A Quote by Ann Friedman

I'm interested in pitches that have compelling people and ideas at the core - and a good news peg certainly doesn't hurt. We look for stories that are solutions-oriented, but not irrationally upbeat, from writers with a strong voice. For LadyJournos, where I'm curating not editing.
In terms of writing and developing, TV is very open because TV needs stories. They need new pitches, and they need new ideas. They don't always take the risk for new ideas, but they are certainly open to it. They can't have enough people come in and pitch to them. It doesn't matter how they look or what gender they are.
We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.
I dont look for good-news stories or bad-news stories.
With racing, there's not one thing you need to be really strong at, it's a combination. You need a good base of cardio, good core, good neck strength. I think core and neck are the most important, but it's certainly not my favourite. Neck training is pretty boring.
I look at life, the experiences I've had, at the human condition, the dynamics between people, the news (world news), and draw from the compelling realities all around us.
When people ask me where I get my ideas, I lie. I tell them I draw inspiration from the news, the world, my dreams. Or I joke and say that I steal from other writers. I lie because I don't know where ideas come from, and I'm afraid if I look too hard, they'll stop coming.
I don't look for good-news stories or bad-news stories.
There are a lot of women - directors, producers, writers - involved in my career. They are all interested in telling good stories, and good stories involve men and women.
In my general meetings, I certainly tell producers and executives that I'm interested in writing action films, but I think there's still a very specific set of writers they look at. And I don't think there's a lot of female writers on that list.
Being goal-oriented instead of self-oriented is crucial. I know so many people who want to be writers. But let me tell you, they really don't want to be writers. They want to have been writers. They wish they had a book in print. They don't want to go through the work of getting the damn book out. There is a huge difference.
People who travel in China tell me that the mood there is still very upbeat, because their media is different from our media. Chinese media emphasize how well things are going and suppress the bad news and publish the good news.
I kind of want to take the writer down a peg. I think there are a lot of pretentious writers in this business, which I am certainly one, in certain cases.
I like to just follow what I find compelling. In order for me to be compelling, I have to be compelled. I don't try to think about what people are interested in seeing, I have to be interested. For me, that works the best.
The challenges our state faces must be met with the best solutions and ideas we can muster - and good ideas and good people reside on both sides of the aisle.
I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
I've never really found inspiration for story ideas in the news, but I'd say it certainly affects our lives in so many ways. I would say that certainly the stories of the day appear in the work - I just have never gone so far as to say, well, this particular event could influence a plot of an entire book.
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