I used to lament the fact that so many network series focus on cops, lawyers, and/or doctors. I tried pitching and developing multiple series about other kinds of workplaces. I felt, like many aspiring television writers do, that there are many different kinds of job challenges that could make for compelling television. But in my [...]
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.
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.
“There are so many people here tonight wearing glasses, in honor of us both.”
With that quip, comic legend Steve Martin kicked off his dialogue with multi-hyphenate talent Tina Fey before a sold-out audience at Los Angeles’s Nokia Theater. The event, which brought the two humorists together for a discussion of Fey’s new memoir, Bossypants, took place on April 19.
Writers are unfortunately often perceived to be at the bottom of the food chain in the feature world. But in the world of TV, it’s a very different story.
On Saturday, February 5, the 2011 Writers Guild Awards for outstanding achievement in writing for screen, television, radio, news, promotional, videogame, and new media writing were announced. Script Magazine would like to congratulate all the winners and nominees for their great work last year. Kudos to a great year in entertainment! The following is the complete list of winners…
The Writers Guild of America, West and the Writers Guild of America, East have announced nominations for outstanding achievement in television, news, radio, promotional writing, and graphic animation during the 2010 season to be honored at the 2011 Writers Guild Awards on February 5, 2011, in Los Angeles and New York.
There’s often a difference between what aspirants, even talented aspirants, WANT to be true… and what IS true. And when I smell bullshit, I call bullshit. And I am calling MAJOR BULLSHIT.
A TV writer’s job is NOT to dream up the best stories possible. It’s to dream up the best stories possible within the creative and practical confines of the show.
