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.
There are some phenomenal books out there … and some total stinkers. Here are eight of the best …
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.
Just like there are far fewer resources for learning TV writing than for learning to write features, there are an incredibly small number of resources for learning to write for animated TV. That’s why it is a great privilege to have animation writer Steven Darancette open a window for us into this field.
This week we have an absolute treat… a 46-minute interview with Emmy-nominated writer-producer, playwright, director, and author of the TV Writer’s Workbook, Ellen Sandler!
This is not an industry, or a career, where work can be half-assed. If you choose not to treat this like a professional career, YOU WILL NOT HAVE A PROFESSIONAL CAREER.
Why do people hate thinking of screenwriting as a profession like any other? It may be a “creative” field, but so what? Designing airplanes requires creativity… yet no one expects Boeing to accept designs from amateurs over a website.
