TV writers need to learn how to take a punch, a mandatory eight count and then get up and go back at it. They also have to know how to throw a punch.
We came. We conquered. We connected. - That's how the night felt after our first-ever Script Magazine Los Angeles Meetup this past Tuesday (2/8) night. Judging by our Facebook RSVP list, we thought we'd get maybe 30 or 40 readers and friends of the magazine to show up. But 7 p.m. hit and right...
People often think agents find talented writers and help them get hired or sell scripts. And while there's truth in this, it's not a fair perspective on agents' jobs.
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.
You don't have to travel the world to have a smorgasbord of life experiences. You can have an infinitely rich life—full of fascinating characters, conversations, interactions, adventures, relationships—without ever leaving your hometown.
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.
Don't blame writers for a dearth of originality. They're busy writing, developing, and pitching the most creative, engaging stories they can... but they don't get to decide whether those stories get made.
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.
I'm not saying every screenwriter must live in Los Angeles. I'm saying every TELEVISION writer must live in Los Angeles. Until you bite the bullet and move, you WILL NOT BREAK INTO TV.
If you want to get your pilot to producers, agents, or executives, the only thing you can do is move to Los Angeles. I know you can find script consultants, books, seminars, or agents who tell you otherwise, but THOSE PEOPLE ARE LYING.