Not because you asked for it, but because if you’d known this was online you already would have watched it…and watched…and watched….
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Tag: online TV writing workshop
The Precarious Writer-Agent Relationship & How to Survive It
Over the years TVWriter™ has been online – just a few months shy of 20! – the most popular question by far has been, “How do I get an agent?” The idea behind that question seems to be that once a writer has representation the dark days will be gone and writing life will be all sun and smiles.
Our short retort to that concept is, “Not so!” But for those who want to fully wrap their minds around the reality of the situation, we present the following post. It’s about writing for print, but we guarantee you – if you’re writing for TV or films it works exactly the same way:
This is What Unions – Even White Collar Ones for Writers – Can Do
Not all PACs are evil. The Writers Guild of America West is working for us not only on the professional front but culturally, personally, and politically as well.
We know this is expensive, but in these trying times we at TVWriter™ firmly believe that, as any of John Wayne’s characters might have said back in the day, we all “gotta do what we’ve all gotta do.”
MARY JO KOPECHNE IS ALIVE, SOAKING WET, AND VERY PISSED OFF
by TVWriter™ Press Service
Last weekend, The Death and Life of Mary Jo Kopechne, a new play by Peter Lefcourt, opened at the Odyssey Theater in L.A., where it will play weekends until August 12th.
You may know Mr. Lefcourt from his television writing and production work for various series including Cagney & Lacey, Remington Steele, and Desperate Housewives. If so, you’ll understand why TVWriter™ is unreservedly recommending you hie thyselves to the theater and enjoy this fine new example of Peter’s work.
In Mr. Lefcourt’s own words:
Netflix, Showbiz & Data, Data, Data
Winging it with the future of TV – well, all of us out here are winging it, but the data brokers have a whole ‘nuther perspective:
Inside the Binge Factory
by Josef Adalian
“What do you think about gas in the tank for the long term?” asks Cindy Holland, Netflix’s vice-president of original content. It’s a Tuesday morning in May, and Holland and a handful of her direct reports are meeting in the 14th-floor San Junipero conference room of the company’s Hollywood headquarters. They’ve come to discuss renewal decisions for two existing shows, the Drew Barrymore–Timothy Olyphant zombie comedy, Santa Clarita Diet, and the recently launched remake of Lost in Space.
As Holland goes around the room, she stares at a laptop screen filled with the memos her team has prepared. She notes the mixed reviews for Lost in Space. “Do we care?” Not that much, it turns out. The show is renewed for a second season.