Some of my playwriting students hope to pursue screenwriting as a career. I encourage them to write for the stage first, because a dramatic idea that's fully realized onstage has more of a chance to be reconceived as a complete work for the screen--unlike many screenplays, which are bought just for the plot idea and then completely rewritten by other writers. The other alternative, I warn them, involves moving to L.A. and pitching your film ideas, then losing control over any that are sold. But is this changing with the advent of "independent film" and higher quality (yet comparatively inexpensive) video production? Does a screenwriter still need to become a director/producer to maintain his or her authority and the integrity of a script, even with low budget productions? John Sayles recently said that he still works as a script doctor on the machinery of conventional feature films (with simple characters), in order to make a living, then puts more artistry (and complex characters) into his own scripts, which he directs. I would be interested in any further anecdotes or experiences of screenwriting paths and powers, or detours and sacrifices, that I might share with my students. (My own experiences of having screenplays produced are soley in the academic arena; though I have won awards for such work.) Mark Pizzato Dept. of Dance and Theatre UNC-Charlotte Charlotte, NC 28223 [log in to unmask] (704) 547-4488 FAX: 704-547-3795 ---- To sign off Screen-L, e-mail [log in to unmask] and put SIGNOFF Screen-L in the message. Problems? Contact [log in to unmask]