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.

Websites & Blogs for TV Writers

TV Scripts & Bibles – The mother lode for anyone who needs (or just wants) to read TV scripts. Not only are there episodes of current shows, there are unaired pilots from *serious* writers. This is the first place to look when you’re getting ready to spec a show and want to see what their specific formatting looks like.

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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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Only Buy One Book

I’m not sure how many screenwriting books I’ve purchased/been given in the past decade. Dozens would be a conservative estimate but only a couple actually left an impression. The best thing I found about having this large library was their resellability – listed as a lot on Ebay, they sold quite quickly two years ago.
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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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What should be in my writing portfolio?

The short answer is: the best shit you’ve ever written. Seriously, people are getting staffed off of short stories, one-acts, and *especially* original pilots. The main reason being showrunners are tired of reading Grey’s Anatomy and The Office. A fresh *anything* immediately separates you from the pack. And this is where the “best shit” part comes in – you want this to be the sharpest and most amazing thing on your shelf. Rank them and offer them in that order. For a while, my best hour long spec was an episode of “Gossip Girl”. People rarely asked for it, but I always offered it first because I knew it was better than anything else I had at the time.
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Podcasts for TV writers

Sam & Jim Go To Hollywood

Sam & Jim may have checked out of their podcast in 2008 but that doesn’t negate the amazing amount of information available in the 44 episodes they cranked out in years prior. From moving out to LA from Minnesota to *share* an assistant’s job, to selling features, getting hired onto a writing staff, and finally selling multiple pilots, they’ve walked the road we’re all struggling down. I highly recommend anyone interested in Hollywood check ‘em out – for TV writers, it’s required listening.
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Which shows to spec (Oct. 2009)

This post is time-sensitive because the answer is obviously a moving target. That said, there are definitely some certainties. One: No one’s gonna read any flavor of Law & Order or CSI at this point – consider them off the air for the purposes of this discussion. Two: Your Office spec had better be on point. Because much more experienced writers have *nailed* this show. And the people reading *your* spec have read those polished gemstones. Three: No major new characters or plot switchbacks. Ideally, your characters are in essentially the same spot at the end that they were in in the beginning. No switching Don Draper’s sexual orientation, for instance. You wanna show you can adopt the show’s voice – not redefine it.

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