Today, more unknown writers are writing TV pilots than ever. Episodic content is everywhere. The number of scripted shows available is only growing year to year. So why is it so challenging for new writers who’ve never worked in Hollywood to sell and run their own TV show?
The length of your screenplay or TV pilot matters in more ways than one: Not only does it say a lot about you as a writer, it can also dictate your works’ priority for the person reading it…
Sure, to build a screenwriting career you have to be great on the page. But in todays competitive industry climate, you have to be able to speak about the experiences that defined and informed you. You are a storyteller. Your first story is your own.
How do you push your writing to the next level? Some of the most sought-after screenwriting experts in the industry today weigh in on how to become the great writer everyone is looking to work with!
If I, seasoned screenwriting career coach, was to write a want-ad for the ideal screenwriting client, one who has what it takes to go from emerging to professional, what would it include?
If you want to become a working screenwriter, or sustain a screenwriting career, not writing is just not an option. Learn how to create meaningful writing routines and build up those all important hours that will lead to the mastery of craft.
No one wants to hear that their screenplay or television pilot is boring, or forgettable, or just plain Meh. But in today’s industry climate, there is one thing that is even worse.
You hear it every day: Everyone in the industry is looking for a great screenplay. Good is just not good enough. They – agents, managers, showrunners, executives and producers – want to be transformed, surprised, excited and taken on an unexpected journey. Over the years, with the abundance of screenwriting… read more →
There is a truth that every writer must contend with: Everyone loves an L.A.-based screenwriter. Hell, some agents and managers have gone on the record saying that they won’t sign a new writer unless he or she lives in Los Angeles. I, too, have come to know that nine times out of ten, my L.A. writers will be more consistent.
Often times, agents, managers, producers and executives pass on a screenplay or TV pilot script with one simple line: “I didn’t connect with the material.” But what do they mean when they say that?