creativity and television writing

Television Writing

Write up to three spec scripts in either one-hour or half-hour TV formats. This program can be completed online or in the classroom. 

This program is perfect for:

• Aspiring television writers who want a thorough study of craft
• Screenwriters looking to branch out into scripting for television
• Entertainment professionals interested in expanding their television knowledge

What you can learn.

• Develop and write spec scripts
• Get hands-on experience scripting a TV drama
• Write for a TV comedy
• Gain insight from entertainment professionals and Writers Guild of America (WGA) members

Write Sample Scripts for TV

The UCLA Extension Television Writing Certificate program is a focused, results-oriented course of study where enrollees can write up to three television scripts (both specs and pilots), either in the hour drama or half-hour comedy format.

Students can benefit from professional exposure and industry connections, and are eligible for perks such as a full-scale screenplay consultation (page limits apply).

Courses are taught by produced writers and/or experienced entertainment industry professionals, many of whom are Writers Guild of America (WGA) members. 

This certificate program can be completed entirely online, onsite or a combination of the two.

The full certificate curriculum is listed further down on this page.

For those who meet certain requirements, an intermediate or advanced level track is also available.

Required introductory courses may be waived upon departmental approval, however, to earn the certificate, candidates must still complete a minimum of six Writers’ Program courses. Please contact an advisor for more details.

Expect more from your education.

MFA, television writer, playwright, WGA member whose credits include  Drop Dead Diva ,  Shadowhunters,  and Hallmark movies  Road to Christmas  and the  Christmas in Evergreen  series . 

4-DAY IN-PERSON INTENSIVE WORKSHOPS

Writers Studio 

Join a community of aspiring writers and jumpstart your creativity. Choose from 9 workshops taught by professionals in the fields of feature film, television, fiction, and creative nonfiction writing.

August 1 - 4, 2024 THURSDAY-SUNDAY, 10am-6pm

A lot of people in different stages of the industry all came together because they wanted the time and a place to hone their craft.

Click below to view the required and elective courses, if applicable, for this program.

Students must complete an additional 6 units from Television Writing or Feature Film Writing. Browse courses by selecting the links below. Courses in Entertainment Studies are not eligible.

Beginning Television , Intermediate Television , or Advanced Television

Beginning Feature Film , Intermediate Feature Film , or Advanced Feature Film

Special Topics for Film & Television Writers

How to Get Started

Courses in this program are open enrollment, and each course is paid for individually.

Sequential courses should be taken in numerical order, starting from the lowest course number and progressing to higher numbers.

You may take Television Writing courses without committing to the entire program.* However, by establishing candidacy in the program, you will receive many benefits exclusive to our certificate students  such as priority placement on waitlists and access to the UCLA Career Center's job board.

Need assistance? If you have any questions or need advice on course selection, feel free to reach out to us at [email protected] .

Benefits exclusive for Writers' Program certificate students:

• Advising : Receive a 30-minute, one-on-one goal-setting consultation with a Writers’ Program advisor. During this consultation, the advisor will customize a certificate program curriculum tailored to your experience, interests, and writing goals.
• Enrollment Advantages : Receive quarterly notice when Writers’ Program courses open for enrollment each quarter and receive preferential placement on wait lists.
• Script Consultation : Get valuable feedback through a 1-on-1 script consultation with a Writers’ Program instructor after completion of coursework (value up to $775) .  Learn more .

Benefits exclusive to all UCLA Extension certificate students:

• Career Resources : Access UCLA Extension’s Career Resources including online career coaching, workshops, networking events, and other resources.  Learn More .
• Handshake Access : Explore thousands of job and internship postings through UCLA Career Center’s online job board. Learn More .
• UCLA Alumni Association Membership : Upon completing your certificate, join the nationwide Bruin family as a member of the UCLA Alumni Association. Learn More .
• Graduation Celebration : Attend the annual UCLA Extension Graduation Ceremony on campus to celebrate your achievements. Learn More .
• UCLA Recreation Facilities : Enjoy access to UCLA Recreation facilities as a student affiliate. Learn More .
• Bruin ID Card : Obtain an affiliate/Guest UCLA Bruin ID Card for additional student-related benefits. Learn More .

How to Apply - Establish Certificate Candidacy

• Click the Apply Now button below
• Login or create a new student account
• Once you are logged into the student portal, you can select “My Applications” from the left side menu at any time to return to your application. Click the yellow “Start” button to proceed.
• On the Certificate Application page, follow the instructions and click save. Then submit your application. 
• Proceed to checkout and pay the nonrefundable candidacy fee to finalize your application. 

Estimated Cost Breakdown

All courses in this program are paid for individually, unless otherwise noted. An application form is required to establish candidacy in this program. From the 'Apply Now' button, complete the online application and pay the application fee if applicable.

Application & Candidacy Fee

Estimated program tuition, estimated program textbook/materials.

*The Application & Candidacy Fee establishes your candidacy in the program for a period of time covering normal progress toward completion and may allow you to access a variety of program benefits.

Internships Available

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VA Benefit Eligible

Federal Financial Aid

The U.S. Department of Education requires colleges and universities to disclose certain information for any financial aid eligible program that, “prepares students for gainful employment in a recognized occupation”. This information includes program costs; occupations that the program prepares students to enter; occupational profiles; on time completion rate; and for the most recent award year: the number of students who have completed the program, the number of students who complete the program within the estimated duration, the job placement rate, and the median Title IV and private loan debt incurred by those who complete the program. For gainful employment information for this program, visit our  Financial Aid page.

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7 Things Screenwriters NEED to Know About Writing for Television

To explore what screenwriters need to know about writing for television, we turn to John Truby — once called “the best script doctor in the movie industry" — who has served as a story consultant for major studios and production companies worldwide, and has been a script doctor on more than 1,800 movies, sitcoms and television dramas for the likes of Disney, Universal, Sony Pictures, FOX, HBO, Alliance Atlantis, Paramount, BBC, MTV and more.

We have pulled nine pieces of vital information from Truby's Film Courage interviews  The Life Of A Television Writer Working On A TV Writing Staff and  What Writers Need To Know About Breaking Into Television  and use his wise words and our own elaboration to offer aspiring television writers the best collection of knowledge and experience that will prepare them for their go at a possible career in television writing.

1. Selling on Spec Isn't the Way to Break Through

Feature scripts are a one-off while television pilots are a possible multi-episode, multi-season entity that goes far and beyond what a single feature film calls for. Thus, original spec pilots from unknown writers are never bought, developed, and produced — with the small exception of a few anomalies every few years.

This hard truth has the ability to evolve with the ever-growing platforms for television and streaming series, but old habits die hard — most networks and streaming channels want to develop original ideas only from those that have proven themselves in that medium or through at least a couple of feature hits.

That is not to say that screenwriters shouldn't be developing their own original pilot scripts. They do offer the benefit of being writing samples that showrunners can look to when trying to fill a writers room for an already produced or in-development network or streaming channel series.

But screenwriters need to know that selling their series pilot is not the definitive way to break into the television industry as a writer in hopes of getting a television writing job.

Instead, you should be relying on writing samples that you create for existing shows . You need to find a show that has proven to be a success — one that is still in production and that is still going strong and hopefully will be in the foreseeable future. When you've found a show that you know and have a passion for, go write an episode that takes the characters and their stories forward while embracing the past mythos of the show.

These types of writing samples are what will get you into those writers rooms — as opposed to an original pilot series that will likely never see the light of day.

Yes, again, anomalies do happen, but you never want to put all or most of your eggs in that one basket, hoping for the miracle turn of events. Have those original pilots in your pocket, but use writing samples from current hit shows to showcase that you can get into that room with those other writers and do your part.

2. Be Able to Crack New Stories Quickly

With television, you're in a room of writers with varying levels of hierarchy, all doing their best to outshine the rest and get their own ideas into each and every episode. So you have to be quick. You have to be able to show your worth by being able to crack storylines within minutes. Yes, minutes .

And while these rooms can be competitive, there is the comfort that yes, some writers room are more collaborative than others. So in those cases, you also want to show your worth as a writer that can keep up with the crowd.

To be a television writer, you need to have a masterful grasp of concept, story, and character. You have to be capable of scratching a pre-determined character or story arc and pitch new and improved ones within, again, minutes.

Being in a writers room will offer a true masterclass of character and story. But you're not there for an education. You're there to contribute. And you need to always be on your toes. Not just every minute, but every second.

3. Writing Features vs. Writing in a Series Writers Room

When you're writing features, spec scripts are those that screenwriters write from their own original ideas without being under the employment of the film industry. Screenwriters can use these original ideas to draw attention to their work in order to be assigned for other features. Feature spec scripts can also be purchased and developed for possible production.

This isn't the case with television a majority of the time.

As we mentioned before, feature scripts are a one-off while television pilots are a possible multi-episode, multi-season entity that goes far and beyond what a single feature film calls for.

It's a different dynamic. With a single feature assignment, the contracted screenwriter is generally attached to the project for just a few months at a time, working on their own accord with set deadlines for each draft. On the rare occasion, once well-established, they may be asked to come to the set if the film goes into production.

When you're staffed on a television series, you're there for the long haul — writing with others for maybe nine months or more. Then you go on hiatus for a month or so and then you're back on that same series. If you haven't been replaced.

The structure is vastly different from features to series episodic scripts as well. Again, features are a one-off. You're showing a defined beginning, middle, and end in one script. With a series, you're spreading those character and story arcs over multiple episodes and possibly multiple seasons.

It's a vast difference between the two in both what you write, how you write it, and where you write it.

4. What You Write Will Change Dramatically

Feature writers under assignment often have to work from studio and executive notes while adapting a preconceived concept, but the executives and producers expect you to inject your own concepts, characters, and storylines.

With television, you have less input into the overall big picture. Depending upon what level you're at in the writers room hierarchy, you may go multiple episodes before seeing any of your pitched concepts and story points utilized.

You may have your name in the credits as the writer of an episode, only to watch it and realize that little to none of the content was actually written by you. In turn, you may be uncredited for an episode, but see that a majority of your input is actually present.

Being part of a writers room means that the group within that room is considered to be one single writing machine — no matter who gets the final onscreen credit.

5. Be Able to Write Other Writer's Characters

With features, screenwriters are used to conveying their own original stories and characters. That freedom is gone the moment you step into that writers room. You're writing the stories and characters conceived by that series creator and showrunner. You're taking other writer's ideas and story directives, as well as the compiled series bible and outlines, and melding them with your own additions to create a hybrid that is always less yours and more theirs — until you work your way up the ladder to become a series creator or showrunner.

Writing other people's ideas is difficult to do. Not every writer can accomplish that. The ingrained drive of wanting to write your own ideas is very difficult to separate yourself from.

6. TV Writing is a 24/7 Job

The writers room is one of the most high-pressure positions to be in as a writer. A single episode is written in under a week. And that single episode has to be well-balanced with those episodes that came before it, as well as those being written by other writers in the room. And this goes on and on for upwards of nine months or more per year.

Many shows require fourteen hour days or more, almost seven days a week.

Some showrunners may like to offer their writers a better work/life balance, but you can expect to work more hours than you ever would have to, especially compared to writing for features. The amount of time needed on your end is a hundred times more than would be required within the feature market.

