If you’ve been trying to get signed by an agent or manager for any length of time, you know that identifying what it is they are actually looking for is not always easy. In my latest blogpost, I do what I can to break it all down!
As we settle into the strange new normal of COVID-19, what does it all mean for screenwriters aiming to build their TV and screenwriting careers?
Every screenwriter would love a spec sale. But we hear it constantly: You have to have an agent. You have to have a manager. Most specs just don’t sell. But that wasn’t the case for Alan Horsnail, who, without any industry representation in place, managed to sell his feature spec.
Every road to screenwriting or TV writing success is paved with endless rejection and heartbreak. And every writer who is now working has heard No along the way. Here is how they got through it!
Felischa Marye left a successful Chicago career in PR for the pursuit of a screenwriting career. In our conversation, we take a deep dive into the programs she participated in and the steps she took to go from unknown screenwriter to showrunner.
It’s great when a manager or agent asks to read your screenplay or pilot. But what does it take for a rep to decide to sign you? I break down the one thing reps are looking for in my latest blogpost.
My heart has always been with writers breaking in. And one such writer is Kim Garland, who showed up in Los Angeles with determination and discipline, developed her brand and worked her way into her first writers room.
Writing partnerships seem like an exciting possibility for many a writer. Why should you write along when there could be someone there with you to work through story problems, withstand the rejection and face the industry? But before you jump into writing partnership, there are a few things you should consider.
Writers groups for screenwriting and TV writing have always been instrumental to a writers growth and path to career success; in the time of COVID-19 they are more important than ever.
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