This summer, I judged The Hollywood Player Pitch Contest at NATPE’s PitchCon. For the past couple of years, I’ve helped TV Pitchers develop their materials and prepare for their pitches. I thought it might be helpful to share some Do‘s and Don’t‘s of what ought to be in your pitch proposal. DO: Know WHAT your show is. Is it...
“We were more interested in the idea of systemic problems, not the idea that if you get rid of one bad cop, or if somebody has their appropriate emotional catharsis, all will be well.” –David Simon, creator of HBO’s The Wire, from The Revolution Was Televised by Alan Sepinwall === Brian is one of...
New Media Writing Awards and the WGAW Statement on Occupy Wall Street are in this fall WGA update.
WGAW election results, CBS web contract, and videogame writing awards are among the recent news items issued by WGA branches.
WGA's August News includes a call for documentary film nominees and a Great White Way intervention on behalf of a screenwriter who set in motion a successful franchise.
Most TV shows are written by staffs, so they're not actively looking for new scripts, writers, or story ideas. But that doesn't mean they never take submissions.
Annual earnings, court decisions, and awards updates are in the June/July WGA News round-up.
Be honest with yourself about your project's business model and commercial potential. Just as specific producers work on specific types of material, so do certain agents.
Aspirants often think cold-calling, querying, and unsolicited submissions are viable methods for getting an agent. But they're actually a waste of time, energy, and postage. So let's take a look at some methods that work …
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.