Every year, networks shoot about 100 professionally shot, designed, acted, and edited pilots. These pilots are your competition. These are the pilots you need to beat with your writing alone.
Your job is to determine your show's over-arching architecture and be able to articulate it, both in a verbal pitch and in the design of your pilot. The good news is, there is no shortage of good model structures on the air as we speak.
In other industries, people apply for a job, get hired, then move to the new city to start their new gig. Not in Hollywood.
You'll probably be moving out here without a job, so you'll want a nest egg to help you survive. Here are some major expenses you can expect to encounter for various L.A. lifestyles.
If your story's characters don't end up in a different emotional space from where they began, neither will your audience. (Even on a sitcom.)
There are some phenomenal books out there … and some total stinkers. Here are eight of the best ...
Finding a writing partner isn't about finding someone who makes you more hire-able. It's about finding someone who makes you a better writer.
Most people who "can't" move to L.A. ... or switch jobs ... or do the things necessary to break in ... simply don't want to. But make no mistake: THE CHOICE IS YOURS.
If you want to grab an agent or executive's attention, your script doesn’t need to be as good as professionally written scripts … it needs to be BETTER than professionally written scripts.
Be honest with yourself about your project's business model and commercial potential. Just as specific producers work on specific types of material, so do certain agents.