Every writer starting a new project comes to the computer bursting with ideas, characters, worlds he is interested in and themes to explore. There is nothing but promise – only potential for the great script the writer can write. While a particular concept’s potential may vary (often wildly), there is… read more →
If you’ve yet to hear the name JEFF PORTNOY… Seriously? Where have you been? Not only did Tracking Board’s 2016 Spec Book name him the top manager when it comes to setting up feature specs (getting 13 specs to market, and setting up an unparalleled 6 this past year), but… read more →
You often hear people say that the most important thing for a writer to do is put pen to paper. But just as important a directive is this: Put your passion on the page. Case and point: Years ago, one of my long-time clients embarking upon her next project approached… read more →
What are some things that screenwriters should never say about their screenwriting? Explore screenwriting best practices in my SAY WHAT? Blog posts.
As I conducted interviews for my new book, BREAKING IN: TALES FROM THE SCREENWRITING TRENCHES, there was one mistake that agents, managers and executives kept reminding me that writers, and especially new writers, are continuously making: Getting their work out into the professional space, be it to a potential agent… read more →
Misconceptions about what it takes to become a working screenwriter, e.g. what is required in order to attract the right sort of industry attention, and where your time and resources are best spent, are everywhere. Is it all about the writing? Or all about relationships? Do you have to have… read more →
With 2017 chugging along, and the first fellowship deadlines (Sundance, Humanitas and HBO to name a few) already behind us, many emerging television writers eager to push their television writing careers to that elusive next level are hard at work preparing their TV specs, original pilots and myriad essays for… read more →
Where in decades past hefty options were given to screenwriters whose screenplays producers had hoped would “get there,” today those same options and shopping agreements are not often granted before the producer or executive involved is convinced that they have a ready-for-market, winning screenplay on their hands.
My seven-year-old daughter is a fledgling gymnast. Ahead of her first meet, she asked me, “Mamma, what if I fall off the beam?” I told her the same thing I always tell my writers, “If you don’t fall, you don’t learn.” The truth is that nobody likes to make mistakes.… read more →