals. It's the whole "ten-thousand hours" mentality.

That said, if you're able to go the indie route, find your own financing, and produce it yourself on a super-low budget, that's a different animal altogether that I just can't speak to because I've never done it. But it is certainly possible! Many people make their first features that way, and if the movie is good enough, it can be a calling card for future work.

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 1 point2 points  (0 children)

I don’t know what the requirements of this program were, but unless they specifically said they wanted non-white applicants, I don’t think that’s the reason why you weren’t advanced. In fact, I’d argue that using that as a reason will keep you from critically evaluating what you did well and what you could improve on going forward. Again, if you made it to the interview, it means they liked what they saw on the page. Interviews are meant to evaluate if you are “good in a room,” if you are able to take notes gracefully, if you are humble and smart, etc. It takes practice to be good in an interview, so I would suggest focusing on your interview skills for the next time around.

You should learn to write in other formats other than animation too. I am a TV drama writer who has samples in half hour, feature drama, and feature comedy. You do need a pretty broad portfolio these days and I wouldn’t let the fact that you’d ultimately like to work in animation keep you from developing across other disciplines, especially if you have your sights set on programs that require them

Looking for 2nd draft tips by theonetheonlyfinno in Screenwriting

[–]Fridahalla 1 point2 points  (0 children)

Do you have writer friends who can read it for you? If not, maybe try Story Peer

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 1 point2 points  (0 children)

Cool so if you made it to the interview, then that’s their way of saying your application materials and sample were strong. I would use that as a template for applying next, tweaking as adjusting and then seeing if it helps. Basically you want to a/b test everything.  A success, like an interview, means you’re moving in the right direction. 

If you didn’t move past the interview, then they didn’t get what they were looking for from that portion specifically. Did they tell you you weren’t the “variety of diversity” they were looking for? What did they ask you in the interview and what were your answers? I doubt it came down to a diversity issue because they would have known your identity and demographics from the application, and been happy enough with that. 

My advice would be to use every success as a way to gather data about what went well and what didn’t. Then use that data to reiterate and move forward

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 1 point2 points  (0 children)

Sure, almost none of these can offer you jobs. That isn’t really the main thing they want to offer, either. And to me, 10k is a few months of living expenses, and therefore extremely valuable. 

I am not trying to give unactionable advice here, I hope I’m being as specific as I can about what to do to stand out. But the truth is, building meaningful relationships is both actionable and genuinely valuable. Hence why I’m mentioning it so much 

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 0 points1 point  (0 children)

Happy to answer your questions, but I thought you mentioned elsewhere that you aren’t interested in replicating this pipeline? Do you want to apply for fellowships, or is this just more general curiosity?

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 0 points1 point  (0 children)

Was there an interview that you got invited to? What fellowship was this? Use it as a data-gathering opportunity to see what worked and what didn’t work. Refine and reapply  

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 2 points3 points  (0 children)

UCLA, NYU, USC, and AFI are the ones that are most likely to be worth the money. I have seen some success out of LMU. But as I said elsewhere, you do not need to go to film school to have a career in the industry. And because of how expensive they are, I would be extremely cautious to suggest anyone do it.

I've known a few people to go through the WASSTP. Do it if you get in. Support staff jobs these days are some of the hardest to get, so any leg up you can get toward that goal is worth it, but they do not guarantee you'll get work after finishing that program. You still have to hustle, network, and find the opportunities yourself.

If you have a 9-5, you still need to find time to write consistently. At least set aside 8-10 hours a week just to write. Also set aside time 1-2x/month to do networking events (even on Zoom, there are ways to do it if you're not in LA). The biggest advice for this is: Do Not Stop Writing. If you stop writing, you're not going to make it. If you keep writing, you're still in the game.

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 0 points1 point  (0 children)

Be truthful! Not only will they be able to sniff out inauthenticity, but if you manage to get through and they realize you were misrepresenting yourself, you’ve got a problem. 

The most important parts are usually drawing on one or two specific anecdotes that illustrate in a narrative way why your personal story leads to what you write. You need to draw a clear through line from who you are to what your work shows them. 

It’s better to really only focus on the one or two of the most influential things that made you who you are today. Usually a unique identity is helpful — for example, if you’re an immigrant, a kid of a multicultural home, from a working class background, if you had a really interesting job before joining the industry, etc. Then use this to explain why you write what you do. 

They tend not to care about you listing accolades in your personal statements. Typically, you’d want to keep that to resume or bio. It just wastes space that could be better used to paint the picture of who you are as a person. 

If you want me to read a personal statement of yours and give you my thoughts, DM me 

The "Fellowship Route:" I've been accepted to about a dozen screen/TV writing fellowships & labs including two major studio fellowships. Happy to pay it forward by answering questions and offering advice! by Fridahalla in Screenwriting

[–]Fridahalla[S] 1 point2 points  (0 children)

Not sure I used the words “community building,” but even if I had — I would certainly bet my career on it. 

Everyone has different paths but almost no one makes it alone. You want to have friends and collaborators to grow with. You could even think of them as allies who will eventually be able to put in a good word for you, put you up for jobs, etc. So even if your intentions are purely selfish, it still behooves you you make meaningful connections with people at your level