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.
For many writers who come to screenwriting or TV writing as a second career or not right out of collage, the age factor can be a huge concern. In my latest blogpost, I break down when it will, and won’t, be a factor.
When trying to get your TV pilot or feature screenplay out there, the length and look of your material could mean the difference between getting read or being set aside in favor of another, more esthetic screenplay.
How quickly should you aim to write your screenplay or TV pilot? And when you’re just starting out, should you aim to push your velocity? The answers might surprise you!
When it takes longer to break in then you had hoped, how do you keep motivated for fighting for the career that you want?
Everyone wants to get an agent, get a manager, get staffed on a TV show or get a feature writing assignment. But for those lucky enough to begin, that’s when the hard work really begins.