WRITER’S LOGLINE – SUSAN EILEEN JIZBA
I write stories that are often overlooked by History and by Hollywood * : stories told from an authentic female perspective. Simply changing a male character to female by – “putting boobs on it” – doesn’t work for me.
I’m a truth seeker, a rebel, a humanist and an optimist. Despite the past, I believe in the future.
In the end, I believe, love will always win.
Growing up as the Black Sheep Liberal raised by a family of Conservatives, Susan Eileen Jizba has always felt like an outsider. Susan is a LA based writer who loves to create driven female characters that echo her personal quest to find her “own tribe”; a home in which she is understood, heard, and can fully express her own unique authentic voice
Fascinated with the polarity of how men and women view the same world very differently, Susan obtained a BA in Psychology from Claremont McKenna College. Inspired to express a feminine viewpoint in the fictional world, Susan learned the craft of screenwriting through UCLA Extension. Motivated to learn the industry and master its evolving marketing game plans, Susan worked at Disney, Beacon Pictures, Sony, and Samuel Goldwyn Films, as well as learning the ropes from Roadmap Writers.
Susan writes dramatic features with female leads that often combine the elements of grounded supernatural, romance and a bit of mystery.
SOCIAL MEDIA / NETWORKING:
Susan is a member of the wonderful industry organization Greenlight Women www.greenlightwomen.org an alliance of accomplished creative and business professionals 40 and over whose mission is to champion women and promote diverse perspectives in media.
Within Greenlight Women Susan formed and leads a weekly writer’s group for feedback and support, with an amazingly talented group of writers.
Susan is currently engrossed with her characters, their world and their adventures and is happily screenwriting now…..
*Re: Women in Hollywood and History, I’ve always found the following passage to be incredibly insightful and profound:
“Men and women live on a stage, on which they act out their assigned roles, equal in importance. The play cannot go on without both kinds of performers. Neither of them “contributes” more or less to the whole; neither is marginal or dispensable. But the stage set is conceived, painted, defined by men. Men have written the play, have directed the show, interpreted the meanings of the action. They have assigned themselves the most interesting, most heroic parts, giving women the supporting roles.
As the women become aware of the difference in the way they fit into the play, they ask for more equality in the role assignments. They upstage the men at times, at other times they pinch-hit for a missing male performer. The women finally, after considerable struggle, win the right of access to equal role assignment, but first they must “qualify”. The terms of their “qualifications” are again set by the men; men are the judges of how women measure up; men grant or deny admission. They give preference to docile women and to those who fit their job-description accurately. Men punish, by ridicule, exclusion, or ostracism, any woman who assumes the right to interpret her own role or-worst of all sins-the right to rewrite the script.
It takes considerable time for the women to understand that getting “equal” parts will not make them equal, as long as the script, the props, the stage setting, and the direction are firmly held by men. When the women begin to realize that and cluster together between the acts, or even during the performance, to discuss what to do about it, this play comes to an end.
Looking at the recorded History of society as though it were such a play, we realize that the story of the performances over thousands of years has been recorded only by men and told in their words. Their attention has been mostly on men. Not surprisingly, they have not noticed all the actions women have taken. Finally in the past fifty years, some women have acquired the training necessary for writing the company’s scripts. As they wrote, they began to pay more attention to what women were doing. Still, they had been well trained by their male mentors. So they too found what men were doing on the whole more significant and, in their desire to upgrade the part of women in the past, they looked hard for women who had done what men did. Thus compensatory history was born.
What women must do, what feminists are now doing is to point to that stage, its sets, its props, its director, and its scriptwriter, as did the child in the fairy tale who discovered that the emperor was naked, and say, the basic inequality between us lies within this framework. Then we must tear it down.”
From “The Creation of Patriarchy” by Gerda Lerner
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