You also need to live in Los Angeles, or whatever city the writers room is located in. You can't write virtually for them and you certainly can't just fly in every now and then. It's a fast-paced environment with short turnaround deadlines.

7. The Psychological Shock Is the Biggest Hurdle to Overcome

When you're a college level football player, making the change into the NFL can be a considerable psychological — and physical — shock to your life and your system. You have to learn the thick team playbook and understand the new and expansive terminology. You have to battle it out with competitors that are technically your teammates, in order to win that coveted roster position.

The same can be said for television writing.

You're not writing your own original work, you have to conjure concepts/characters/stories at lightning fast speed, you have to differentiate what you learned from writing features because it's a different beast, you have to be able to write other people's stories and characters, and you may find that what you are able to write may change dramatically — and it's a 24/7 job, even if you do manage to go home at a reasonable time or manage to get a single day off. You'll always have to be prepared for those writers room sessions, thus you'll always need to be working, even on your own time.

You should go into that job knowing that you'll have to make some big sacrifices.

While these seven vital truths may seem like dissuasion, they are actually the details you need to know to demystify the craft and business of television writing.

As mentioned before, it's vastly different than writing features.

If you're still keen on being a television writer and pursuing that specific branch of writing after reading those seven truths, then you're already seven steps ahead of most novice screenwriters currently pursuing that career.

Television is tough. It's difficult to get into. But if you're destined to be there and you do the necessary work that gets you into that writers room, it's one of the best educations in story and character, and also one of the most consistent and fruitful writing careers out there.

Now go write.

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries  Blackout , starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner. Follow Ken on Twitter  @KenMovies

For all the latest ScreenCraft news and updates, follow us on  Twitter,   Facebook , and  Instagram .

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Writing For Television: Our Complete & TV Friendly Guide

Television scriptwriting is the art of telling a story in a particular format. Television is a visual medium and you have to tell your story through pictures.

You also have to include sound effects or music, which will add to the impact that your script has.

The television script can either be for a sitcom or drama. The sitcom usually contains lighter scenes or humor, while the drama has heavier scenes with more depth.

A well-written script can make your audience laugh, cry and get angry all at the same time.

However, writing a good script is not as easy as it seems because there are various rules that you need to follow while doing it.  

writing for television

Writing for television is a very different beast from writing for the stage or film.

The majority of television programs are written by a team of writers. Usually, the show’s creator is at the top of this hierarchy, with other writers being either staff members who work directly with the showrunner or freelance writers who are hired on a per-episode basis.

Regardless of how many people are involved, a successful television series needs a unified voice, which can only be found by a single writer who understands the entire show and knows where it is going.

The overall look and feel of a television program is created by the producers, who have little to do with day-to-day scriptwriting, although they are heavily involved in casting decisions and occasionally will have input into story development.

Writing for television is an art that blends storytelling with the visual spectacle of the screen.

It’s a craft that requires a keen understanding of dialogue, character development, and pacing to keep viewers hooked.

We’ll jump into the essential elements of creating compelling TV scripts, from structuring your narrative to mastering the cliffhanger.

Whether you’re a budding writer or a seasoned scribe, we’ve got the insights to elevate your screenwriting game.

Understanding The Tv Landscape

In today’s media environment, it’s crucial to grasp the ever-changing TV landscape.

Our screens have become a battleground for countless shows fighting for attention.

Streaming services have altered the game, offering endless choices at viewers’ fingertips.

The traditional network model faces stiff competition from platforms like Netflix and Hulu.

This shift demands innovative storytelling to captivate audiences.

We recognize the shift from episodic content to serialized storytelling.

Binge-watching trends encourage writers to craft shows that hook viewers for marathon sessions.

And these aren’t just dramas; comedies too are seeing longer narrative arcs.

Writers must be aware of the demand for diverse and complex characters.

Audiences nowadays seek relatable figures from all walks of life.

In crafting these characters, we’re not just creating a protagonist – we’re reflecting a piece of the world.

The influence of international content shouldn’t be underestimated either.

Hits like Money Heist and Lupin demonstrate the global audience’s appetite for non-English language shows.

This opens doors for multicultural narratives and broadens our storytelling horizons.

Here are some pivotal aspects we must consider:

• Audience Insights – Understanding demographics and preferences – Genre Trends – What’s current may not be in a year’s time,
• Platform Features – Each streaming service has its unique offerings.

By keeping tabs on the pulse of viewer behavior and platform specificities, we stay ahead.

It’s not just about creating; it’s about adapting to the landscape.

The need for high-quality, gripping content has never been greater.

With the right mix of creativity and audience insight, the possibilities are limitless.

As we dive deeper into the elements that make writing for television a unique art form, let’s keep peeling back the layers of this dynamic field.

Crafting Engaging Characters

Creating characters that resonate with audiences is a cornerstone of successful television writing.

We understand that characters must be multi-dimensional and evolve over time, much like real people.

They must embody a complex mix of flaws, strengths, desires, and fears – a framework that allows for growth and surprising yet believable turns in the storyline.

Here are some key considerations when developing characters that leave a lasting impact:

• Authenticity – Characters should reflect real-life diversity and experiences.
• Relatability – Viewers should see aspects of themselves or their world in the characters.
• Conflict and Desire – Characters need clear objectives and face obstacles that challenge them.

The best TV characters are those that your audience can’t wait to see week after week.

They’re the ones who become household names, like Walter White or Tony Soprano .

These characters captivate viewers not just by what they do, but by the inner conflicts they navigate.

It’s their human complexity that keeps audiences hooked.

In the realm of serialized storytelling, characters must be crafted to withstand the test of multiple seasons.

They require depth that can be peeled back layer by layer, revealing new aspects that perhaps even contradict earlier behavior.

This ongoing development enrichens the viewing experience and keeps the audience guessing.

Here’s what to focus on:

• Backstories – These give context to a character’s present actions and decisions.
• Character Arcs – Audiences should witness the transformation or progression of the character throughout the series.

We are aware that characters don’t exist in a vacuum.

Their relationships with other characters add to their complexity and serve as a catalyst for their actions.

Interaction sparks dialogue and conflict, both of which are essential to dynamic storytelling.

Through character dynamics, storylines become more intricate and engaging.

Above all, we prioritize the necessity of empathy.

Whether a viewer loves to hate a character or roots for them to triumph, it’s the emotional connection that eventually drives engagement.

It’s how a character responds to their challenges, how they grow and change, that endears them to the audience.

By focusing on emotional resonance, we create characters that aren’t just part of a story – they become a part of the viewer’s world.

Structuring Your Tv Script

In the realm of television, the script is the backbone of any production.

Crafting a structure that captivates from the opening scene to the final act is crucial, and there are established elements within a script that writers must skillfully navigate.

Television scripts typically adhere to a distinct format, which varies depending on the genre and type of show.

For instance, a single-camera sitcom script differs markedly from the multi-cam variety.

Understanding the nuances of each format helps us craft scripts that meet industry standards and audience expectations.

Act Breaks are essential in structuring, serving both practical and narrative functions.

These are the moments where we build tension, leading viewers to the next part of the story, and they often coincide with commercial breaks in network television.

In streaming services without commercials, act breaks still serve as crucial pacing tools.

Cold Opens and Teasers grab the audience’s attention early on.

This brief, pre-title sequence can set the tone, introduce a character, or kickoff the main plot.

Think about the iconic opening scenes in Breaking Bad or The Office – they’re mastered to hook viewers right from the get-go.

Every successful TV script includes a strong Midpoint – a moment that ups the stakes or changes the story’s direction.

The midpoint ensures that our story’s momentum does not falter and keeps the audience engaged.

Here’s what we take into account when creating powerful midpoints:

• A twist or reveal that changes the protagonist’s goal or strategy.
• An escalation in the conflict or stakes to increase tension. We can’t underestimate the importance of the Second Act Climax , especially in hour-long dramas. This is often where our protagonists face their darkest moments or greatest challenges, setting the stage for the final resolution. The second act climax needs to feel like a culmination of everything that’s come before it, yet it should also leave room for the story to progress and surprise us.

Parsed properly, the end of the second act should naturally transition into the buildup for the final climax, avoiding the common pitfall of storytelling lulls.

This careful pacing mimics the rise and fall of tension in a symphony, keeping the audience emotionally invested.

We keep this rhythm consistent to prepare viewers for the resolution without diminishing interest.

Developing Compelling Storylines

Developing a storyline that resonates with audiences requires a nuanced approach.

We understand the nuances of universal themes coupled with unique, unexpected plot twists are essential.

In the television landscape, character-driven narratives interwoven with engaging plots make for must-watch TV.

We sculpt each storyline by mapping out compelling character arcs that foster emotional connections.

To ensure that our storylines captivate, we imbue them with relatable conflicts and stakes:

• Realistic challenges that characters grapple with, mirroring real-life complexities,
• High stakes that elevate the narrative tension, keeping viewers on the edge of their seats.

Audience expectations are shifting; they’re now craving stories that reflect a broader spectrum of experiences.

We craft our narratives to include diverse perspectives and authentic representations that speak to a global audience.

The success of a TV series often depends on the strength of its overarching plot.

We meticulously plan each season’s story arc to deliver a satisfying journey from start to finish.

Tight pacing is integral to the DNA of any absorbing storyline.

It’s why we balance character development with story progression to maintain a rhythm that holds viewer interest.

Understanding the mechanics behind cliffhangers and plot revelations gives us an edge.

We weave these elements naturally into our storylines, ensuring that each episode contributes to the bigger picture.

It’s crucial for us to be innovative within genre conventions .

By pushing boundaries, we create fresh narratives that keep the genre evolving and viewers engaged.

Each story beat is a building block towards an intricate storytelling experience.

We lay down these blocks with precision, understanding that a well-crafted narrative is the foundation of compelling television.

Mastering The Art Of Dialogue

In crafting dialogue for television, it’s about striking a balance between authenticity and plot progression.

Great dialogue serves multiple purposes – it reveals character, advances the story, and enhances the thematic undertones of the script.

To ensure characters’ voices remain distinctive, it’s crucial to imbue them with individual speech patterns and quirks.

Aaron Sorkin and Shonda Rhimes are pioneers in this realm, showcasing a command over conversations that audiences remember long after the show ends.

Dialogue shouldn’t just mirror real-life conversations; it must be more focused and dynamic.

We cut out the filler and zero in on what needs to be said – the result is snappy, memorable exchanges that drive the narrative forward.

We understand that subtext is the heart of impactful dialogue.

Characters may say one thing but mean another – the unsaid words often carry the weight of their intentions.

Mad Men and The Sopranos excelled at this, crafting scenes heavy with implications.

Engaging dialogue often comes from conflict – whether internal or external.

We aim for:

• Clarity – making sure each line serves a purpose.
• Conciseness – keeping it brief but powerful.
• Subtext – the underlying messages beneath the spoken words.

We also weave in exposition subtly through our character’s interactions, avoiding the dreaded ‘info-dump’.

Exposition becomes a natural part of conversations, allowing viewers to learn about the world without feeling lectured.

By honing these elements, our scripts come alive with the distinct voices of their characters, each line pushing the story to its next beat.

