If you have ever wondered, reflected and sat on the idea of taking your writing to the next step but didn’t know how, well here is an opportunity for you. Submissions have opened for new writers to apply for CAPE’s 2017 New Writers Fellowship, which is in its 5th year of operation. If your application is accepted, the course is an intensive 12 session program learning and growing your skills under the industry’s best!
The process of selecting the successful candidates are extremely rigorous and involves 3 rounds of blind script judging and an interview. I think this is pretty good, because it will determine those with the passion, drive and skills to develop. It also allows new writers who are thinking about entering the entertainment industry have an idea of how it will be putting out work in Hollywood, and understand what all the great entertainment/script writers go through to get their work credited and utilised.
(Photo Credit: Somlit)
The beauty of this fellowship is that candidates will receive training, mentoring and future opportunities working under some of the industry greats. Led by top industry writers, producers, agents and executives, the Fellowship is cochaired by Steve Tao (television executive, The CW) and Leo Chu (Creator/Showrunner, SUPAH NINJAS, AFRO SAMURAI). The sessions include master classes and writing labs, in which Fellows revise their scripts under the mentorship of highlevel industry professionals. Fellowship partners include NBCUniversal, Hollywood Foreign Press Association, Warner Bros., and Sony Pictures Entertainment, as well as inkind partner The Writers Guild of America, West.
All entries must be submitted electronically at www.capeusa.org/applyCNWF with all forms and scripts in PDF format. All entries are due electronically by Monday, January 9, 2017 at 11:59 PM PST.
To see diversity is to harness diversity and this is what the CAPE New Writer’s Fellowship will provide. Whether you are successful or not, know that applying and submitting your work, will be reviewed by top people from the industry and therefore you can always take those experiences for your growth and development. But let’s not think about that but think about what successful candidates will have the opportunity to do, and how CAPE will empower and support diversity with regards to visibility and content of Asian Americans and Pacific Islanders.
CAPE’s Executive Director Michelle K. Sugihara attests to this and states:
“Diversity starts on the page, and we are proud of our tremendous track record of getting our Fellows represented and hired. “If we want to see more stories and characters that reflect the world in which we live, we need to be in the writers’ rooms and have a seat at the table.”
And if you need more encouragement to apply budding writers, here are some of the success stories, and boy are they extremely successful:
Bo Yeon Kim & Erika Lippoldt (CW’s REIGN), Helen Shang (CBS’s HAWAII FIVE-0, NBC’s HANNIBAL), Marissa Tam (NBC’s THE BLACKLIST), Nikhil Jayaram (NBC’s MYSTERIES OF LAURA), Aaron Ho (Disney’s AUSTIN & ALLY) and ABC’s COUGAR TOWN), Young Il Kim (Showtime’s BILLIONS), Thomas Wong (FOX’s MINORITY REPORT, CBS’s BULL), Frederick Kim (FRANKENSTEIN, M.D., and USA’s COMPLICATIONS), Ken Cheng (FX and FXX’s WILFRED and Amazon’s BETAS), Franklin jin Rho (ABC’s mini-series ASSETS), and Leonard Chang (FX’s SNOWFALL, FX’s JUSTIFIED and NBC’s AWAKE); script coordinator Christopher Wu (Amazon’s BOSCH); and screenwriters Isaac Ho (1001 WAYS TO ENJOY THE MISSIONARY POSITION) and Alice Wu (Sony Classics’ SAVING FACE).
Just a few administration points which need to be noted: The program is based in Los Angeles and if accepted, potential fellows must provide their own housing and transportation for the duration of the program.
(Photo Credit: CAPE USA Facebook Page)
However, if this is the career path you want to pursue, then give it a shot, and continue to give it a shot because persistence, skills and passion are the ingredients in building success, and we need more Asian Americans and Pacific Islanders to be visible and to be in the mix of some of the big productions in mainstream Hollywood film and TV.