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.

Study shows you most admire. Learn how those shows tell their stories, then use them as models when creating your own show.

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 is no bigger sign of an amateur than someone who’s worried about their stuff being stolen. If you worry your show can be stolen… you haven’t written it well enough.

“In order to get on a show as a staff writer, you must understand your voice. Your voice is your calling card as a writer. Your voice is what separates you from the masses.” – Jennifer Grisanti (TV consultant/author)

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.

The cardinal sin: don’t go into an interview for a TV job and say you don’t watch TV, TV is rubbish, or this is just a stepping stone.

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.