Interview…with filmmaker/screenwriter Bill Olsen

"I am glad I had most of my fun before it got so crowded out there," says Bill Olsen about working as an independent filmmaker and screenwriter outside the Hollywood scene. "There's just so much more product in the pipeline nowadays (that) it makes it tougher to get a distributor."

Olsen has been fascinated with movies since he was a child. He made his first movie at age 14. "The Monster on the Campus" ran about 10 minutes and featured a tape-recorded soundtrack with the music and the narration.

"All it had going for it was an incredible monster mask my dad had bought for Halloween."

He has written, directed, produced or acted in films since the mid-1970s, working independently and with such production companies as Dell Films, Quest Studios and Triad Entertainment Group. His work has been seen worldwide in theaters, on Video/DVD and on television. While four of his scripts have been produced he has several others under option and in development.

Olsen has also taught screenwriting and film appreciation at universities and writers conferences throughout the country. His most recent seminar was "Know Your Film Rights" for the Published Authors Network of Romance Writers of America. He is currently a director and writer for Writers-in-Motion, a production company that produces marketing videos for authors and publishers, including book shorts (4-5 minute visual excerpts of novels) and author interviews.

Which came first - filmmaking or scriptwriting?

"Filmmaking," he says. "I would just wind the camera up and shoot anything that moved. Then I started writing scripts for my short films and later the independent films I made." He likens screenplays to blueprints. No one actually reads them. They just guide the director and cast through the story.

A number of things go into a good screenplay. As a filmmaker, Olsen looks for a well-developed, character-driven plot and subplot. He says a common misconception in student screenwriters is that screenplays can't have subplots. The audience will know the characters because of the casting, not the writing.

"You would never write, 'Barbara's sister Mandi opened the door.' How do we know they are sisters? We don't unless we are shown in one fashion or another or told in dialogue."

And you should know in what medium the film will be shown. Olsen has written for both film and television and points out a critical difference: TV is a medium of close-ups. Because of the growing DVD market, today's movies often have more close-ups than in years past. "They get a theatrical run just to endorse them in the marketplace as bona fide film."

What is it like to be an independent filmmaker?

It is very common for every person involved in an independent film to take on more than one role in the production. In addition to writing the scripts, Olsen has been an Executive Producer (in charge of raising the money), a Producer (in charge of getting the film made), a Director (in charge of handling the actors, cameramen and getting the script on film) and an Editor (in charge of putting the movie together) on several movies.

"On the longer movies, I split duties with an editor in New York or LA," he says. "I love it all, except raising the money."

Finding the money is the hardest job. Aside from the tough economy right now, there are just too many film projects out there

"With digital, anyone can walk into Best Buy and buy a camera and make a movie. The crème will always rise to the top, but it's tougher than it used to be."

For the writer, he adds that there are more places than ever to place a script, but he must do his homework and he must know the language of film and what is need in the script to make a good film.

One place for scripts he recommends is Inktip.com, an online resource to help put scripts in the hands of producers and agents. It's free to join, but charges for various services.

If he wasn't a filmmaker, what would Olsen do?

"I'd love to be a travel writer," but he says, "If I had it to do over, I'd still make films."

Olsen has also written three young adult novels and has one "making the rounds with agents." He is finding writing fiction very different to screenwriting. "(In film) writing was always a means to an end. Nowadays…the writing is an end in itself, which means the words have to stand alone - a very scary prospect."



To learn more about Bill Olsen, visit his website or see his complete filmography at IMDb.com

Meet…lyricist Dorothy Fields

Who is Dorothy Fields?

If you're a fan of the modern American musical, you've heard the work of Dorothy Fields. She penned such songs as "The Sunny Side of the Street," "I Can't Give You Anything but Love, Baby," "The Way You Look Tonight," and the Broadway musicals "Annie Get Your Gun," "Sweet Charity," and numerous others. Her career moved from Harlem's Cotton Club, to Broadway, to Hollywood, back to Broadway and even to television, spanning more than 50 years. She won an Oscar, a Tony and was elected to the Songwriters Hall of Fame.

Born into a theatrical family in 1905, her father was a vaudeville comedian before becoming a successful producer, Fields and her siblings were discouraged from entering the family business, but they found themselves on Broadway nonetheless. Both brothers were playwrights and she and Hebert Fields collaborated on several projects, including "Annie Get Your Gun."

With which composers did Fields collaborate?

