Eighteen Months In

It’s been a tough staffing season this year:

• The show I was freelancing on just found out they aren’t coming back. It was a network one-hour, very high profile, so this isn’t just bad news…it sucks.

• The showrunner I know at a similar show that was picked up just let me know that they’re fully staffed at my level – I had to delete a reflexive “Guess I’ll just pray someone doesn’t work out” response.

• My powerhouse agency dropped me as politely as they could have…which means they gave me a glowing recommendation to a smaller boutique.

• Had an ultra-lame (on my end) meeting yesterday for a new Fox one-hour. The creator was cool, interesting, had great energy, and is a damn fine writer. But I was so geeked up, I’m afraid he may have drowned in the deep pool of desperation I left behind.

• My Mom finally lost her battle with cancer after three years in March…two days after my daughter’s first birthday.

So things could definitely look better on paper. My past inclination would have been to consider folding up my tent and finding a nice, thoroughly-unfulfilling job in customer service that can provide health insurance for my kid.

But I know how success is measured in Hollywood – and it ain’t by the yard. Of course, I know people who’ve blown up overnight but this is super-rare, almost like finding money floating down the street. Nice to hear about (and even better to experience) but never something one should count on. (more…)

Meet Liz Tigelaar

“Life Unexpected” is one of the best show on TV today. For me, it harkens back to The WB salad days when they were dealing us shows like “Gilmore Girls”, “Dawson’s Creek”, and “Felicity” – snappy dialogue, real characters, and stakes that are grounded in reality.

I happen to know a bit about “Life’s” creator Liz Tigelaar and it’s no surprise that she wrote on two of the three shows mentioned above. In fact, her resumé is chock full of awesome credits and the story of how “Life” leap-frogged over pilots with stronger pedigrees last year is inside-Hollywood legend.

If you want to learn a bit more about someone who followed the assistant->staff->showrunner path we’re all trudging along, check out her interview over at the WGA’s website:

What To Spec • 2010

Alex over at A TV Calling is killing it with two new posts about the best shows to spec for the upcoming staffing season. This isn’t recommended reading – it’s straight-up required for anyone hoping to land on staff this spring…it’s amazingly comprehensive. And the comments have a few nuggets too.

Check ‘em out ASAP:

Drama Spec Script 2010

Comedy Spec Script 2010

Great New Blog

Margaux Froley first popped up on my radar when she was one of the winners of the Warner Brothers TV Workshop a couple of years ago and became one of the only folks I could find to cover TV scripts.

Although I didn’t engage her services, I did appreciate the interviews she did on Julie Grey’s old site. And when I came across an interesting article “Are You Good In The Room?”, I was happily surprised to see she had started her own blog.

Finding folks whose TV careers are in second gear and willing to share details can be rare…so be sure to give her site a shot.

This Is Your Pilot Speaking

“Stiffing Staffing Season”

This is one of my favorite episodes of KCRW’s “The Business”. Although the show being discussed is no longer on the air, the story of its creators should prove inspirational to anyone trying to make it as a TV writer. The unconventional path they took is yet another example of there being no real rules in Hollywood…enjoy.

WGA’s Guide To Writing For TV

One of the cool things about writing for TV is the hierarchy built-in by the WGA. Unlike acting for instance, there are clearly-defined rungs on the way up to becoming a showrunner.

The WGA has a *great* resource detailing the different staffing positions, their salaries, and the specific responsibilities each job entails. Check out Writing for Episodic TV (it’s free) and you’ll not only get some great info but also some inspirational quotes from heavyweights like John Wells and Amy Lippman.

The Query Letter That Worked

Once you’re sure you’re ready, there are a number of ways to query an agent – the most powerful being The Referral (it’s so important, I’m capitalizing it!). There’s no better intro than having an established professional step up to the bat for you.

But that’s not the type of query I’m writing about today. I’m going to talk about a “blind” email query – which is to say an unsolicited request for a read.
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Time To Get An Agent(?)

When I decided to dedicate myself to writing for television, I thought the first thing I needed was an agent. I subsequently learned that the first thing I needed to do was *write*. A lot. So that, when the opportunity presented itself, I had some sharp examples of my voice. Trying to get representation without a portfolio of writing samples is simply impossible. How are they going to sell you?
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Should I pay for script notes?

The short answer: Absolutely – if you can afford it and have a reliable reader. Having your spec analyzed by a professional reader is exponentially more helpful than any notes your Mother or buddy may have (unless they have experience in the business). You also get the added bonus of anonymity – if I have the cash, I *always* run my specs through an impartial reader before kicking them to my agents or managers. The person I use charges $150, turns it around in three days, and has a decade of TV development experience under her belt.
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Unknowing Mentors

Oh, how I envy Drew Goddard. First he had Joss Whedon as a mentor and then he bounced under J.J. Abrams’ wing for a couple of years. You think this guy knows how to write yet?

Mentors are crucial in any business but they’re almost essential in a closed society like TV writing – the more experience, the better. Being able to ask basic questions and not worry about being judged is possibly the most important weapon you can have in your arsenal when assaulting Hollywood.
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