![]() This is just one of the many lines from this book that I loved. 'Screw you' is an improvement from 'Go fuck yourself' but it is still deemed inappropriate. In his spare time, he builds forts in living room with sofa cushions. Presently, Stepakoff speaks around the country, teaches dramatic writing at Kennesaw State University, and is hard at work on his third novel for St. His fiction is available now in six languages. Stepakoff’s second novel, THE ORCHARD, comes out in July 2011. A SIBA Okra Pick and an Indie Next List Notable, FIREWORKS is available in hardback, paperback, large print, audio and digital forms. And he has developed and written major motion pictures, including Disney’s TARZAN and BROTHER BEAR, and EM Entertainment’s LAPITCH, THE LITTLE SHOEMAKER, Croatia’s selection for the 1998 Academy Awards.Ī few years ago, Stepakoff returned to Atlanta, where he lives with his wife and three young children, and began pursuing his long-held dream of writing fiction. Stepakoff has also created and developed pilots for many of the major studios and networks, including 20th Century, Paramount, MTM, Fox and ABC. Jeffrey has “written by” or “story by” credits on thirty-six television episodes, has written for fourteen different series and has worked on seven primetime staffs, producing hundreds of hours of internationally-recognized television, including the Emmy-winning THE WONDER YEARS, SISTERS, and DAWSON’S CREEK where he was Co-Executive Producer. In 1988, the day after getting his MFA in Playwriting from Carnegie Mellon, he drove to Hollywood where he began writing for film and television. He attended the University of North Carolina at Chapel Hill where he received a BA in Journalism. Jeffrey Stepakoff was raised in Atlanta, Georgia. ![]() Slowly, a new programming idea began to take hold-what if the writer and their salaries were removed from the equation? Reality TV was born and the TV writer suddenly became obsolete- at least temporarily. When the market crashed and the dust settled, TV executives and the media conglomerates they worked for were sitting on a broken business model. Stepakoff also takes us inside the industry to explain what we’re watching and why by exploring the growing problems of media consolidation, the effects of interference from executives, the lack of diversity, and what reality television is doing to quality scripted television. Weaving his personal story with television’s, Stepakoff takes us behind the scenes to show what it’s like to have a story idea one week and see it come to life and be seen by millions of people just a week later. He found himself meeting with big agents, inside primetime story rooms, pitch meetings, and on the set of some of TVs most popular shows, and making more money than he'’d ever thought possible. After the billion- dollar syndication of Seinfeld, when studios were paying astronomical amounts of money to writers to create the next Friends or ER, the sudden mania for scripted entertainment made the TV writer a hot commodity. in the late 80’s, when television writers were experiencing their equivalent of a gold rush. ![]() Writing for the “boob tube” didn’t even cross his mind. When Jeffrey Stepakoff was graduating with an MFA in playwriting, he imagined a life in the New York theater, wearing a beret and smoking clove cigarettes.
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