Susan Kouguell sits down with writer/director Rosemary Rodriguez, director of The Good Wife, Marvel’s Jessica Jones, Empire, Sex & Drugs & Rock & Roll, Outsiders, Criminal Minds and more!
During my story consults, the current most-discussed topic is the idea of “linking dilemmas” in the TV pilot. A hot trend in story structure is having the series dilemma link to the pilot dilemma. When done correctly, you set up both a closed-ended arc and an ongoing serialized arc for your...
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.
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.
If you’re an aspiring television writer, trying to get staffed this season or perhaps you’ve got an original pilot (or two) you’re shopping, understanding the business cycles can be helpful in planning and executing your strategies.
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.
What makes CBS' The Good Wife different from all the other lawyer shows we've seen? Writer-creators Michelle and Robert King discuss the genesis of their new show, the process of defining their characters, and why they decided to embrace the procedural format.