Dialogue echoes the human experience, nuanced, layered, and ripe with emotion, propelling our narratives into the forefront of television storytelling.

Creating Memorable Moments

Perfecting Cliffhangers

When we’re engrossed in writing for television, there’s a pivotal tool in our narrative arsenal – the cliffhanger.

A well-crafted cliffhanger can keep audiences on the edge of their seats, eager for the next episode.

It’s not just about ending on a high note; it’s about weaving a narrative thread that viewers can’t resist pulling.

Essential to mastering the cliffhanger is timing.

We assess the pacing of the episode to ensure the suspense peaks at the right moment.

This can involve a surprising revelation or a question that demands an answer.

These hooks should feel organic, yet disruptive enough to disrupt the audience’s expectations.

To create a cliffhanger that resonates, we focus on two key components:

• Emotional investment: We build strong connections to the characters, so viewers are deeply concerned about their fates.
• Narrative significance: Every cliffhanger should carry weight within the overarching story. It’s not enough to surprise; the moment must matter.

The best cliffhangers blend subtlety with drama.

They signal a shift in the story without feeling out of place.

At the heart, a great cliffhanger is about promise; it promises twists, turns, and a narrative payoff that feels both surprising and inevitable.

We aim to craft moments that linger in the viewer’s mind, creating anticipation for what’s to follow.

Shows like Breaking Bad and Game of Thrones have elevated the cliffhanger to an art form.

They serve as exemplars in creating a torrent of questions that demand immediate answers.

Yet, we know the cliffhanger’s power is not in the questions alone but in the journey towards those resolutions.

By taking into account the emotional journey we’ve guided our audience through, we measure the impact of potential cliffhangers.

They must align with the character’s development and the season’s arc.

We carefully plant seeds that will burgeon into these crescendos of suspense, ensuring they’re neither contrived nor predictable.

finally, it’s not just about leaving our audience wanting more; it’s about honoring the story we’re telling.

Each cliffhanger must speak to the narrative’s heart, propelling it forward with purpose and intent.

Our aim is to create a symphony of highs and lows that resonates across episodes, making our show not just watched but passionately discussed and theorized about in the space between airings.

Writing For Television – Wrap Up

We’ve delved into the craft of keeping audiences on the edge of their seats with cliffhangers that not only thrill but also drive the story forward.

It’s clear that the shows we love have set the bar high, weaving suspense and character arcs into a seamless narrative.

As we strive to emulate the success of iconic series, we must remember the power of a well-timed cliffhanger.

It’s not just about the shock value—it’s about enriching the story and ensuring our viewers are invested enough to return for more.

Let’s continue to push the boundaries of storytelling, creating those unforgettable moments that become a part of television history.

Frequently Asked Questions

What is a cliffhanger in television scripts.

A cliffhanger in television scripts is a suspenseful ending to a show’s episode, which leaves the audience eager to know what happens next, thereby compelling them to tune in for the next installment.

Why Are Cliffhangers Important In Tv Shows?

Cliffhangers are crucial because they create suspense and anticipation, keeping viewers engaged and invested in the storyline, which increases the likelihood of them returning to watch subsequent episodes.

What Are Key Elements Of A Well-crafted Cliffhanger?

Key elements of a well-crafted cliffhanger include impeccable timing, pacing that builds suspense, emotional investment, and narrative significance.

These components work together to make the cliffhanger impactful and memorable.

Can You Give Examples Of Shows With Compelling Cliffhangers?

Shows that are often cited for their compelling cliffhangers include “Breaking Bad” and “Game of Thrones,” both of which kept audiences guessing and eagerly anticipating future episodes.

How Should Cliffhangers Align With Character Development?

Cliffhangers should align with character development by naturally following the protagonist’s journey and reinforcing their growth or challenges.

They should feel like a meaningful extension of the story rather than a forced plot device.

What Is The Purpose Of A Cliffhanger?

The purpose of a cliffhanger is to create a strong narrative hook that maintains the audience’s interest across episodes.

It should propel the story forward with intent and ensure continuity of the viewers’ emotional and narrative engagement.

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Matt Crawford

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How To Write For TV: The Ultimate Step-by-Step Guide to Writing For TV and Breaking Into the Industry.

And why feature writers should write a spec tv script too..

How to write for TV: a step-by-step guide to starting your career as a TV writer. 

As an aspiring screenwriter, you may have noticed there’s quite a bit of confusing information out there regarding writing for television.

In this post, we’re also going to dispel many of the myths and confusion surrounding writing TV scripts.

Here’s what we’ll be covering:  

• Should I write a spec TV script if I’m a feature writer? (Yes)

• If I want to start writing for television, should I try writing a TV show that’s already on air, or an original?

• What about single or multi-camera?

• Network or cable?

• How should I format a TV script?

• What can I do to break into television writing once my script’s done?

So let’s get to it. (Full disclosure: This post includes affiliate links. If you purchase something we make a small commission, at no extra cost to you.)

Click to tweet this post. 

If you want to get into TV script writing you’ll need a “spec” TV script (or three).

As in the land of features, if you want to break in, you’ll need a spec TV script . This is a script written “speculatively” that showcases your talents and can be used as a calling card.

In TV, there are two main types of spec script:

• “Spec TV episode” for an existing show

• “Spec TV pilot” for an original show

Let’s take a quick look at both of these in turn.

What is a spec TV episode?

In the world of TV script writing, a “spec” usually means a sample episode of an existing show . It’s also known as a “TV spec”, “sample episode” and “spec episode.” For the sake of clarity, we’re going to use the latter.

Writing a spec episode is the traditional way writers use to break into television writing. But it’s less in vogue now than a few years ago.

This entails writing an episode of an existing TV series that showcases your ability to write current characters that people know and love. In a way that feels real and familiar, yet fresh.

It means writing characters with pre-set voices and personalities in order to demonstrate that you’re a powerful writer with imagination. But also one who can follow the rules . This means following the show’s formatting structure and overall “voice” of the show.

Writing a spec episode of, say, Modern Family , would require you writing all the families as we know them now. In other words, their quirky character personalities, breaking the fourth wall, etc. And all within intertwining, compelling and funny stories.

How TV writing used to be… 

A while back, this used to be by far the best way to break into writing for television. You’d write a spec episode of a series you loved, and then submit that work through your agent or manager for consideration for a staffing position.

If you “totally got” the way Ross and Rachel bounced off each other. Or had a terrific take on an episode of Law & Order. And you were able to execute a spec TV episode of those shows with confidence, then chances were pretty good that you would be happily considered for a staffing position on that show. Or a similar one.

Executives and showrunners would hire writers who could effectively emulate the tone and voice of the show they were staffing. And a spec episode was the best way to measure that ability.

But times have changed, and so too has the professional strategy for breaking into television writing.

In Hollywood today, spec episodes are much less popular than they used to be. Some showrunners now only read spec pilots for original shows.

This is not to say, however, that writing a spec episode is a complete waste of your time. You’re still building your writing chops, and will also be able to use it as a sample of your writing ability that could get you noticed.

Fellowship season (more on this later) is a prime example of an avenue you can pursue that looks exclusively for spec episodes from aspiring writers.

But let’s bring things up to date with another strategy you can use to begin a career writing for television…

What is a spec TV pilot?

This is a TV script written on spec for an original show you’ve created from scratch and is also known as an “original spec”, “sample pilot” or simply a “pilot.” Again, for clarity, we’ll be sticking to the term “spec pilot.”

It’s easy to imagine that writing a TV show that’s compelling and original is as simple as writing a feature screenplay, but shorter. Unfortunately, you’d be wrong on two counts. Not only is writing a feature about as difficult as it gets but writing a television pilot is in some ways even more difficult.

Sure, the page count is slimmer. But the reality is a pilot functions as a seed for the series it’s jumpstarting. And in order to write a pilot that works as both a writing sample and a potentially saleable series, you have to consider the rest of the tree before you even plant the seed.

How TV writing is today… 

Now, it’s all about “voice.”

Whether you intend to write a TV series for a network or cable, the most important element is that you bring your voice to the project. Your unique view of the world that stands out from the stack of spec TV scripts piled on the desk of any rep, producer or executive.

It’s no secret that we’re going through a second “golden age of television.” Bold, creative choices garner critical praise and admiration. Not only from executives and producers but also, ultimately, high ratings from audiences worldwide.

In other words, television that makes bold creative choices is good for business.  Shows like Master of None, Stranger Things and Atlanta have inspired networks to pursue standout TV show ideas and original voices.

All of which means that showing you can emulate the voice of an existing show has become much less valuable than demonstrating that you have a unique point of view. And the ability to tell an original narrative in an exciting way.

Should I choose to write a spec episode or spec pilot?

Spec feature scripts are written with the intention of being sold and produced. Or at least function as a calling card to showcase a writer’s ability.

TV specs, on the other hand—both spec episodes and spec pilots—are generally used solely as calling cards. The ultimate aim is to get staffed on an existing show.

Just as no one is going to actually film your spec episode of Game of Thrones , it’s super unlikely that anyone is going to buy and produce your original spec pilot.

Only a select few have been made in this way, such as  Mad Men, Glee , and It’s Always Sunny in Philadelphia . And even then, their route to the small screen wasn’t a traditional one, in the sense of being shopped around and bought.

Surely there are exceptions to this TV writing “rule”? 

• The Mad Men spec pilot was written by Matthew Weiner, an established TV writer who had all the right contacts and was able to sell it to AMC.

• Glee was written as a feature by an undiscovered writer and found its way into the hands of Nip/Tuck creator, Ryan Murphy.

• It’s Always Sunny in Philadelphia was a short film, made by and starring a bunch of L.A. actors.

The TV specs that do get bought, tend to be by writers who have a track record . Either in TV ( Mad Men by Matthew Weiner), or features ( Crisis In Six Scenes  by Woody Allen) or both.

So don’t fall into the trap many aspiring TV writers make of concentrating on writing a spec pilot with the sole aim of selling it and getting it produced.

Never say never, of course. But the problem is that there is no traditional “spec market” in television that operates in the same way as in the feature market.

Keep in mind that execs and producers are not really looking for those next big TV show idea from aspiring writers. They do everything in-house.

Can I write a spec TV episode and a spec TV pilot?

Yes! Ideally, you should have both .

The odds of having an original pilot purchased and produced are astronomically high. Even less than selling a feature spec. But having an original pilot is still important. An original pilot shows what you can do when it comes to creating fresh new worlds, marketable concepts, and original characters.

Fresh voices are always sought after and always welcomed. As in the land of features, your voice and your view on the world is what makes you stand out on paper.

So we advise writing a spec episode and a spec original pilot to show the breadth of your talents, and to give yourself the best possible chance of getting staffed on an existing show.

Becoming a TV writer means being flexible. 

As someone looking to start a career writing TV show scripts, we also recommend creating a portfolio that tonally compliments itself. In other words, write an original spec pilot of a show that tonally and thematically explores the same areas as your spec episode of an existing show.

For example, let’s say you’ve written a dark spec pilot that really pushes the envelope when it comes to crime drama. In this case, you’d probably do well to spec an episode of, say, Sneaky Pete , which shows your ability to also handle more mainstream TV sensibilities.

