Deadlines are nothing new and are utilized across practices, art forms, task lists and industries. We’ve all explored them, talked about them, considered them, and many of us use them on a regular basis. But for most people, and especially writers who are constantly up for delivering complex, often personal… read more →
Most writers will wrestle with the question sooner or later: What should I write next? A TV Pilot or a feature? In my latest blogpost, I break out the factors that you should consider when making this decision.
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 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!
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.
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.
In our brave new world reshaped by COVID-19, how do you keep your screenwriting career moving forward? I break down paths to doing just that in my latest blogpost!
Even with the abundance of shows currently on the air, getting your first bona fide staff writing job can seem insurmountable. So how do you do it? Here are the various ways my writers have gotten their first staff writing gigs over the years.
With more TV writing fellowships requiring original pilots instead f spec TV episodes, should you still spec for those TV writing programs that require them, or bypass those altogether and focus only on your original content?