After graduating from Yale University, Frederick Ayeroff’s fiction writing gained him admission to the Iowa Writers’ Workshop where he won a Teaching/Writing Fellowship, earned his MFA in Creative Writing and also teamed up with his long-time, Oscar-nominated writing partner, Robert Nelson Jacobs. With and without his partner and friend, Frederick went on to write feature screenplays for many prominent studios and production companies.
As a member of both the Writers Guild of America and the Writers Guild of Canada, Frederick has written feature screenplays for Steven Spielberg’s Amblin Entertainment, Kathleen Kennedy, Robert DeNiro’s Tribeca Films, Tri-Star Pictures, Universal Studios, Peace Arch Films, Reader’s Digest Family Films, Alan Landsburg Productions, Anchor Bay Films, ABC Television, Columbia Pictures Television, Bogner Entertainment, Martin Elfand, Dino De Laurentiis Productions and Twentieth Century Fox.
Frederick’s produced feature film credits include the family action-drama Ace of Hearts starring Dean Cain (Twentieth Century Fox – 2008). Ace of Hearts was recently honored as one of the Top Ten most notable releases by FoxFaith. Frederick also wrote the original screenplay for the family comedy Soccer Mom, starring Missi Pyle (Anchor Bay Films – 2008). Ace of Hearts and Soccer Mom both won Dove Awards as well as KIDS First! ‘Best’ Awards. Both motion pictures began as original screenplays written on spec. Frederick's most recent original feature screenplays are the suspense-thriller Home Fires Burning and a comedy-thriller called Killer’s Workshop. Currently he is associate producing the suspense-thriller Wired Shut, now filming in Vancouver, and writing a romantic drama/comedy called Twice Upon a Time.
University of Iowa, The Iowa Writers’ Workshop: M.F.A., Creative Writing
Yale University: B.A., Psychology
Areas of Expertise (2)
Story Structure and Analysis
Writing Original Feature Scripts on Spec
Industry Expertise (4)
Writing and Editing
Motion Pictures and Film
1978 In Problems of Dostoyevski’s Poetics Mikhail Bakhtin celebrates Dostoyevski’s multi-voiced, dialogical mode and asserts that the deepest realms of consciousness are inaccessible to Tolstoi’s single-voiced, monological mode. In the following essay I will first evaluate the distinction he makes between monological and dialogical approaches to fiction, and then determine if I, like Bakhtin, should consider Tolstoi’s language of gesture, his obsession with observables, as a sign that vividly portrayed surface in fiction implies superficiality...