Most TV shows are written by staffs, so they're not actively looking for new scripts, writers, or story ideas. But that doesn't mean they never take submissions.
Chad Gervich gives writers a guide to navigating one of the most important relationships of their career - the one between screenwriters and their writing agents.
"Who ARE professional readers?" "If someone writes a good story with terrible dialogue, would that get rejected?" "What are the biggest mistakes made by amateur writers?" YOU ASKED. WE ANSWERED.
The point of a spec is to prove you understand the essence of another writer's show and its world. A good spec uses the relationship fodder of the show, but can be a bit "timeless," existing outside the show's actual timeline.
No matter how good you are, when you get to the professional world, you will be competing against thousands of people who are better. So, there is no "good" … there is no "good enough" … there's only the never-ending pursuit of being stronger. Start now.
There's no better way to make sure you DON'T endear yourself to agents, producers, or writers than by spitting on what they do.
There was a time when late-night shows accepted unsolicited jokes and packets. Those days are gone.
No one wants to hire the person who claims they'll be ready if they're offered an opportunity; employers want to hire the person who's ready NOW, already exuding competence and preparedness.
Los Angeles is full of thousands upon thousands of aspiring screenwriters desperate to prove they're talented, creative, and interesting any way they can … including via their business cards.
Study shows you most admire. Learn how those shows tell their stories, then use them as models when creating your own show.