THE PITCH
My last student won the 2004 Austin Film Festival for Best Comedy Screenplay. The student prior sold his spec to HBO Original Programming.

I get writers results!

With our highly competitive marketplace, the expectation for writers to deliver top-notch scripts is even greater. After completing my courses, more than half my students have landed agents, one writer was hired to pen a one-hour spec, an another is now a full-time working writer.

I know what it takes to make a good script a great script, and I have successfully helped writers make the jump from exercises in spec scripts to paid deals.

I work with writers anywhere in the United States, and have a correspondence course for writers residing outside the Los Angeles area.

THE REALITY
If you are on this website, chances are you have probably heard one of the following responses to your submission.
1) We really liked your story but it's not quite right for us at this time.
2) No one's buying (insert your genre here) right now.
3) I really love it, but unfortunately everyone at (insert agency or management company name here) needs to be on board before we take on a new client.
These are euphemisms for the same conclusion - the company, agent, manager or producer did not respond favorably to your script.
If you're tired of getting a lukewarm response and not getting the results you expect it's time for you to take action.

HOW IT WORKS
The Starving Writer ($50.00)
You submit the first 20 pages of your script and receive a phone evaluation.
The Studio Exec ($675.00)
A thorough script analysis vis-à-vis structure, character development and plot points. Strengths and weaknesses analyzed; notation of all elements which may be hampering the sale of your script. Specific, detailed and comprehensive page notes. Recommendations for remedies and how to pitch your project once it's ready.
The Feature Development Intensive ($950.00)
***THIS COURSE IS ALSO TAUGHT AS A CORRESPONDENCE COURSE***
The course is 17 hours in length. The course is designed to enable you to be a stronger writer and to give you the tools you need to work on your own stories with a fresh perspective. I suggest speaking on the phone (or meeting) at least 2 hours at a time, but I work around your schedule. If you are working during the day, we arrange a time to speak evenings or weekends. I call you, so you never incur additional long distance charges.

The methodology of my instruction is strictly confidential so my students sign a confidentiality agreement.

The course is separated into sections. The first 4 sessions focus on technical rules and tricks of the trade. By reading and thoroughly analyzing working writers' scripts you will learn how to write effectively.

The remaining sections focus on your script. I require receipt of your script at least 3 weeks prior to the 1st session, so that I may go through and make my notes. You will be given two different types of notes. One set will be a detailed evaluation of your script in which I will analyze your story premise, characters, structure, plot points, act breaks & dialogue. You will receive constructive feedback on your scenes; which will include examination of tension, conflict, motivation, exposition and subtext. The other notes will be specific page notes.

We will discuss necessary changes to make sure you're happy with the new direction and/or discuss alternative solutions. You will be required to implement the changes and mail back the revisions. You make the decisions it is your story. I provide insight and guidelines, and offer ideas or ways to move the story along. From these ideas, most of my students springboard off into other ideas and thus the creative process begins.

You will read seven scripts from top working writers in Hollywood, and you will learn their secrets for successful writing. I break down all elements so that they are easy to identify and easy to replicate. Writing is a lot like baking - if you know the ingredients, have the tools at your disposable, have patience and persistence you will turn out a good product.

There is a one time $50.00 materials fee (for Xeroxing, and miscellaneous shipping costs). Payment plans are available. The fees are non-refundable. You may keep all materials in your packets.

Tailfish Productions cannot guarantee your script will be sold nor do we agree to purchase or option your project at the end of the class. We may suggest specific agents and or managers to whom you may decide to send your finished project.

HOW TO GET A HOLD OF ME
Office: (310) 453-4105
Cellular (310) 721-0877
E-mail: tailfishprods@yahoo.com
Website: www.tailfish.net

MY TEACHING BACKGROUND
In addition to private instruction, I teach both Beginning Screenwriting and Intermediate/Advanced Screenwriting at Loyola Marymount University, where I have been teaching for the past 5 years.

I have guest lectured at:
… UCLA Film Program
… LMU International MBA Program
… San Diego State University 21st Annual Writers¹ Conference
… Screenwriter¹s Association of Santa Barbara
… Monterey County Film Commission ­ Screenwriters Conference
… Screenwriting Expo 4 (coming November 2005)
… Film Actor's Boot Camp ­ Industry Showcase for Screenwriters

MY INDUSTRY BACKGROUND
By way of introduction, I spent several years at HBO Pictures, where I developed such projects as Don King: Only In America, GIA and Introducing Dorothy Dandridge before branching out as a writer/producer with my own company Tailfish Productions.

I have a B.A. in Screenwriting and Communication Arts from Loyola Marymount University, graduated Magna Cum Laude, and was the recipient of the Screenwriting Award.

My original screenplay, Death of a Tennis Star, garnered me several writing assignments including the rewrite of Heart Beats Left, a German, action-adventure which takes place during the fall of the Berlin Wall, and The Bachelor Portraits, a commissioned adaptation of the novel by James I. Kruger.

SUGGESTED READING
First and foremost I recommend "45 Master Characters" by Victoria Lynn Schmidt. This book addresses an important element many writers tend to overlook ­ developing believable characters. Schmidt bases her 45 models on the Jungian archetypes and explains how to pinpoint your protagonist's particular archetype and how to best combine him/her with other archetypes who will help your protagonist reach his/her goals.

How to Write for Television by Madeline DiMaggio
While this book is expressly written for television, there are a few sections that address the following: setting up your script¹s time frame, identifying major turning points and developing character, all of which are applicable to both film and television.

Top Secrets: Screenwriting by Jurgen Wolff & Kerry Cox

WRITER'S TESTIMONIALS
"Taylor Van Arsdale was crucial to my early development as a writer. Her insight to, instincts of and passion for those she works with is refreshing and, unfortunately, unusual in this town. Under her tutelage, dimensions blossomed in my work that I did not think possible. She guides with a kind, but firm, hand and is a friend to the writer. She respects the process and those who participate in it. I look forward to, in one manner or another, working with her again."
Jeff Wilber - Creator and writer of 2 HBO and 1 Showtime pilots

" Taylor 's a great teacher. I took a class with her while I was polishing my first screenplay, "IT BLEEDS, IT LEADS". She gave great notes on everything from basic style and structure to tone and theme."
Tom O'Connor - Winner 2004 Austin Film Festival/Comedy Screenplay

"Taylor is dead-on accurate in her assessment of structural weaknesses and first act foibles. She helped me discover solutions to fix problems and make our project better."
Steve Piskula & Gordon Langlois - Winners 2002 Austin Film Festival - 1 Hour Drama