Let’s now take a look at six steps you should take when learning how to write for tv. These are the fundamental questions that should get you started as you consider how to write a script for a TV show, whether that’s a spec TV episode or pilot.

How to write for TV step #1: decide where you’d feel most at home.

Imagine for a moment your ideal TV writing gig… Are you staffed on a network channel like ABC or NBC? Or on cable, i.e. on a show airing on HBO or FX?

This is a crucial distinction, as your answer will dictate the tone and style of spec TV scripts you’ll be writing.

TV writing on networks explained.

If you think you’d feel more at home writing for a network, you’ll be defined by a sense of (for lack of a better word) conventionality . These channels are the homes of workhouse series that rarely veer too far from a relatively rigid format.

Think of shows like Grey’s Anatomy or Modern Family . If you consider their structures by breaking down individual episodes into specific beats, you’ll find that they follow the same arc in almost every episode.

While it might sound like this would make these series easier to write, the opposite is most often true, as finding a series that will function on the 500th episode in a fashion similar to its first episode is a taxing process.

TV writing on cable and streaming explained.

If, on the other hand, you think you’re more of a cable or specialty homes type of writer (think streaming services like Netflix and Hulu), your work will have more scope for originality .

This medium naturally invites a more exciting degree of novelty as it allows the writer to branch out from traditional structure for both comedy and hour-long drama. In this space, you can let your wildest creative impulses guide you in a more broad and expansive direction.

Look at a series like Atlanta , or True Detective , or Insecure . These shows upend convention and focus more specifically on the creators’ unique voices.

They play around with audience expectation, giving us one-off episodes that follow secondary characters. Their protagonists and worlds that are often reflective more of their creators’ worldview than any expectation of what a show “should be like.” A worldview which is often imposed on new writers by network and studio executives.

On a more pragmatic level, cable shows offer more flexibility in terms of profanity, violence and on-screen sexuality. These series are often presented in a limited number of episodes, i.e. to tell an anthology story, as opposed to a franchise designed to run for decades.

In other words, there are more creative liberties for you as a creator and, currently, there is also more opportunity in this space.

Overall, if you want to write this type of show, your choice of content is not so restricted. Procedurals—including shows about hospitals, police work and legal fields—tend to land on traditional TV.

But if you want to go all out with zombies, sci-fi or any other genre, you will find endless creative freedom beyond the boundaries of network television.

How to write for TV step #2: pick a couple of shows you love.

Firstly, what TV shows do you absolutely love ? And secondly, what genre are they?

This may seem like a simple statement to make. But it’s important that you focus on the genre and type of show that’s going to keep you excited , rather than writing something just because it’s “current.”

Your enthusiasm for the tone and genre of script you’re writing will come across on the page—in the story world, plot, characters, dialogue, and so on.

Start by writing a list of your favorite TV shows.

Start by making a list of your favorite shows and then decide what one you want to write as a spec episode or emulate in a spec pilot.

However, rather than write a list that contains both drama and comedy, pick one over the other. As a newbie television writer, you’re much better off positioning yourself within a certain genre , instead of attempting to be a jack-of-all-trades who can “write anything.”

Deciding on a genre is about as elemental as it gets, but it will give your script its first embryonic shape.

Do you want to write drama? If so, then your TV scripts should typically fall somewhere between 55 and 65 pages . If you want to write comedy TV show scripts, then they should be landing around the 25-page mark , but these are by no means hard and fast rules.

Once you know where your natural TV writing habitat lies—network or cable—what your favorite shows are within that space, and whether you want to kick off with a spec episode or spec pilot, you’re ready to start some serious research.

A quick note on writing spec TV episodes: pick a show that’s popular and currently on air .

For example, even though Frasier may be your favorite show of all time, once a show is over it becomes obsolete in terms of using it as a writing sample.

How to write a script for a TV show step #3: research your chosen show(s) to death.

Attempting to learn how to write a TV script without actually studying your chosen show, is a bit like trying to learn to play rock guitar without learning any Jimi Hendrix licks.

Make it your mission to know whatever show you want to write or emulate, inside out. Do this by following these steps:

Read as many TV scripts as you can.

A good starting place is this collection of 50 of the Best TV Scripts to Download in Every Genre . You should also go to a screenplay download site, such as SimplyScripts or Script City and download as many episodes of your favorite show as you can and get reading.

Note: You want to go for the actual teleplays, though, and not one of those ubiquitous “transcripts.” These just contain someone’s transcript of the dialogue and nothing else.

Reading the real TV scripts of the series you want to write or emulate is probably the best way to learn how to write for TV.

Write outlines of TV shows.

We’re big believers in writing outlines of movies as you watch them and then breaking them down in order to master structure, and the same goes for writing a TV series.

Simply, sit down with your laptop and type out what happens on screen in one or two sentences. Then break down the resulting document into sequences and acts.

Transcribe TV shows.

I know a moment ago we told you not to bother with reading transcripts, but actually writing them yourself  is another matter.

You’ll learn so much about how to write a script for a TV show. Whereas writing outlines is great for learning about structure, writing transcripts is great for dialogue and will really help you find the voice of your characters.

Read books on how to write a TV show.

There are some great books out there on how to write for TV such as   Writing the TV Drama: How to Succeed as a Professional Writer in TV by Pamela Douglas.

We also highly recommend  Writing The Pilot , by William Rabkin.

Do all of the above and you’ll not only learn the exciting stuff on how to write for TV. But now it’s time to get to the less exciting stuff—the technicalities…

How to write a TV show step #4: master television script format. 

Now, we know you can’t wait to get stuck in and start creating that unique world or kick-ass episode of an existing show, but it’s important to also be able to present your TV script professionally .

If you’re used to writing feature screenplays, then switching to TV scripts shouldn’t be too much problem as the fundamentals are pretty much the same.

Especially when it comes to writing a single-camera show for cable or streaming.

Do I have to buy screenwriting software, or can I just write my TV script in Word?

The first thing you want to do is purchase one of these five best screenwriting software if you don’t already own one. This will help make sure your script formatting is up to industry standard.

Final Draft handily has the TV script formats for many of the most popular shows preloaded in its template database .

There are also some free screenwriting software options out there, but if you want to take breaking into TV script writing seriously, we’d recommend spending a bit on some pro gear.

Professional scriptwriting software will take most of the formatting heavy lifting out of your hands, leaving you to concentrate on what counts: the story and characters.

The biggest thing you’ll have to watch out for when writing a TV script, is its structure , as this will affect the formatting.

Television script format and structure: a clear overview. 

Broadly speaking, your TV script’s structure will fall into one of the three categories below:

• 1-hour drama . This is a 60-minute show that may or may not contain commercial breaks. They can roughly be broken down into procedurals such as The Mentalist , i.e. self-contained stories every week, and serialized shows such as  Homeland,  in which the plotline develops from episode to episode.

• 30-minute single-camera comedy . Single-cams feel more like a feature film as they’re shot in the same way, sometimes utilizing a hand-held camera style. Examples include The Goldbergs and Curb Your Enthusiasm .

• 30-minute multi-camera comedy . Multi-camera comedies represent the traditional way of filming sitcoms: in a studio, sometimes in front of a live audience, sometimes with a laughter track. Frasier and Last Man Standing are both examples of this format.

As we’ve mentioned, there’s not a great deal of a difference between writing features and TV writing. The main difference between the two—and also between writing a 1-hour drama and 30-minute comedy—is how the stories are structured.

So let’s now take a brief look at the different structures of each of these three TV script formats.  

( Note: The following examples are all for networks as they include teasers, act breaks and tags. Writing for cable generally means you leave this out and format the script in the exact same way you would a feature.)

1-hour drama.

Here are the main elements of a 1-hour TV drama —all of which, unlike in features, are written directly onto the page by the writer:

•  Teaser •  Act 1

•  Act 2 •  Act 3

•  Act 4 •  Act 5 (sometimes)

Some contain commercial breaks while others don’t. If they do, then the next time you watch your favorite drama, note where they land as these will give you your act breaks .

Here’s an example of 1-hour TV script formatting from the Breaking Bad   pilot:

Generally speaking, the Teaser takes up the first two to five pages, introduces the audience to the characters and story world, and (hopefully) hooks them into wanting to see more.

Then the subsequent acts each gain in conflict, much like in a feature, and end on a big cliffhanger to hook the audience into watching the next act or episode.

If you’re writing for a network, each one prefers their acts at different lengths and to be broken down in different ways, so you will want to tailor your script according to their preferences.

This is where you as a writer need to do your research.

Here are some 1-hour TV scripts to read:

• Breaking Bad

• Game of Thrones

• Sneaky Pete

30-minute single-camera comedy.

The way a 30-minute single-camera show is formatted is pretty much the same as a feature or a 1-hour TV drama.

While some single-camera shows confusingly actually sometimes use more than one camera, the key element to bear in mind is that they have more of a cinematic   feel to them.

Here are the main elements of a 30-minute single-camera show—again, with headings written directly onto the page:

• Cold Open (same thing as a Teaser)

And here’s an example of a single-camera TV script from  Parks and Recreation :

The obvious difference here is that all of the conflict is condensed into just three acts (sometimes only two).

They also contain a Tag at the end of the script which acts as a “button” to the whole show—that final joke for the audience to take away with them.

Here are a few single-camera TV scripts for you to read:

• Modern Family

•   Parks and Recreation

30-minute multi-camera comedy.

Multi-camera TV scripts are kind of an entity all to themselves when it comes to formatting.

Unlike, features, 1-hour drama scripts and single-camera sitcoms, multi-camera TV show scripts tend to have a more technical “production” formatting style , which can bloat an otherwise regular 22-page script into 52 or more.

This is because they’re shot fast, usually in front of a live studio audience, and so their formatting needs to be that much more specific.

Here’s an example of the formatting in a multi-camera sitcom script, Frasier :

Also, all the dialogue is double-spaced which, along with the description being in ALL CAPS, helps beef up the page count.

Here are some multi-camera TV scripts to read:

• The Big Bang Theory

Now, some people advise against aspiring TV writers employing the multi-camera format in their spec episodes and just write them in the more familiar single-camera style. This is because it’s deemed too complicated and specialized to pull off correctly.

However, we think that if you do your research correctly there’s no reason why you shouldn’t take the opportunity to show whoever reads your script that you’ve really taken the time to master the craft.

In closing, remember that aside from the structure, different networks, cable and streaming services also have their own formatting requirements . One may want scene headings underlined, while another may prefer they’re not and so on.

The best advice we can give is find produced scripts in your chosen field and then study them until their format and structure become second nature.

How to write a TV show step #5: write a jaw-droppingly good script.

Now that you’ve decided where you’d like to work, in what genre, and mastered the basics of formatting, you can start to get into the fun stuff: writing a killer TV script that will open doors for you.

This is, of course, easier said than done, but this is where your talent and perseverance as a writer needs to come to the fore.

We don’t have space in this post to get into the minutiae of how to write a TV show script (there are plenty of great books on writing for TV out there.) So we’re going to focus here on the most important element you should take away with you.

How do I make my spec TV script unique?