Fields worked with dozens of composers during her 50-year career. The most notable one was Jerome Kern with whom she wrote the music for several film projects, the pinnacle being the Fred Astaire/Ginger Rogers movie "Swing Time." They won the Oscar for Best Original Song for "The Way You Look Tonight."

Kern had signed on to write the music for "Annie Get Your Gun" but he died before he could start. Irving Berlin stepped in to write the score while Fields and her brother Herb wrote the book. The musical opened in 1946 and was a sensational hit.

The 1950s found Fields splitting her time between the theatre, film and television. She did not produce any stage work in the early 1960s, but was coaxed back to Broadway by a young composer named Cy Coleman. They created "Sweet Charity," which spawned the immediate hits "Big Spender" and "If My Friends Could See Me Now." Her last musical was also written with Coleman. "Seesaw" hit Broadway in 1973. Fields died one year later of a stroke after attending rehearsals for the national tour of "Seesaw." She was 68.

Dorothy Fields and Jerome Kern

Which did she like best - Hollywood or Broadway?

Fields had great success both in film and on stage, but she preferred the stage. With theatre, a lyricist is involved in every phase from the writing through the rehearsal and the out-of-town try-outs. A stage production just by its nature is alive and ever changing. She found the movie business distancing creatively. Once the score is written and turned in, the lyricist and composer rarely heard anything from the production until the movie is screened up to a year later.

Hollywood did put several of her Broadways shows on film: "Annie Get Your Gun," "Sweet Charity" and "A Tree Grows in Brooklyn" to name a few. Many of them are on DVDs as are several of her film musicals. I found several titles on Amazon.com, Borders.com and Alibris.com.


Sources: The Dorothy Fields Website, The Guide to Musical Theatre, PBS: Broadway - The American Musical, and The Songwriter's Hall of Fame


l-r: Ethel Merman, Irving Berlin, and Dorothy Fields

Meet…screenwriter Frances Marion

What should you know about Frances Marion?

She is not the "Swamp Fox" of Revolutionary War fame, although Francis, "The Swamp Fox," Marion is rumored to be one of her ancestors. Frances Marion is the first woman to be nominated and to win an Academy Award for writing. In 1930 she won the Academy Award for Achievement in Writing for the movie "The Big House." The following year she won the Academy Award for Original Story for "The Champ" and was nominated for the story award again the following year for "The Prizefighter and the Lady."

Born in 1887 in San Francisco, Marion came to Hollywood in 1913 at the age of 23, already a journalist and published author. She made friends quickly and was a natural at networking and soon found herself in the midst of the Hollywood machine. One of her best friends was the film star Mary Pickford, for whom she wrote several films. She wrote scripts for many of her friends, including Billie Burke, Ronald Coleman, Rudoph Valentino and Marie Dressler.


Marion's first film was produced in 1915 and began the journey, which would make her the most renowned female scriptwriter in the 20th century, responsible for writing or adapting between 150 and 200 movies, spanning both the silent and talking film eras. She was the highest paid screenwriter of either gender at that time. In 1940 she retired from films but taught screenwriting at the University of California - Los Angeles.

How did she become so highly respected?

Marion wrote across genre and gender lines. She could write "four-hankerchief tearjerkers" like "Stella Dallas" and "The Champ," and high drama, like her Oscar-winner "The Big House." She successfully transition from silent movies to the "talkies" because she wrote scripts that were always conscious of the camera. She often wrote scenes with no dialogue, relying on the actors' expressive faces and actions to relay the story. She was also extremely adept when it came to translating a book to film. She tried her hand at directing at various times throughout her career, but never garnered the recognition and acclaim her writing received.


Marion also wrote plays, a book on writing and selling scripts, magazine articles, several novels and her autobiography, Off With Their Heads, in 1972. Marion died in 1973, but many of her scripts have been remade at least once. Some, like "The Champ," have been remade multiple times.

Is any of her work still available?

Yes, I found the original and remakes of "The Champ" on DVD as well as versions of "Stella Dallas," "Anna Christie" and others on NetFlix and Amazon. I found a VHS copy of "The Big House" on Alibris. Her autobiography, her book on writing/selling scripts and some of her novels are available new and used from venders on Amazon.




Sources: Answers.com, Britannica.com, FilmReference.com, The Oscar Site









NOTE: Don't forget The Virtual Book Tour by Font Literary Agency & Writing Centre is tomorrow, April 8. Click here to read more about Lover's Hollow author Orna Ross, then stop by tomorrow evening to read her responses to your questions!

