So I've just perused the new animation writers blog across the way, and enjoyed it...
Steve Marmel (its founder), raises some good issues about animation wordsmiths (of which I used to be one) and why there isn't more community between them, and how writers and board artists can learn a lot from each other, and should interact and intermingle. Which triggers this anecdote from Yours Truly:
My last animation writing job -- before taking on the present assignment -- was working on staff at the late, lamented Filmation Animation studio. I wrote for a story editor named Arthur Nadel, a quiet, soft-spoken film veteran whose highest peak in a lengthy entertainment career was probably directing Elvis Presley in Clambake.
Arthur was a very nice man, but territorial. Ferociously territorial. One day I broached the subject of consulting with some board artists and directors on a script I was working on, to get some constructive criticism and hopefully make it better. Arthur looked at me as if I had squeezed off a hot fart under his nose.
"We don't do that, Steve," he said. "Scripts stay here in the story department. When we finish them, we'll give them to a board artist and he or she will draw them up. But we won't have any artists or directors interfering with our work, telling us how to do them."
I said "okay Arthur, whatever you say," and snuck downstairs to get feedback from a few artists and directors anyway. After a time, Arthur caught wind of my consultations and called me in for a talk. Again I got the stink eye.
"I've heard something that troubles me, Steve. Word's come back to me that you were talking to one of the directors about the script."
I stammered that I hadn't. (A blatant lie.) He nodded.
"Alright then. And make sure that you continue not to talk to them."
I said absolutely, you bet. And I never did again.
In the studio. After Arthur's second lecture, I snuck off to the Mexican restuarant next door and talked to the director there. Way in the back. In hushed tones.