The most relevant question you can ask yourself if you’re writing an original 1-hour spec pilot is: What’s my personal connection to this material ?

In other words, why are you the only person who could tell this story? The more specific and honest an answer you can give to this question, the more value you’ll bring to the material.

The first step of breaking into the TV writing business using a spec pilot is writing one that communicates you, your worldview , and your unique story.

Not only should this pilot sample be a reflection of your interests and vision, but it should also be loud and attention-grabbing. This is your calling card, so make it something special and you will be presenting yourself as a strong addition to any writing staff.

How to create a TV show bible.

A way to really stand out amongst the crowd of TV writing aspirants, consider building out a “show bible” —a document that touches on the broad goals of your series. Address character, set up, what each individual episode feels like, and how you view the series growing beyond a single season.

Really dig into what your primary story arcs are, and how they’ll integrate into the B and C stories. Basically, what are the beats that define your series? What are the most significant elements that make your series unique?

Is your series a procedural, where every episode of each season follows the same pattern? Or is it an anthology series like American Horror Story , which reboots its story each season, in spite of having a thematic through-line?

In other words: you’ve written a great pilot, but you’re also considering the future of your concept .

Admittedly, this is a challenging prospect, but one that will serve you well in the long term. Not only will you have a greater understanding of what your series is (and how to pitch it), you’ll also be in a stronger position to sell your work if you ever find yourself in the position of doing so down the line.

In our post How to Pitch for TV , you can find show bibles examples and practical tips on how to pitch your tv show idea. Take your time, build your world, and execute your vision with confidence and precision.

How to write for TV step #6: research how to break in. 

Once you’ve completed the hard work of actually writing your brilliant new TV script, you’re undoubtedly eager to share your work with the most powerful hands in Hollywood. And this is where the real work begins…

As with writing features, your best bet is to find a manager or producer who accepts submissions or queries and do whatever you need to do to get your work in front of them.

Check out this post How to Get a Screenwriting Agent for a more in-depth guide.

How to gain representation as a TV writer. 

The general thing you want to do, though, is to fully research the lay of the land and where your TV spec may find a home.

Work out who are the people you want to get your work in front of—people who fit your brand, genre, sensibilities, and target demographic. For example, there’s no point submitting your dark n’ edgy crime thriller to Nickelodeon.

In short, even if you have a terrific manager already, or land one in your pursuit of staffing success, the truth is you truly do need a television agent to break into the industry.

Television agents have a special relationship with staffing executives and producers, and without making it past this threshold, you have very little chance of even booking a general meeting with television executives.

There are, however, a few other viable routes which you can use which circumvent the traditional need for representation in order to staff: TV writing contests, fellowships, and labs.

Let’s take a look at each in turn.

TV script writing contests.

There are a number of television writing competitions that promise to boost your career in impossible ways, but we can assure you: there’s no “get successful quick” scheme that actually works.

Instead, do some due diligence and seek out the reputable contests that’ll guarantee to help advance your career.

Do your research on the best screenwriting contests out there, most of which have dedicated TV writing categories.

TV writing fellowships and labs.

Several networks run television writing fellowships and labs for talented, aspiring writers and are a fantastic way of breaking into the industry if you’re lucky enough to get picked.

They often offer the opportunity to get paired up and mentored by seasoned TV writers, but you’ll have to submit a TV spec episode and the competition is tough .

•   Nickelodeon

•  Universal

•   Sundance Episodic Storytelling Lab

•   Warner Bros.

These are all trustworthy incubators for television talent that rely on just your writing, as opposed to the staffing process that involves several rounds of meetings (and having to impress a whole network’s worth of people!)

“My experience put to work a bit of all of the above. I trained as a writer in a graduate program that opened a lot of professional doors for me. Through the connections I made there (and unfortunately, undeniably, connections are an enormous part of this process), I was able to get my work in front of a manager who saw my vision and supported my goals as a writer. “After working on features with my manager, I sold a script for a high-concept feature that opened lots of doors for me, including pairing me with a features agent. Months later, I was invited to participate in the Sundance Episodic Storytelling Lab for a television project that eventually found me a terrific television agent who also supports my vision and abilities”.   John McClain (Screenwriter)

How do I work my way up the TV writing ladder? 

Finally, another tried and trusted way to break into writing for television is to get a job as a writing assistant , or at least in the mail room at a production company or agency.

Age plays a factor here, though, as most of these positions are taken by graduates and people in their twenties. In fact, when learning how to write for TV, it’s also important to consider other factors within and outside of your control…

Is age an issue when becoming a TV writer?

It is important to note that age is definitely something that dictates your options in TV land. The younger you are, the more attractive you are to a showrunner because your voice and style are expected to be young and current.

It is how it is, though, so keep that in mind if you are going to turn your life upside down to try and get staffed on a show.

We have a post on Agism in Hollywood that you might want to check out too.

What about location?

If you’re writing features you can be practically anywhere in the world when it comes to breaking in.

Of course, we recommend being in Los Angeles which we’ve already written about in our post 4 Bad Reasons Screenwriters Give For Not Moving To LA (And Why You Should Ignore Them) .

When it comes to writing for television, however, you really do need to live where they make TV . This is because you’ll not be able to get staffed on a show if you can’t walk in the next day and start work.

In this respect, it’s much more like a regular day job, and you wouldn’t expect to get a job on Wall Street while living in Tacoma.

How to write a script for a TV show: frequently asked questions. 

Q1. What degree do you need to write for TV? A. If you’re wondering how to get a job writing for TV, put any thoughts about needing a degree first out of your mind. The best (and cheapest) way to break in is as outlined above in this post. However, if you have the time, money, and are relatively young, then here are the best screenwriting courses in the US, Canada and worldwide .

Q2. How do you break into writing for TV?  A. Follow the advice in this post! Keep writing, breaking down and analyzing TV scripts , getting feedback on your spec TV scripts , reading TV scripts , marketing, networking, etc. and, with some patience, you can  make it. Is it hard to become a TV writer? In a word, yes. But that doesn’t mean it’s impossible. Far from it.

Q3. How much do TV script writers get paid?  A. It all depends, of course, but if you’re in the WGA, it’ll probably be somewhere between $5 and $50 per episode.

Q4. How do you become a Netflix writer?  A. Luckily we have a post on how to do just that: How to Pitch a TV Show to Netflix, Cable and the Networks in 8 Steps .

How to write for TV: conclusion.

In the end, we recommend attempting to break into Hollywood armed with   a portfolio that contains both feature screenplays and TV scripts .

The two play off each other and so you may get an assignment in one format which leads to greater things in the other. Keep your options open and be flexible, because having success in either medium will naturally help the other.

Like with writing features, writing for television all comes down to story and character. So remember to always be original and fresh , even if you are writing a spec of a pre-existing show.

Always come up with original TV show ideas, always stick to your unique voice, put them down on the page and see where they take you.

We hope this guide has helped dispel some of the confusion surrounding how to write a script for a TV show and wish you the best of luck on your journey. Leave a comment below and feel free reach out with any questions you may have on how to write for TV. 

Got a TV script you want us to review? Check out our TV script coverage services.

Enjoyed this post? Read more on how to write for TV (and features too)…

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Series overview, how to write a tv show in the modern era, proven screenwriting tips for tv writing and development..

Whether you're a TV writer, a producer/showrunner in development, or a video creative crafting a branded entertainment web series, these universal screenwriting tips will help you brainstorm and create an exciting story that's marketable and relevant in the golden age of television. 

The appetite for great television has never been higher than it is right now. People are finding shows that connect with them on networks, cable, and digital platforms. With all these shows, it can be hard to get your idea to stand out. You can't only have an idea, you need a script, a bible, a pitch, and it has to look and feel professional .   

In this series, we'll take you through the entire process, from ideation to completion. Each episode will zero in on specific screenwriting tips and screenwriting techniques that can help you on your journey to become a professional writer. 

Regardless of your intention to move to Hollywood, win a screenwriting contest, or just write something you'll produce yourself, these methods will push you to become the best writer you can be and have it reflect on the page. 

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Tv writing & development: ep 1, developing your story: how to write a tv treatment that hooks.

Are you writing a procedural drama? A half-hour comedy? Something for serialized cable? Figure out your series-wide story arcs, and get the idea out of your brain and into a TV treatment.

TV WRITING & DEVELOPMENT: EP 2

Character dynamics: what's happening in your world.

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Writing the pilot: get your idea onto the page..

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This is it, the moment you've been waiting for, you get to finally write "Fade in." It's essential to make sure your script is a page-turner. We'll cover screenwriting tips to keep your readers engaged.  

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How to write a logline: tell your story in 1 sentence.

• Freebie: Logline Generator Template

Your pilot is anywhere from 5-60 pages. That's a lot of story. But can you boil them down to just a logline? We'll help you get the important parts of your story into a logline that catches every producer's eye.

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You want to have a show with "legs" so people can see potential for 100 episodes. The bible is key to attaching producers and getting any television network to believe in your idea. We'll show you how to make one. 

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The pitch: are you good in the room.

• Freebie:  "Pitch Map" Worksheet

You've lived in this story's world by yourself for long enough, now it's time to see if the executives are on board. Do you have what it takes to make total strangers passionate about your idea? Let's find out! 

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The leave behind: heard a "no" or a "maybe" you're not dead yet..

Once your pitch is over there are lots of other ways to get your idea bought and made. We'll cover ideas like teasers, web series, and trailers to help bolster your chances at success. Remember, all writing is rewriting. 

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Screenwriting

What is tv writing, in this article, tv writing vs. film writing, rough draft, getting feedback, second draft, formatting standards for tv scripts, what to do with your finished pilot: 5 suggestions, improve your tv writing skills.

Television writing, often simply referred to as TV writing, is a specialized form of storytelling that brings narratives to life on the small screen. It stands as a dynamic and integral component of the entertainment industry, captivating audiences with compelling characters, intricate plots, and memorable dialogue.

TV writing is a distinct craft, although it shares common elements with other forms of storytelling such as fiction and film writing. Like its counterparts, TV writing delves deep into the art of character development, the creation of engaging story arcs, and the mastery of dialogue that resonates with viewers. However, TV writing possesses its own unique attributes and nuances, shaped by the episodic nature of television series and the need to sustain audience engagement over extended seasons.

In the world of TV writing, writers collaborate closely with producers, directors, and showrunners to craft narratives that unfold progressively, creating a sense of anticipation and suspense. Each episode contributes to a larger story arc, revealing character growth and plot twists that keep viewers hooked.

This article delves into the captivating realm of TV writing, exploring its distinct characteristics, its relationship to other storytelling mediums, and the craft that brings television series to life. Whether you’re an aspiring writer, an avid TV enthusiast, or simply curious about the magic behind your favourite shows, this journey into the world of TV writing promises to be an enlightening and entertaining exploration.

While both TV writing and film writing share the fundamental goal of storytelling, they diverge in several key aspects that define their respective crafts. These distinctions encompass script length, narrative structure, pacing, and even the creative freedoms granted to writers.