Workshops & Retreats…Santa Barbara Writers Conference

This column briefly profiles writers' workshops, retreats, seminars and conferences. Inclusion in this column is not an endorsement.

What is the Santa Barbara Writers Conference?

There's actual two Santa Barbara Writers Conferences: the smaller poetry conference in March and the comprehensive summer conference in June. The dates for this year's summer conference are June 21-26. It will be held at the Fess Parker DoubleTree Resort.

The workshops cover such areas as story crafting and structure, screenwriting, humor, creative nonfiction, children's literature, marketing as well as several genres of fiction, poetry and memoir. The workshop activities include instruction plus readings and critiques with fellow students and instructors.


There are also panel discussions, guest speakers, late-night "pirate workshops" and "The Ultimate Write-Off Reality Show." You can register for the Agents and Editors Day and for a manuscript review.

There is a Young Writers Program for students 14-18. Students can participate in all conference activities but there are other special presentations as well.

Who are the instructors?

There are 33 workshop instructors. Click here to see the full list: faculty. The book jackets featured represents work from the faculty. Special guest include: (book signings will follow each presentation)


Ray Bradbury - opens the conference with a keynote speech.
Joseph Wambaugh - author, screenwriter, his latest book Hollywood Crows was released in March.
Bob Mayer - presents How to Pitch to an Agent/Editor followed by a book signing.
Jane Heller - author, journalist, her latest book Some Nerve came out in paperback in November.
Luis Alberto Urrea - author of The Devil's Highway, The Hummingbird's Daughter and others.
Sue Grafton - receives the Barnaby and Mary Conrad Founders Award for Fiction with a Q&A.

How much might this cost you?

To attend the full conference is $725 and includes all workshops, special lectures, panels, speakers' presentations, opening night barbecue, closing dinner and award ceremony. Manuscript evaluations are $40 and must be received by May 15. Meet with an Agent and Editor is $35.


The conference has a "Taste of the Conference" option which runs from June 21 through June 24, giving you access to the workshops, but not all the special events. Individual tickets will be available for purchase for some of the events not included with the discounted tuition. The tuition for "Taste of…" is $475.

The Young Writers Program tuition is $525 and allows the students access to all conference classes, presentations and activities as well as special Young Writers activities.

Registrations must be received by May 15. Online registration is available here: Registration. Rooms at the Fess Parker DoubleTree Resort run at the conference rate of $225. You must mention the conference to get that rate.

The Details:


Santa Barbara Writers Conference: June 21-26, Fess Parker DoubleTree Resort
Workshops in several fiction genres, story crafting and structure, creative nonfiction, children's literature, humor, screenwriting, marketing, poetry, memoir and the Young Writers Program for students 14-18.
Fees: Full conference - $725, Taste of… - $475, Young Writers Program - $525, Manuscript Evaluations - $40, Meet with an Agent and Editor - $35, Rooms - $225
Online registration is available. Registration deadline: May 15






NOTE: Don't forget The Virtual Book Tour by Font Literary Agency & Writing Centre is coming April 8. Click here to read more about Lover's Hollow author Orna Ross.

Meet...playwright/screenwriter Sidney Howard

What should you know about Sidney Howard?

A journalist, playwright and screenwriter during the 1920s and 1930s, Sidney Howard was the first person to win a Pulitzer Prize and an Academy Award. Born in 1891 in Oakland, CA, he began writing while at the University of California-Berkeley for various student publications. He later studied at Harvard and served in the military during World War I before moving to New York City in 1919. There he began working as a journalist, writing for Life, The New Republic and Hearst International.

For what did he win his awards?

Between 1921 and 1938, Howard wrote more than 50 plays, but his most successful was They Knew What They Wanted in 1924. It won the Pulitzer the following year. Set in the California wine country, the play follows the story of an Italian immigrant and his mail-ordered bride. It was later adapted into the Frank Loesser musical The Most Happy Fella. Nearly all of Howard's plays had successful runs in New York. Three of his plays were produced in the early and mid-1950s, more than 13 years after his death.


While he wrote plays he also delved into screenwriting for which he received three Oscar nominations, winning once. The first nomination in 1932 was for his adaptation of the Sinclair Lewis novel Arrowsmith. The second nomination in 1937 was for another Lewis novel adaptation, Dodsworth, which he had also adapted for the New York stage, but it was the third time that was the charm for Howard.

