Many writers are quick to state that they don’t want their screenplay or pilot to be “just” a writing sample. But to those writers eager to construct a screenwriting or TV writing career, a great writing sample can mean all the difference.
In the second installment of my What to Expect series, I dig into the first and most important step you can take towards your screenwriting career: Learning the craft.
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.
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!
While building a screenwriting or TV writing career is never easy, I see writers from all walks of life do it all. the. time. Lucy Luna is that writer who went for a dream and came to L.A. with no industry connections or pedigree to speak of, and rode it all the way to her first staff writing position.
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.
As the year in coaching comes to a close, I am posing THIS question to my writers in order to capitalize on what worked got us in the year that passed and make the most of the year that’s coming!
When someone tells you to slow down your TV pilot, what do they actually mean? I decode the note in my latest installment of This Week in Coaching.
This week in coaching, my client Kim, just named to The Black List/Women In Film Episodic Lab, got a crash coach on strategy when going for getting into a TV writer’s room for the first time.
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