Script Length : One of the most apparent disparities lies in the length of the scripts. Film scripts, designed for the relatively concise duration of a movie, typically span around 90 to 120 pages. This brevity demands that every scene, line of dialogue, and character interaction contributes significantly to the overarching narrative. In contrast, TV writing encompasses multiple episodes, each with its own script. Depending on the series format, the total length of TV scripts can be substantially longer than a single film script, allowing for more extensive character development and intricate subplots.

Story Pacing: TV writing faces the unique challenge of maintaining viewer engagement across an extended series. Consequently, TV narratives often employ slower pacing and subplots that gradually unfold over multiple episodes or seasons. This approach permits a more in-depth exploration of characters and storylines. In contrast, film writing must condense the story into a limited time frame, necessitating a more rapid narrative progression and concise character development.

Narrative Constraints: Television series often adhere to specific narrative constraints, such as adhering to established continuity and character arcs. TV writers must consider the existing storyline, character history, and previous episodes when crafting new scripts to ensure consistency. In contrast, film writing allows for greater creative freedom, as most movies exist as standalone narratives with minimal ties to previous works.

Character Development: TV writing excels in character development due to the extended time available for growth and change. Viewers become deeply invested in the lives and evolutions of their favorite TV characters. In contrast, film writing must often distill character development into a shorter time frame, requiring concise yet impactful storytelling.

Creative Opportunities: While both mediums offer creative opportunities for writers, TV writing can provide a more extensive canvas for storytelling. The episodic nature of television allows for a diverse range of storylines and character arcs, catering to a broader audience. Film writing, while offering creative depth, typically confines narratives to a single, self-contained story.

So what does this all mean?

TV writing and film writing are two distinct but complementary forms of storytelling, each with its own set of challenges and opportunities. While film scripts focus on concise, self-contained narratives, TV writing offers the canvas for expansive character development and ongoing storylines that can captivate audiences over multiple seasons. The key to success in either field lies in mastering the unique techniques and conventions that define these creative endeavours.

Writing a Pilot

In the realm of TV writing, crafting a pilot episode serves as the crucial first step in bringing a television series to life. This pivotal script lays the foundation for the entire show, introducing characters, setting the tone, and captivating the audience. Writing a pilot is a creative endeavor that demands meticulous planning, storytelling finesse, and a keen understanding of the television medium’s unique dynamics.

The journey of writing a TV pilot begins with the creation of a rough draft. This initial phase involves brainstorming ideas, outlining the plot, and translating the concept into a written script. Many writers opt to start with a detailed outline, breaking down the pilot episode scene by scene. Others may prefer taking copious notes, jotting down character traits, essential plot points, and memorable dialogue.

Creating a rough draft is about giving your ideas a tangible form, allowing you to explore the narrative’s flow and character dynamics. It’s a stage of experimentation and exploration, where the goal is to capture the essence of your story without being overly concerned with perfection.

One invaluable aspect of the TV writing process is seeking feedback from experienced mentors or fellow writers. Joining writing classes or workshops can provide a structured environment for obtaining constructive criticism. Feedback from mentors who have navigated the complexities of TV writing can offer valuable insights, helping you refine your pilot script.

This feedback-driven approach allows you to view your work from different perspectives and identify areas that may require improvement. It can encompass character development, plot coherence, dialogue authenticity, or pacing issues. Incorporating feedback enables you to polish your script and address any blind spots you might have missed during the initial writing process.

With feedback in hand, you can embark on the journey of transforming your rough draft into a refined second draft. This phase entails a meticulous review of your pilot episode, focusing on enhancing storytelling elements and addressing any issues raised during feedback sessions. It’s an opportunity to fine-tune character arcs, strengthen plot progression, and elevate the overall quality of your script.

During this revision process, consider the pacing of your narrative. Ensure that your pilot episode engages viewers from the opening scene and maintains their interest throughout. Successful TV writing often balances exposition, character development, and plot advancement, creating a seamless viewing experience.

The final stage in writing a pilot is the polishing phase. This is where attention to detail is paramount. Review your script for grammatical errors, formatting consistency, and ensuring that the dialogue is authentic to the characters. Every line of dialogue and narrative description should contribute to the overall impact of the episode.

Polishing also involves refining the visual storytelling elements. Consider how the scenes are structured and whether they effectively convey the intended emotions and themes. Additionally, ensure that your pilot script adheres to industry standards for television writing.

In the world of TV writing, adhering to industry-standard formatting conventions is paramount. These conventions ensure that your script communicates effectively with producers, directors, and other members of the production team. Here are some typical formatting standards for TV scripts:

• Title Page : Begin with a title page that includes the show’s title, your name, and contact information. This page sets the stage for your script and provides essential details for potential readers.
• Font and Margins : Utilize a legible, industry-standard font such as Courier or Courier New, and maintain consistent margins. The standard font size is 12 points. Ensure that your script is double-spaced for easy reading and note-taking.
• Scene Headings : Scene headings (also known as sluglines) indicate the location and time of each scene. They are written in all capital letters and include INT. (interior) or EXT. (exterior) to specify the setting, followed by the location and time of day.
• Action Lines: Action lines describe the actions and movements of characters within a scene. They are typically written in present tense and provide concise, visual descriptions to guide the reader’s imagination.
• Character Names and Dialogue : Character names are centered and capitalized above their dialogue. Dialogue is left-justified. Parentheticals, which provide additional context for how lines should be delivered, are placed in parentheses beneath character names.
• Transitions : Use transitions like “CUT TO:” or “FADE IN:” to indicate changes in scenes or transitions between acts. These help convey the pacing and flow of your script.
• Act Breaks: In TV scripts, act breaks are often signaled by a page with “END OF ACT [NUMBER]” centered in capital letters. This informs the reader and production team of the script’s structure.
• Page Numbers : Number your script’s pages consistently in the top right corner. Page numbers ensure that your script remains organized during production.

Once you’ve completed your TV pilot script, a world of possibilities opens up. The next steps can vary depending on your goals and circumstances. Here are some suggestions:

Pitching : If you’re looking to sell your pilot or secure a production deal, crafting a compelling pitch is crucial. Pitch your idea to production companies, networks, or streaming platforms that align with your project’s genre and style.

Networking: Building relationships in the industry can lead to opportunities. Attend industry events, join screenwriting associations, and connect with fellow writers, directors, and producers. Networking can help you find collaborators and open doors for your project.

Feedback and Revision: Consider seeking feedback from peers, mentors, or professional script consultants. Use their insights to make necessary revisions and improve your pilot script.

Competitions and Fellowships : Submit your script to reputable screenwriting competitions and fellowships. Winning or placing well in these competitions can provide recognition and exposure.

Independent Production: If you have the resources, you can explore producing your pilot independently or with a small team. This can be a way to showcase your work and generate interest from industry professionals.

Improvement is an ongoing journey for TV writers. By following the steps and suggestions we highlighted above, you’ll be well on your way to writing for TV. 

Becoming a proficient TV writer is a dynamic journey that combines knowledge, creativity, and perseverance. By mastering formatting standards, taking strategic steps with your finished pilot, and continually improving your skills, you can navigate the world of TV writing and bring your captivating stories to the small screen.

Oh, and one more thing — if you found this article helpful, you should consider subscribing to Toronto Film School’s industry-focused newsletter Insider Advantage . Packed with exclusive content and useful industry insights, Insider Advantage is essential reading for anyone looking to make their mark in the world of film and television.

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Screenwriting Basics

Crafting Compelling Stories: A Guide to Writing a TV Show Screenplay

Jan 4, 2024

Avinash Prabhakaran

Television has become one of the most powerful and popular mediums for storytelling. From gripping dramas to laugh-out-loud comedies, TV shows can captivate audiences and leave a lasting impact. 

If you've ever dreamt of creating your television show, you must start with a strong screenplay. 

In this guide, we'll walk you through the essential steps to write a screenplay for a TV show that stands out and grabs the attention of producers and viewers alike.

Conceptualize Your TV Show

Before you put pen to paper (or fingers to keyboard), you must have a clear vision for your TV show. Consider the following:

Genre:  Determine the genre that best suits your story. Is it a drama, comedy, thriller, sci-fi, fantasy, or a mix of genres?

Target Audience:  Who are you creating this show for? Define your target audience, which will influence your screenplay's tone, style, and content. 

Premise:  Craft a compelling premise that encapsulates the essence of your show in a sentence or two. What makes your show unique and engaging?

Create Engaging Characters

Memorable characters are the heart of any excellent TV show. Spend time developing your characters, including their backgrounds, motivations, and arcs. 

Ensure that each character has a distinct personality and role within the story. Consider:

Main Characters:  Who are the central figures in your show? What are their strengths, weaknesses, and aspirations?

Supporting Characters:  Consider the side characters who will interact with the main cast. How do they contribute to the storyline?   

Character Relationships:  Explore the dynamics and relationships between your characters. These relationships can drive the plot and create depth.

Outline Your Story

Before diving into the writing, create a detailed outline of your TV show's plot. Outline the major story arcs for each season and the individual episodes within those seasons. A well-structured outline will help you stay on track and maintain a cohesive narrative.

Act Structure:  Divide your episodes into acts with clear turning points and cliffhangers to keep viewers engaged.

Series Arcs:  Plan the overarching storylines that will span multiple seasons, ensuring a satisfying long-term narrative.

Individual Episode Plots:  Craft concise summaries for each episode, highlighting the key events and character developments.

Write the Screenplay

Now, it's time to start writing the screenplay itself. Follow these guidelines:

Formatting:  Learn and adhere to industry-standard formatting for TV screenplays. There are software programs available, such as Final Draft and Celtx, that can help with proper formatting.

Dialogue:  Write authentic and engaging dialogue that reflects your characters' personalities. Each character should have a unique voice.

Visual Storytelling:  Remember that television is a visual medium. Use descriptions and actions to convey emotion, tone, and setting.

Pacing:  Maintain a balance between action, dialogue, and character development to keep the audience's interest.

Revise and Polish

Writing a TV show screenplay is a creative process, and your first draft is unlikely to be perfect. It's essential to revise and polish your work to improve its quality:

Seek Feedback:  Share your script with trusted friends or writing peers for constructive feedback.

Rewrite:  Be prepared to rewrite and revise your screenplay multiple times, focusing on improving character depth, plot coherence, and pacing.

Proofread:  Pay attention to grammar, spelling, and formatting. Errors can be distracting and detract from the reading experience.

Pitch Your TV Show

Once you have a polished screenplay, it's time to pitch your TV show idea to producers, networks, or streaming platforms. Craft a compelling pitch that includes:

Logline:  A concise and captivating summary of your show.   

Treatment:  A detailed document that outlines the show's concept, characters, and story arcs. 

Sample Episode:  Write a standout episode that showcases your storytelling skills.

Writing a TV show screenplay is a challenging but rewarding endeavor. It requires creativity, dedication, and a keen understanding of the medium. 

By conceptualizing a compelling story, creating memorable characters, and crafting a well-structured screenplay, you can increase your chances of bringing your vision to the small screen. 

Remember that perseverance and continuous improvement are crucial to success in the world of television writing. Good luck, and may your TV show screenplay shine brightly in the competitive world of television storytelling!