In 1940, just months after his death, Howard won an Oscar for his adaptation of Margaret Mitchell's Gone with the Wind. His final distinction was to be the first person to be awarded the Oscar posthumously. He had died in an accident in August 1939 before the film was completed.

How is Howard remembered?


Aside from his awards, Howard was also a major force in New York theater in the 1920s and 1930s. He, along with other powerful playwrights such as Robert Sherwood, founded The Playwrights' Company in 1938 to rival the Theatre Guild on Broadway. The producing company was responsible for such memorable plays as Abe Lincoln in Illinois, Tea and Sympathy and Cat on a Hot Tin Roof before it disbanded in the 1960s.

His three Oscar nominated movies are available on DVD and as are a handful of his plays. Of course, his screenplay of Gone with the Wind is available in various editions from the published shooting script to an illustrated version.




Sources: FilmReference.com, Perspectives in American Literature: a Research and Reference Guide, Writers' Guild of America





NOTE: Don't forget The Virtual Book Tour by Font Literary Agency & Writing Centre is coming April 8. Click here to read more and to leave comments or questions Orna Ross.

Meet...Novelist/Filmmaker Oscar Micheaux

What should you know about Oscar Micheaux?

Oscar Micheaux was something of a Renaissance man. Born in Metropolis, IL, in 1844, the fifth of 13 children, he went to work young and never stopped. Beginning as a shoeshine boy, a porter and a farm laborer, he became a novelist and publisher while working his South Dakota ranch. Then "moving pictures" caught his attention and he became the first African American to make a feature-length film. He also wrote it and produced it. "The Homesteader" was also based on his second novel. It grossed over $5000, making it a box office success at the time.

Micheaux wrote all of his films, many of them based on his own novels. He wrote seven novels, some of them autobiographical. His most successful, The Case of Mrs. Wingate, sold over 55,000 copies. His books covered many controversial topics for his time, including interracial romance, the light skinned v. dark skinned discrimination. He continued examining these themes in his films as well as the realistic images of ghetto life in the cities and related social issues, and corruption in the clergy. He also offered audiences the "black" version of Hollywood, complete with a "sepia Mae West" among other characters.




What made him so successful?

Micheaux's tenacity and ingenuity drove him to succeed. He published his own books so he could write what he wanted, then he went door to door selling them. He sold shares of his Micheaux Book and Film Company door to door, too. When he wanted to make a movie, he went to black theater owners and obtained advances against ticket sales. He didn't take no for an answer. He just tried something else. As a result, of the 80+ black films made during his lifetime, he made 44 of them. While other independent black film companies managed one film a year, Micheaux made three.

When sound came to the movies, its expense and the ever-deepening Depression brought an end to the independent black cinema, except for Micheaux. He released his first "talkie," "The Exile", in 1931 and continued to make films, though not as frequently, until 1948's "Betrayal."



Micheaux died in Charlotte, NC, in 1951

What is his legacy?

Like his protagonist in "The Homesteader," Micheaux pioneered for African Americans in Hollywood. Definitely the most prolific black independent filmmaker, he is one of most prolific filmmaker in general. His attacks on racism, corruption and other social issues are as relevant today as they were 90 years ago when Micheaux began writing.

The country now celebrates the once-controversial filmmaker. In 1974, the Black Filmmakers Hall of Fame held its first Oscar Micheaux Award Ceremony honoring black artists in film. The Director's Guild of America honored Micheaux, Federico Fellini and Akira Kurosawa with their Special Golden Jubilee Award for Directorial Achievement in 1986. A year later, he received a star on the Hollywood Walk of Fame. Gregory, SD holds the Annual Oscar Micheaux Film Festival and the Barton County Arts Council in Great Bend, KS, celebrates Micheaux at an annual memorial. The Producers Guild of America presents the Oscar Micheaux Award annually.

Many of his books are back in print and can be found new and used on Amazon or Alibris. I also found several DVDs of his movies on Amazon.


Sources: Producers Guild of America, Barton County Arts Council, GoogleBooks, Director's Guild of America

A Little Bit of This....and That Again

Want to find a job in film or TV?

The Biz might be the place to start. A feature on Variety.com, The Biz has a searchable database of entertainment and broadcast jobs around the country. Type "writer" and get 71 listings. Narrow the search by location or by listing age. Check it out here.

How much would you think?


