40 years worth of TV writing experience and info, yours for the taking.
Phoebe Waller-Bridge is huge these days, which makes a helluva lot of sense she’s hugely talented (and that may be much too mild a description).
This video is a must-see for all writers, and if you’re an actor (as Ms. Waller-Bridge also is) we think you’ll gain new insight into how to read and play and otherwise do your thing when you’re in front of the camera.
This article by Kim Catanzarite started its life at janefriedman.com, one of the top websites dedicated to helping new prose writers, and came to this TVWriter™ minion’s attention via our very own Writing & Showbiz News page.
To encourage more writers to run, not walk and read the full post on a subject we strongly believe in, we’re showing you a bit more than “via TVWriter™” did. Read and learn, kiddos.
Nathan Bransford, TVWriter™’s favorite publishing know-it-all, shares his feelings about the COVID-19 pandemic and what it is doing to the lives of writers and other humans.
[10 days ago] marked my one year COVID anniversary. A year ago yesterday afternoon I started coughing a bit, checked my temperature, and went….. “Uh oh.”
Is there such a thing as a foolproof way of outlining and writing your pilot? Probably not. Hell, even the most major writer-producers with contracts guaranteeing a script will go to series often find that commitment ignored.
But where there are talent, knowledge, and craft there’s hope, and this video can provide you with two out of three of those ingredients. (The talent is up to you.)
The key to successfully writing for television is to remember that it is primarily a storytelling medium. All other considerations are secondary.
No one in TV is crazy enough to say that character and dialog don’t matter, but the truth is they don’t matter AS MUCH as story.