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The TV Writer's Workbook: A Creative Approach To Television Scripts Paperback – March 27, 2007

• Print length 304 pages
• Language English
• Publisher Delta
• Publication date March 27, 2007
• Dimensions 5.23 x 0.67 x 8.16 inches
• ISBN-10 0385340508
• ISBN-13 978-0385340502
• See all details

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Editorial Reviews

From booklist, about the author, excerpt. © reprinted by permission. all rights reserved., product details.

• Publisher ‏ : ‎ Delta; 2/25/07 edition (March 27, 2007)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 304 pages
• ISBN-10 ‏ : ‎ 0385340508
• ISBN-13 ‏ : ‎ 978-0385340502
• Item Weight ‏ : ‎ 2.31 pounds
• Dimensions ‏ : ‎ 5.23 x 0.67 x 8.16 inches
• #148 in TV Shows
• #183 in Screenwriting (Books)
• #802 in Fiction Writing Reference (Books)

About the author

Ellen sandler.

ELLEN SANDLER was nominated for an Emmy for her work as a Co-Executive Producer of the CBS hit series, "Everybody Loves Raymond." She has written for many other prime time network television comedies, including ABC's "Coach," and has created original television pilots for ABC, CBS, NBC, Fox Family, Oxygen Network, and the Disney Channel.

Internationally, she has consulted on series development for The ABC, Australia and The Australian Children's Television Foundation in Melbourne; the CBC, Canada; and for producers in Dubai, Germany, Tokyo and MediaCorp, Singapore's major producer of television content.

Currently, she is Executive Producer and Director of "Marisa Rules," a webisode series for teenage girls, and is the author of THE TV WRITER'S WORKBOOK (Bantam/Dell), which is used as a text by both UCLA and USC film schools.

Ellen is also a playwright and director. She adapted N.Y. Times food writer Mimi Sheraton's book, THE BIALY EATERS, which she produced and directed for the Jewish Women's Theatre in Los Angeles. Her play "Jewish Roots" was produced at the Hudson Theatre in Los Angeles and later performed as a fund raiser for the WGA Strike Fund starring Fran Drescher. "How'd It Go?" which she co-wrote and directed, starred Megan Mullally at the HBO/Warner Bros. Workspace and was subsequently developed as a pilot for the Oxygen Network.

Both a teacher and a consultant, Ellen provides script development and career coaching for professionals and emerging writers in the entertainment industry, as well as writing workshops and seminars at conferences and universities both in the US and abroad. She teaches Comedy Writing for the UCLA Extension Writer's Program, and Television Writing at The Herbert Berghof Playwrights Foundation and MediaBistro in New York. She has been a guest lecturer at many colleges and universities, including New York University, Marymount Manhattan College, The New School, and the University of Southern California.

Ellen is a member of the Writers Guild of American and The Dramatists Guild. She holds a BS from Syracuse University, and an MFA from The American Film Institute.

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• April 28, 2023

Looking to become a successful TV writer or improve your writing skills?

We’ve scoured the shelves and poured over pages to bring you a comprehensive guide that includes a range of resources, from William Rabkin’s Writing the Pilot  to Steven Pressfield’s The War of Art .

Each book offers practical advice and insider insights that are invaluable to aspiring TV writers, covering everything from character development and storytelling to navigating the TV industry. Whether you’re a seasoned pro or just starting out, these resources are an essential addition to any writer’s toolkit.

Ten Best Books on TV Writing

1. Writing the Pilot by William Rabkin.

As a professional TV writer and showrunner who also teaches and trains aspiring writers and showrunners, I lean towards books written by actual writers and showrunners. William Rabkin is a veteran TV writer and showrunner who’s written three must-haves – Writing the Pilot, Writing the Pilot/Creating the Series  and his newest, Writing the Pilot: The Streaming Series . They’re all terrific, but if you’re to pick one, I’d go with this one, the OG.  Why is this at the top of my list of best books on TV Writing? This one will teach you all you need to know about writing pilots, creating series, and going pro with zero fluff.

2. The Idea by Erik Bork.

Bork’s The Idea: The Seven Elements of a Viable Story for Screen, Stage, or Fiction  is an excellent resource for aspiring TV writers looking to develop compelling story ideas. Bork, an Emmy-winning writer and producer, offers practical advice and clear guidance on how to create a high-concept, emotionally engaging story that will resonate with audiences. He breaks down the essential elements of a strong story, such as a unique premise, compelling characters, and clear goals and obstacles. This is not a practical “how-to” guide so don’t expect worksheets or step-by-step instructions. But if you’re looking for a deep dive into what makes a concept really work, this is the one.

3. Save the Cat! Writes for TV by Jamie Nash.

I have mixed feelings about the school of ‘Save the Cat’. I’m a fan of the Save the Cat beat sheet, a simple schematic all screenwriters can use to start beating out their story. My issue with the Save the Cat school of thought is with its steadfast insistence on character relatability over character complexity. But this book hits different. Writer Jamie Nash has taken what really works from Blake Snyder’s original Save the Cat doctrine and adapted it for tv writing with strong results. His book focuses on the specifics of writing for television, offering a step-by-step guide to structuring your TV scripts, creating memorable characters, and crafting binge-worthy storylines. Nash’s book transcends the limitations of the Save the Cat formula to really get to the heart of character-centered TV writing.

4. The Negative Trait Thesaurus/The Positive Trait Thesaurus/The Emotion Thesaurus by Angela Ackerman & Becca Puglisi.

Ackerman and Puglisi are co-authors of three essential writing resources books, all of which focus on character development: The Emotion Thesaurus , The Positive Trait Thesaurus and The Negative Trait Thesaurus .  These guides were written for authors, but are tremendously useful for all writers, placing them firmly on my list of best books on TV writing.  The Emotion Thesaurus is a guide to understanding and conveying character emotions, providing a list of physical, psychological, and behavioral responses to various emotions.  The Positive Trait Thesaurus and The Negative Trait Thesaurus provide writers with a comprehensive list of personality traits and behaviors that can be used to create three-dimensional characters. The authors’ approach of providing specific, actionable information is particularly useful, making these books accessible and practical for writers at all levels of experience.

5. Creating Character Arcs: The Masterful Author’s Guide to Uniting Story Structure, Plot, and Character Development  by K.M. Weiland.

While this book is geared towards novelists, many of the principles and techniques presented can be applied to the TV writing process. Specifically, the book’s emphasis on the relationship between character development and plot can be particularly useful for TV writers who need to balance ongoing character arcs with episodic storytelling. Overall, Creating Character Arcs  is a valuable resource for TV writers looking to develop their skills and create more compelling and nuanced characters and stories.

6. Inside the Room: Writing Television with the Pros at UCLA Extension Writers’ Program edited by Linda Venis

The book covers a wide range of topics, from concept development to pitching and selling a show, and draws on the expertise of top writers and instructors in the field. The focus on collaboration and working effectively in a writers’ room is a particular strength, as it provides readers with a realistic understanding of what it takes to succeed in the industry. However, some readers may find the book’s heavy emphasis on the American TV industry and its practices to be limiting, and the lack of variety in the case studies presented may be a drawback for some. Overall, Inside the Room  is a highly informative guide to TV writing, but it should be used in conjunction with other resources on this list to ensure a well-rounded understanding of the craft.

7. S creenwriter’s Bible 7th edition: A Complete Guide to Writing, Formatting, and Selling Your Script by David Trottier

There’s a reason every screenwriter (and Story Dept Coordinator) has this tome on their bookshelf. This is THE guide on screenplay formatting, making it essential to any list of best books on tv writing.  This tome offers a wealth of information on everything from proper formatting to industry standards for length and content. Much of this information is out there for free on YouTube… but can you trust it?  If you’re looking for trustworthy answers for all your formatting questions, The Screenwriter’s Bible  is an essential resource.

8. The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby

Truby’s guide to storytelling is a must-read for any aspiring screenwriter looking to understand the principles of good screen storytelling. This book focuses on writing features, so if you’re looking for a one-stop guide for TV writers, you’ll want to look elsewhere on this list. But you’ll learn lots from Truby’s understanding of screen storytelling.

9. Writing the TV Drama Series: How to Succeed as a Professional Writer in TV by Pamela Douglas

What makes this book essential is its practical focus, providing clear and actionable advice for writers looking to break into the industry. Douglas includes helpful exercises and examples throughout the book, giving readers the opportunity to apply the concepts she presents to their own work. Be sure to get your hands on the most recent edition, published in 2018.

10. The War of Art by Steven Pressfield

While not written for screenwriters specifically, Pressfield’s self-help guide is essential reading for all artists. Pressfield offers practical advice and strategies for overcoming obstacles like self-doubt, fear, and procrastination, and provides readers with a framework for developing the discipline and focus necessary to succeed as a writer. He places emphasis on the mental and emotional aspects of the creative process, and recognizes that these factors are often the biggest impediments to success. This book provides valuable insights into the psychological challenges of writing, and offers strategies for overcoming them. His candid and engaging style makes this book both entertaining and informative, and its universal themes of perseverance and self-discipline are applicable to writers in all genres and mediums.

10 Best Books on TV Writing: Summing Up

Writing is a skill that requires discipline and continuous learning, and even the most seasoned writers recognize the need for ongoing improvement.  This list of must-read resources includes a range of books on writing, character development, and storytelling, as well as guides on navigating the TV industry.

From Rabkin’s Writing the Pilot  to Pressfield’s The War of Art,  each book offers practical advice and insider insights that are invaluable to aspiring TV writers.

While some books may have limitations, these resources provide a wealth of knowledge and are an essential addition to any writer’s toolkit.

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Scriptwriting 101: Crafting Compelling Narratives for Television

• #INDUSTRY , #INSIGHTS

To create a compelling plot for a TV show, writers can consider the following strategies:

• Create Larger Than Life Characters: Develop characters that are larger than life and the most interesting individuals in their world. These characters should be compelling, active, and have strong motivations that drive the plot forward.
• Let Character Wants Drive the Plot: The desires and goals of the characters should be the driving force behind the plot. The characters’ motivations and actions should propel the story and create meaningful conflicts and developments.
• Craft Well-Structured Plots: Develop a clear beginning, middle, and end for the story. Establish an intriguing hook to draw in the audience, escalate tension throughout the narrative, and provide satisfying resolutions.
• Use Visual Storytelling: Employ visual storytelling techniques to engage the audience and create an immersive experience. Descriptive settings and well-crafted scenes can enhance the impact of the plot.
• Brainstorm and Collaborate: Engage in a collaborative and iterative process to develop episode plots. Utilize visual reference tools, such as index cards or whiteboards, to track the breaking of episodes and explore various story ideas.
• Character Development: Focus on creating relatable, multidimensional characters with distinct personalities, motivations, and flaws. Character development and growth throughout the story are essential for engaging the audience.

By incorporating these strategies, writers can craft compelling plots for TV shows that resonate with audiences and keep them invested in the narrative.