Your book has hit big - best sellers list in New York and LA - now comes Hollywood. A great thing, right? Life as you know is about to change. That's what Deborah Gregory, author of the hugely popular Cheetah Girls series, thought. In an LA Times article in February, she recounts her experiences with Disney and "Hollywood accounting." Not only does she not own her own mansion, she rents a tiny studio apartment. The article also offers advice from an agent and an attorney experienced in book to film negotiations. Read more here.

Coming soon…

Interviews -

• Freelance writer Sheila Hudson
• Songwriter and former music publisher Bruce Burch
• Ghostwriter Cecil Murphey
• Singer/Songwriter Drew Copeland

Articles -

• Profiles of historic writers
• News on writer workshops
• Market news
• And more…

An Interview...with screenwriter Michael Lucker

"This has been an interesting year," says screenwriter Michael Lucker from his Atlanta office, involving a lot of changes. He spent six months in 2006 working with Turner Broadcasting to create Super Deluxe, an internet comedy network featuring some of the funniest people in comedy as well as offering its viewers the opportunity to upload their own comedy videos and cyber-mingle and network with other members and the featured artists.

After leaving Turner, Michael dabbled with the idea of his own production company and with the development of Film Farm, "sort of a filmmakers' office park," that would offer space to writers, directors, producers, etc. where they could develop and make films. But neither venture suited him. "I like creating content rather than the business side--like paying the electric bill."

He landed with Encyclomedia, "finding a home," he says, as a writer/director/producer earlier this year with the job of generating new projects for the company. Encyclomedia, near little Five Points in Atlanta, is a multimedia company that works in film, TV, corporate communications, internet projects, conferences and more. Its clients include local, national and international companies such as the Center for Disease Control, Georgia Tech, Avon, Children's Healthcare of Atlanta, JCPenney, A&E network, BP Amoco Corporation and more.

How did he get started in screenwriting and film?

Michael grew up in Atlanta, graduated from Chamblee High School before heading north to Boston University's College of Communications to study film. After graduation, he moved to Los Angeles where he worked as an assistant to Steven Spielberg on a number of films before landing in the Creative Affairs department at Hollywood Pictures. There he helped develop such films as Crimson Tide and Terminal Velocity.


Eventually, Michael left his studio position and began his career as a freelance screenwriter, co-writing dozens of scripts including those for Vampire in Brooklyn with Eddie Murphy, the animated Home on the Range and video sequels Mulan II, The Emperor's New Groove II and others. Two more of his scripts were recently announced as being in development, a fact that had not yet reached him.

His writing partner is still in Los Angeles, Michael explains. "Scripts get sent around and sometimes they're held for a while, then suddenly someone announces something like this or it could be the script gets returned. It's the ups and downs of being a freelance screenwriter."

How much does living in Los Angeles effect a screenwriter's success?

"It helps," he admits. Directors, studios, producers aren't looking for "one shots," writers who have just one script. They want writers who have multiple scripts or who they can talk with and who can take on an idea and come back with a product. "It behooves (the writer) to be in the city so when (projects) come up and a studio or whomever says 'I'd like to get you into a meeting,' you can get there. It's more difficult when you live outside the city (to cultivate these kind of contacts), to make those meetings." However, he adds it's not impossible.

Where does he find inspiration?

"In pain and in dreams." He laughs a little when asked for an explanation. "We all face adversity in our lives and we struggle with challenges. Writing about (those challenges) is not only cathartic for us, but it is often the deepest writing we do."

Regarding dreams, he likes to play with ideas from varying perspectives. "Be it night dreams or day dreams, things are different." Anything is possible in a dream and that can lead to great ideas. Right now he is playing with an idea for children's film about a squirrel everyone thinks is crazy.

Michael does a lot of teaching, and throughout the spring he'll be teaching in several venues around Atlanta: The Woman's Angle Director's Program in March, the Georgia Writer's Association Spring Fest 08 and two classes at IMAGE Film &Video.

A Little Bit of This....and That

Are you bonkers for American Idol?

Chicken Soup for the Soul is. The feel good mega-series not only has published Chicken Soup for the American Idol Soul, which has stories from AI contestants from all the seasons, but they also have contest with a trip to the American Idol Finale show as the prize. Click here to see all the details, but in a nutshell the editors want you to tell them who is your favorite American Idol and why. You can enter as many times as you want. The contest ends March 1.

Grand Prize is 2 tickets to the finale in May, 2 round-trip airline tickets, 3 nights in a LA hotel, and round-trip transportation to and from the finale. The First Prize is 2 ticket to the finale and $350 spending money and there will be 10 Second Prizes consisting of an autograph copy of the Chicken Soup AI book.

