Workshop: Writing About Food

Photo by flickr's Geoff604, used under Creative Commons.
Photo by flickr's Geoff604, used under Creative Commons.

Do you like to write about food? Fancy yourself a budding restaurant critic? (C’mon, I’ve seen the 284 reviews you’ve posted to Yelp.) Do you dream of one day taking Jonathan Gold’s job? Would you simply like to learn more about food writing and improve your skills?

Thursday evening 826LA will host the latest in their Writing Series for Adults: Food Writing. The panel will discuss writing about food in various media (blogs, newspaper, and books,) as well as the business side of food writing such as composing a recipe, how to review a restaurant (I’m lookin’ at you, Yelpers,) and how to get published.

The panel will feature award-winning L.A. food blogger Pat Sapperstein and Pulitzer Prize winning food journalist Jonathan Gold, among other L.A. food luminaries.

For more information and to purchase tickets go to 826LA’s event page.

What: 826LA’s Adult Writing Seminar Series: Writing About Food.
When: Thursday, May 14, 2009, from 7:30-9:00pm.
Where: 826LA East, 1714 W. Sunset Blvd., Los Angeles, 90026

If food writing holds any interest for you at all, you better jump on this. You won’t find this much knowledge on the subject anywhere else.

Writing in L.A.

Hello friends! Dan Harmon, one of the founders of the awesome Channel101, screenwriter on the brilliant Monster House, co-creator of the Sarah Silverman Program and just all-around awesome dude, recently revealed what it’s like to write for Dreamworks Animation.

Excerpt from the original post on the Channel101 forums:

My hats off to anyone that can write a Dreamworks Animation film. They have a unique process.

First they storyboard the entire film. That is the first step. Not kidding. No writers, no script, just a story, and an entire film drawn on pieces of paper.

Then Katzenberg watches an animatic of the boards and says, surprisingly, “this needs a lot of work. You have a month.”

Then they hire their first writer. And spend that month changing as much of the storyboards as they can, which is about 20 to 30 percent.

If the 30 percent change isn’t the right kind of change, people get fired. Maybe the director, maybe the writer, maybe both.

Sometimes, only the writer gets fired and an additional director is hired to help out. It all depends on who is better – at pointing a finger with one hand while covering their own ass with the other.