This first of a two-part series of columns focus is all about the details of getting paid, what to expect and when, how to specify your needs and realize the requirements for meeting them and how to recognize when what you are due isn't forthcoming.
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.
Negotiations: Secrets you need to know when there’s money on the table. The folks with the money are going to keep it their own pockets as long as possible.
It’s great news that an agent has expressed interest in representing you, but do not jump into a relationship without making sure the agent is a good fit for you and your work.
Sometimes, moving to L.A. is the next step in your career. What do you really need to know to plan your screenwriting career move to L.A.?
Steve Kaire speaks to the value of a logline for pitching your script on one sentence. What should a logline be? Click here to learn more.
Screenwriter and professor Brad Riddell lists ten rules for giving and receiving script notes.
In today's "Writers' Room 101," TV writer Eric Haywood shares an important tip for writers who didn't get staffed during the upfronts.
In Hollywood, an Oscar guarantees career success. Or not. But it certainly changes the dynamics of meetings that happen the day after the famous awards.
In today's "Writers' Room 101," TV writer Eric Haywood breaks down the three primary types of television staffing meetings.