40 years worth of TV writing experience and info, yours for the taking.
It’s a jungle out there! But if you’re shopping a TV/film project you already know that. Consider the following as a first step toward learning how to navigate your way into a deal. (And be prepared for the second step – hiring an entertainment lawyer to help you through the rest.)
In any film or television production, there will be a great many production agreements which must be drafted by an experienced entertainment lawyer.
Nathan Bransford, TVWriter™’s favorite publishing know-it-all, has a few words for us about every writer’s nightmare scenario.
By far the most common question I get when I’m working with authors is “will this sell?” (Spoiler: this is impossible to answer).
Did you know that the Writers Guild of America West has a foundation devoted to enabling/helping writers? And that the Writers Guild Foundation has a blog?
We just found out ourselves, and on our first visit, we saw this.
Time to get back to basics on this whole writing career thing. And what better place to begin than this article from freelancewriting.com?
Between 2014 and 2019, the number of working freelancers increased by 64.9 percent. In fact, freelancers now represent approximately 35 percent of the world’s workforce, and 75 percent of them say that they wouldn’t do anything else for a living.
Those new to the idea might be wondering: what’s a freelance writer, and why has this career choice become so popular? Just as importantly, what’s in it for the hiring company?
Scenes are more than a signposts on your way to the end of the screenplay road. They’re more than just moments in which story or character points are thrown out at the viewer or reader. A good scene in a screen or teleplay—and by good I mean EFFECTIVE in terms of getting the response you want—is a mini-story in itself, with a beginning, middle, and end.
In other words, scenes need to be structured so that the intensity within them grows and then climaxes, like microcosms of your script.