The point of a spec is to prove you understand the essence of another writer’s show and its world. A good spec uses the relationship fodder of the show, but can be a bit “timeless,” existing outside the show’s actual timeline.
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.
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.
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.
Finding an agent to represent you is not done by sending queries, e-mailing strangers, or submitting scripts. Finding an agent is something that must be EARNED.
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 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.
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.
For anyone interested in writing for TV or film, the Screenwriting Expo is a tremendous opportunity!
