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.

After my column on query letters, I had a very fruitful exchange with a represented writer that ended up being chock full of tips that I think you guys will find useful.

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.

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.

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 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.