Sitcom writers encounter some form of the following question with some regularity: “What’s it like to work in a sitcom writers room?”
The Prime-time Emmy Awards will take place on September 17th, but we don’t have to wait that long to learn what the nominations already tell us about the ever-changing TV landscape.
As a development executive, and perhaps more so as one whose company is connected to talent management, I often get the question: What do you think I should write next?
You're waiting on an executive. Now what?
TV pilot season 2018 is now behind us. The networks have made their choices regarding what shows on their schedules will be renewed, and which ones are headed to the chopping block. Let’s take a closer look at why some of these decisions were made.
Dealing with rejection is part of life for writers. No matter how brilliant your project is, not everyone is going to like it. But there’s an important distinction writers must make.
For writers anxiously waiting for a producer or creative executive to respond to a script submission, it can be frustrating. Why exactly do they sometimes take so long to reply?
Producers and studio executives often love working with writing teams, knowing that they are getting two creative minds to work on a project for the price of one.
When “The New York Times” exposed Harvey Weinstein’s long record of sexual harassment and assault, it set off an avalanche of similar public accusations. Before long, everyone knew the meaning of the #MeToo.
Writing is often solitary work, and it can be isolating. As a writer, you spend time at a computer screen, gathering your thoughts and trying to express them in the most meaningful way possible.