CALL FOR SUBMISSIONS: 2017 Fellowship to theOffice

Looking for a writer’s sanctuary? A place where you can leave the distractions of life behind and sit down in peace to put words on the page? That’s what we offer here at theOffice – a quiet, communal workspace on the westside of Los Angeles. We have a roster of A-list screenwriters, novelists and more, but sometimes the cost of membership can be too much for up-and-coming writers. That’s why we started our free fellowship over 7 years ago and we’re thrilled once again to offer it to you.

Announcing the 2017 FREE 6-MONTH FELLOWSHIP TO THEOFFICE!

It works like this:

You send us a sample of your best piece of writing along with a short email explaining why this fellowship is right for you. Our judges select one winner who will receive 6 months of free 24/7* access to the space. This is equivalent to a Premium Membership, the highest level of membership we offer, worth upwards of $2700. The winner gets a private door code to access the space even when staff isn’t here. You wanna write at 2AM on a Wednesday night? The space is all yours. You also get all the other perks of membership including free coffee/tea, Wifi, Aeron workstations and all the peace and quiet you need to get the job done.

theOfficeThis year’s fellowship starts September 1st and goes through February 28th, 2018. It is completely free to enter. The winner will be announced the last week of August. Open to all new/aspiring/up-and-coming writers who are looking to kick their productivity into overdrive. Think of this as your own writer’s retreat right here in the city.

This year’s fellowship will be judged by 3 current members of theOffice:

Mark Cullen
A Hollywood vet and longtime member here at theOffice, Mark is the creator of numerous TV shows including Mr. Robinson (with Craig Robinson), Back in the Game (James Caan), Heist, Gary the Rat (Kelsey Grammer) and Lucky (John Corbett). He also co-wrote the feature Cop Out (with Bruce Willis and Tracy Morgan).

Nicole LaPorte
Nicole is a contributing writer for Fast Company magazine, where she writes about entertainment business and technology. She was formerly a Senior West Coast reporter for Newsweek/The Daily Beast, and a monthly columnist for the New York Times Sunday Business section. She’s also the author of The Men Who Would Be King: Moguls, Movies and a Company called DreamWorks.

David Scarpa
David’s screenplay All the Money in the World made the 2015 Blacklist and is currently filming with Ridley Scott at the helm, starring Mark Wahlberg, Kevin Spacey and Michelle Williams. Other screenwriting credits include The Day the Earth Stood Still (Keanu Reeves, Jennifer Connelly, Kathy Bates) and The Last Castle (Robert Redford, James Gandolfini, Mark Ruffalo).

Pretty cool, right? Okay, so here’s what we need from you…

  1. An email with your contact information: Full name, phone, and email address. We will contact the winner via email.
  2. In the body of the email, please briefly explain why you want this fellowship and what you hope to gain from it.
  3. A 10 page pdf writing sample of your work. Attach this to the email. Your best 10 pages. Do not submit pages that need to be set up or explained. Send 10 pages that stand alone. Only pdf submissions please. All other attachments will be deleted.

Email to: theOfficeFellowship@gmail.com by August 8th, 2017. That’s it. You’re done!


theOffice3Some important points to remember:

  • Do your research on theOffice. Don’t submit if you’re not local, if you’re not sure you’ll be available, if you don’t like writing in a room with others. If you live across town and hate the commute, this isn’t right for you. If you don’t flourish in a quiet space, skip it. We want this to be of major value to the winner. Serious submissions only, please.
  • If you’ve never been to theOffice and would like to try things out before submitting, please do! We offer a FREE WEEK to all newcomers. Just be sure to call or email us first, on the day, for availability. Contact info here. More photos of the space here.
  • The fellowship is open to ALL up-and-coming writers. Submit 10 pages of your screenplay, play, short story, novel, memoir, poem, article, etc. We’ll read it all.
  • By “up-and-coming” we mean you can have no feature film credits as a writer on IMDb (short films are okay) and no more than 1 hour of television credit as a writer on IMDb. For authors, we just want to make sure you’re not someone with a three book deal and money to spare. This is for new/aspiring/struggling writers only.
  • DEADLINE TO ENTER IS AUGUST 8th, 2017. No submissions accepted past midnight PST.
  • You must have sole writing credit for the sample pages you submit. This fellowship is for one (1) free premium membership and is non-transferable.
  • If you have any questions, please either comment here, email theOfficeFellowship@gmail.com or ask us on Twitter: @theOffice_LA. theOffice staff will NOT be able to assist you with the fellowship, so please DO NOT call, email, or drop by theOffice with fellowship questions.
  • Current members of theOffice are not eligible.
  • Winner will be notified and announced by August 31st.

This is an opportunity to take your craft and career to the next level. If you are looking for a place to be inspired, a place to write with the big guns, a place to get it done, submit now. We look forward to reading your work!theOffice Exterior

*theOffice is closed to ALL members on Mondays 6PM-11PM and Saturdays 8AM-10AM due to outside rentals. Otherwise, the space is yours.

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Video – Silence in Writing and Film

We all may love witty dialogue and banter, but sometimes it’s better to just shut up and remember that film is a visual medium. If applied correctly, a few moments of silence can enact emotion that pages of dialogue would just clutter up.

In this video from Fandor, they explore powerful movie scenes and all they convey without the use of dialogue. Silence can speak volumes, and the right visual can pack a much bigger punch than a line of dialogue is capable of.

Certainly something to keep in mind.

Writing Routines: Ernest Hemingway

hway8“When I am working on a book or a story I write every morning as soon after first light as possible. There is no one to disturb you and it is cool or cold and you come to your work and warm as you write. You read what you have written and, as you always stop when you know what is going to happen next, you go on from there.

You write until you come to a place where you still have your juice and know what will happen next and you stop and try to live through until the next day when you hit it again. You have started at six in the morning, say, and may go on until noon or be through before that.

When you stop you are as empty, and at the same time never empty but filling, as when you have made love to someone you love. Nothing can hurt you, nothing can happen, nothing means anything until the next day when you do it again. It is the wait until the next day that is hard to get through.”

Writing Routines – Maya Angelou

Photo of Maya Angelou

“I write in the morning and then go home about midday and take a shower, because writing, as you know, is very hard work, so you have to do a double ablution. Then I go out and shop—I’m a serious cook—and pretend to be normal. I play sane—Good morning! Fine, thank you. And you? And I go home. I prepare dinner for myself and if I have houseguests, I do the candles and the pretty music and all that. Then after all the dishes are moved away I read what I wrote that morning. And more often than not if I’ve done nine pages I may be able to save two and a half or three. That’s the cruelest time you know, to really admit that it doesn’t work. And to blue pencil it. When I finish maybe fifty pages and read them—fifty acceptable pages—it’s not too bad. I’ve had the same editor since 1967. Many times he has said to me over the years or asked me, Why would you use a semicolon instead of a colon? And many times over the years I have said to him things like: I will never speak to you again. Forever. Goodbye. That is it. Thank you very much. And I leave. Then I read the piece and I think of his suggestions. I send him a telegram that says, OK, so you’re right. So what? Don’t ever mention this to me again. If you do, I will never speak to you again. About two years ago I was visiting him and his wife in the Hamptons. I was at the end of a dining room table with a sit-down dinner of about fourteen people. Way at the end I said to someone, I sent him telegrams over the years. From the other end of the table he said, And I’ve kept every one! Brute! But the editing, one’s own editing, before the editor sees it, is the most important.”

Quote of the Day

JOAN DIDION

“We tell ourselves stories in order to live…We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ‘ideas’ with which we have learned to freeze the shifting phantasmagoria which is our actual experience.” – Joan Didion