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Before you get anyone to read your brilliantly executed pilot script, you must first pitch them the idea for the series, and it must be clear, compelling, character-driven, and it must feel like a TV show, not like a movie. Put simply, the first thing you need to do is answer the deceptively simple question, “What is it?”   Read More
I’ve fielded a number of questions over the past year or so, and think it’s time to address some of the most common ones that have come my way.   Read More
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A good way for writers to express their pitch clearly and concisely is by avoiding clichés that are either not needed or harmful.   Read More
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Don’t be vague about the meat of your story. Tell us why the meat is good. What is your script about?   Read More
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Stick to the meat and don't kill the sale..   Read More
If your logline is missing a central conflict, then it’s possible your story is missing one as well. At least that’s what a reader will assume about your script.   Read More
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When you read logline after logline, patterns emerge. These patterns reveal clichés based on expressions and idioms hammered into our heads in taglines we’ve seen on movie or show posters, or in voiceovers we've heard in trailers by the late, great Don LaFontaine.   Read More
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I’ve lost count of the number of loglines I’ve read but it’s in the thousands. I don’t just read them. I see which ones work and which ones don’t. The logline is the master key that will help unlock doors for writers...   Read More
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The synopsis can vary wildly from writer to writer. Because I’ve seen such a variance as far as length and philosophy in synopses, I must state that the important thing to remember is that the synopsis is not written for the writer but for the reader. Yet many synopses I’ve read seem to ignore the reality of a typical script reader’s workload.   Read More
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CAN WRITERS SELL THEIR OWN TV SERIES? Writers? NO. Writers who are reading this article…YES! And I’ll tell you how, if you go with me on this for a few minutes.   Read More
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