Chicken Soup also is seeking submissions for a number of titles. Five of them have spring deadlines. Click here to see the full list.

Still looking for Oprah's latest pick?

I told you earlier that Amazon.com didn't have A New Earth by Eckhart Tolle available. They must have gotten their shipment because the book has hit #1 on their best sellers list. It sells for $8.40 through the online superstore. You can check out Oprah's webinare here.



Did you know…?



Breaking Dawn, the fourth and final volume in Stephenie Meyer's bestselling Twilight series, will be released August 2. The first volume of this YA vampire fantasy series is also being made into a movie with Kristen Stewart, who most currently is in "Jumper" opening this week, and Robert Pattinson, who has played in a number of films, most notably two of the Harry Potter movies. Check out the latest news at Meyer's website.

You Oughta be in Pictures...Fellowships for Script Writers

Want to write for television?

If you have Sponge Bob in your heart, Nickelodeon Writing Fellowships might be a place for you. Designed to attract and develop staff writers, the NWF gives four writers a salaried position for year where they will be learning to pitch story ideas and write spec scripts for both animated and live action projects. Deadline for 2008-2009 is coming up fast: February 22. See the website for full details, applications and submission guidelines.


Disney ABC Talent Development programs offer the same type of opportunities. The program selected 15 writers in 2007. See Disney ABC Talent Development online for complete details and applications for the different programs.



Want to write feature films?

The Brass Brad Screenwriting Mentorship Award is a little different. The award includes script consultations and twice monthly phone conferences for a year and other tools to help you with the business side of screenwriting. Up to three prizes will be awarded. The deadlines for 2007 were in the spring. 2008 deadlines have not been listed yet on the website.



The Nicholl Fellowship is administered by the Academy of Motion Picture Arts and Sciences. That's right…the home of the Oscars. It is open to screenwriters who have not earned more than $5000 writing for film or television. Up to five $30,000 fellowships are awarded annually. The website claimed that applications for 2008 would be available by early February but I couldn't find them. There is full contact information, including an email link on the website. Deadline is May 1.



Sundance isn't just a film festival. The Sundance Institute offers several programs designed to develop and promote independent filmmaking. The Sundance Screenwriters Lab brings twelve writers together for five days in January for one-on-one story sessions with Creative Advisors, group discussions and other exercises to develop their original film scripts. The applications for 2009 will be available February 15. The deadline is May 1.

"Sundance & Butch"

The Institute also offers a Playwright's Retreat, an 18-day writing colony in February for five writers and a composer. However, participation is by invitation only. See the Sundance Institute website for complete details of both programs as well as other fellowships and grants.


Are there other programs out there for script writers?

Tons and tons! I did a Google search using just "screenplay contests" for an earlier article and got more than 10 pages of results. A search for "screenwriting fellowships" garnered slightly less. There are opportunities out there. Don't forget to do your research, and when you're ready to apply, have the best of your best ready.

The Ultimate Writing Contest…

How do the Academy Awards honor writers?

The 2008 Academy Awards ceremony (the 80th annual) is scheduled for February 24 on ABC. Hopes for the traditional big glitz ceremony waver in face of the writers' strike, but the Academy will award its 24 Oscars nonetheless. Among those will be 3 specifically for writers: best adapted screenplay, best original screenplay, and best original song. Each of these awards has 5 nominees.

Of the 5 films up for Best Picture, the top dog prize, 3 are adapted screenplays and all 5 are up for the writing awards.

Does the Best Picture always win a Best Screenplay award?



No, in the last 20 years only 13 Best Picture winners also won for their scripts. Of those 13, adapted screenplays (from novels, stage plays, short stories primarily) won 9 times. This gives the authors of the adapted work boasting rights, if not an outright award. Who doesn't want to see "Made into the Academy Award-Winning Picture" splashed across his/her book jacket or advertisement?

What about songwriters?

There is an award for best original song. This year the movie "Enchanted" nearly swept the category with 3 out of the 5 nominations. The writing team of Alan Menken (music) and Stephen Schwartz (lyrics) have been nominated 18 and 8 times respectively, while it is the first nomination for Glen Hansard and Marketa Irglova (Falling Slowly - Once) and for Jamal Joseph, Charles Mack and Tevin Thomas (Raise it Up - August Rush). Unfortunately, none of these movies are up for best picture.


The Oscars website has a complete list of nominees plus ton of photos, trivia and a live countdown to the big show. Enjoy!