How a writer can balance character development and plot in a TV show

Balancing character development and plot in a TV show is a crucial aspect of effective storytelling. Here are some insights:

• Character-Driven vs. Plot-Driven Stories: Writers should consider whether their story is character-driven or plot-driven. In character-driven stories, the characters’ internal conflicts and motivations propel the narrative, while in plot-driven stories, external events and conflicts are the primary drivers.
• Larger-Than-Life Characters: Creating larger-than-life characters who are compelling, active, and have strong motivations can help drive the plot forward and keep the audience engaged.
• Character Wants Driving the Plot: The desires and goals of the characters should drive the plot. By establishing what the characters want and allowing this to propel the story, a balance between character development and plot can be achieved.
• Visual Storytelling: Using visual storytelling techniques can help balance character development and plot. Descriptive settings and well-crafted scenes can enhance the impact of the plot while also allowing for character development.
• Character Authenticity: It’s important to ensure that characters’ actions and reactions are authentic to their personalities and motivations. Characters must follow the rules of their own souls, and their behavior should align with their established traits.

By considering these strategies, writers can effectively balance character development and plot, creating engaging and impactful TV shows.

Examples of TV shows that successfully balance character development and plot

Some TV shows that are known for successfully balancing character development and plot include:

• Stranger Things: The show is praised for its character development, with multiple characters undergoing significant growth throughout the series, such as Bodie and Ellis Carver.
• Buffy the Vampire Slayer: Known for its strong character development, the show features significant transformations in characters like Angel, Willow, and Xander, as noted by Reddit users.
• The Office: This series is recognized for the growth of its characters, showcasing their development over the course of the show.
• Parks and Recreation: The show is highlighted for the personal growth of its characters, reflecting the balance between character development and plot.

These TV shows are cited as examples of successful character development and balanced plot progression, demonstrating the effective integration of compelling narratives and well-developed characters.

How a writer can create a compelling character arc in a TV show

To create a compelling character arc in a TV show, writers can follow several strategies:

• Character Wants and Needs: Establish what the lead character wants or needs, and why. This forms the basis of their arc and the driving force behind their development.
• Tie the Arc to the Theme: Connect the character’s arc to the overarching theme of the TV show. As the character learns more about the world and the theme is explored, their growth and reactions can be tied to the central theme.
• Larger-Than-Life Characters: Create characters that are larger than life and the most interesting individuals in their world. These characters should be compelling, active, and have strong motivations that drive the plot forward.
• Character Driven Story: Let the character’s wants drive the plot. The desires and goals of the characters should be the driving force behind the plot, which in turn propels the character’s development.
• Use Visual Storytelling: Employ visual storytelling techniques to enhance the character arc. Descriptive settings and well-crafted scenes can contribute to the character’s growth and the overall arc.

By incorporating these strategies, writers can craft compelling character arcs that resonate with audiences and contribute to the overall success of the TV show.

How a writer can create a character arc consistent with the show’s tone and style

To create a character arc that is consistent with a TV show’s tone and style, a writer can consider the following strategies:

• Tie the Arc to the Show’s Theme: Connect the character’s arc to the overarching theme of the TV show. As the character learns more about the world and the theme is explored, their growth and reactions can be tied to the central theme.
• Choose the Right Arc Type: Select a character arc type that aligns with the show’s tone, message, and genre. Whether it’s a positive, negative, or flat arc, the character’s development should resonate with the overall feel of the show.
• Test the Arc for Consistency: Evaluate the character’s arc to ensure it fits the show’s genre, theme, and plot. The arc should have a clear beginning, middle, and end, and show a consistent and logical development or change that resonates with the show’s tone and style.

By integrating these strategies, writers can develop character arcs that harmonize with the TV show’s tone and style, contributing to a cohesive and engaging narrative.

How a writer can develop a unique voice for their script

To develop a unique voice for their script, a writer can consider the following strategies:

• Write Letters and Practice Free Writing: Engage in exercises such as writing letters, even if they are not sent, and practicing free writing. Voice is the strong sense of the way one person would talk to another person, so these exercises can help in developing a natural writing voice.
• Establish a Distinct Voice: Focus on developing a distinct voice that builds rapport and offers value to the audience. This can be achieved by working on elements such as vocabulary, tone, and point of view, which contribute to the unique stylistic mix that makes words flow in a particular way.
• Be Authentic and Pay Attention: Developing a unique voice requires authenticity and paying attention to one’s own experiences and way of noticing the world. Writers should avoid imitating others and instead focus on revealing their own opinions, stories, and experiences.
• Determine Point of View and Consistent Voice: Writers should determine their point of view and pick a consistent voice for their narrators. This helps in establishing a strong and recognizable voice in their writing.

By incorporating these strategies, writers can work towards developing a unique and compelling voice for their scripts.

How a writer can develop a compelling plot for their script

To develop a compelling plot for a script, a writer can consider the following strategies:

• Character-First Approach: Build a character that the writer finds interesting and then assemble the plot around that character. For example, a character struggling to overcome a phobia might come into contact with the thing they fear, with success meaning they don’t let the fear overcome them.
• Plot-First Approach: Define the major conflicts the writer wants to include in the script and then build a character who will be motivated by those conflicts. For instance, if the writer wants to explore the effect of a catastrophic storm on a city, they can create a character with a connection to the city or someone living in the city.
• Well-Structured Plot: Craft a clear beginning, middle, and end. Establish an intriguing hook to draw in the audience, escalate tension throughout the middle, and provide satisfying resolutions.
• Engaging Characters: Develop relatable and multidimensional characters with distinct personalities, motivations, and flaws. Readers should connect emotionally and invest in their journeys.
• Strong Conflict: Introduce conflicts that challenge the characters physically, emotionally, or morally. The struggle should be meaningful and force the characters to learn and grow.

By incorporating these strategies, a writer can develop a plot that is engaging, well-structured, and driven by compelling characters and conflicts.

How to make a plot more engaging

To make a plot more engaging, writers can consider the following strategies:

• Integrate the Plot: Ensure that the plot is integrated with the characters, setting, and theme of the story. A well-integrated plot contributes to the overall cohesiveness of the narrative .
• Create Larger-Than-Life Characters: Develop compelling and active characters who are the most interesting individuals in their world. Characters should have strong motivations and be driven by their desires, which in turn propels the plot.
• Establish Well-Structured Plot: Craft a clear beginning, middle, and end. Establish an intriguing hook to draw in the audience, escalate tension throughout the narrative, and provide satisfying resolutions.
• Use Visual Storytelling: Employ visual storytelling techniques to enhance the plot. Descriptive settings and well-crafted scenes can contribute to the overall engagement of the narrative.
• Create Physical Danger and Introduce New Problems: Incorporate elements such as physical danger, new problems, and secondary characters who bring tensions to the story. These elements can add depth and complexity to the plot, keeping the readers engaged.

By incorporating these strategies, writers can develop plots that are more integrated, character-driven, and engaging, ultimately capturing and maintaining the interest of their audience.

How a writer can use visual storytelling to enhance their plot

Visual storytelling can be a powerful tool for enhancing a plot. Here are some techniques that writers can use to incorporate visual storytelling into their scripts:

• Think Like A Screenwriter: Writers can adopt a visual mindset similar to that of a screenwriter. This involves creating scenes and sequences that can be vividly imagined by the audience, allowing the story to come alive in the reader’s mind.
• Use of Images and Graphics: Incorporating images, graphics, and other visual elements can help to immerse the audience in the story and convey messages effectively. This can be particularly useful in mediums such as presentations and digital content.
• Color and Contrast: Visual storytelling can make use of color and contrast to influence the mood, atmosphere, and emotion of the story. By strategically employing these elements, writers can create different effects and set the tone for their narrative.
• Show, Don’t Tell: Instead of explicitly stating information, writers can use visual storytelling to show it through the actions, expressions, and interactions of the characters. This can make the story more engaging and allow the audience to draw their own conclusions.

By leveraging these visual storytelling techniques, writers can enhance their plots and create more immersive and impactful narratives.

Common mistakes to avoid when writing a script

Some common mistakes to avoid when writing a script include:

• Incorrect Format: Not adhering to the standard screenplay format can be a significant mistake, as it may lead to the script being disregarded.
• Lack of Motivation: Characters should have clear motivations that drive the plot. A lack of motivation can lead to weak character development and an unengaging story.
• Too Many Characters: Having an excessive number of characters can make the story confusing and dilute the impact of the main characters.
• Overusing Parentheticals: Using too many parentheticals to direct actors on how to deliver lines can be distracting and disrupt the flow of the read.
• Incorrect Information or Research: Failing to conduct thorough research and including inaccurate information can undermine the credibility of the story.
• Weak Conflict: A lack of compelling conflict can result in a story that fails to captivate the audience.
• Using Clichés and Tropes: Relying on overused clichés and tropes can make the story predictable and unoriginal.
• Neglecting Spelling and Grammar: Poor grammar and spelling can detract from the professionalism of the script and create a negative first impression.
• Drawing From Tropes: Overreliance on familiar tropes can lead to a lack of originality and innovation in the story.
• Forgetting the Plot (or, Skipping the Outline): Failing to establish a clear and coherent plot can result in a meandering and unfocused narrative.

By being mindful of these common mistakes, writers can enhance the quality and impact of their scripts.

Working with C&I Studios writers

Hiring C&I Studios ‘ TV writers can bring several benefits to your production. Our TV writers are responsible for crafting the show’s characters, storylines, and dialogue, working closely with the showrunner to ensure that the show stays true to its creative vision. They play a crucial role in developing lovable characters and compelling plotlines that attract audiences and have a long-lasting influence on popular culture.

Additionally, working with C&I Studios ‘ TV writers can help maintain continuity, build tension, and keep the show fresh and unexpected. Showrunners and writers must balance these needs, and a team of talented writers can help bring their vision to fruition. Furthermore, C&I Studios’ skilled TV writers can contribute to the success of a show by creating engaging storylines and captivating characters.

Contact C&I Studios to get started today.

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5 Unexpected Skills To Take Your TV Writing Career Further

We all became writers because we had creative ideas we wanted to explore through, you know, writing. There’s a lovely dream of sitting down in a romantic writing spot with perfect conditions, probably like the Colin Firth portion of  Love Actually  — French cabin overlooking the water, a typewriter. The ideas just flow. The screenplay pours forth. It is magically discovered by a gilded producer who casts Meryl Streep to play your lead and the next thing you know you’re clutching your Oscar at Elton John’s after-party.

May that dream come true for you. For us  all.

But more likely we will face the truth of the industry, which is that writers must be prepared for the business of screenwriting,  in addition to cultivating their creative craft.

Here are a few skills that will increase your chances of meeting a community of professionals who can help get you interviewed and hopefully hired for satisfying and financially beneficial work in TV writing.

What is one of the best things you can do for your TV writing career? Build your network!

Your network is who will read your scripts, give you notes, introduce you to industry professionals, recommend you for jobs, and hire you in their rooms.

They’re also who you’ll turn to when you need to bounce ideas around or get some inspiration. These days, they’re out marching on a picket line with you, keeping spirits high and eyes on the prize. Your network is critical. 

We have written  extensively about ways to cultivate your network . A few highlights are to always conduct yourself with authenticity and professionalism, to become social media savvy, to listen to screenwriting podcasts and engage with their communities, to join or create writers groups, to attend writers meetups, or to take classes or apply for a  screenwriting lab or fellowship .

Remember, high tides lift all ships. Even one accountability partner can keep you afloat in this business. 

It isn’t enough to have a great idea — screenwriters have to know how to communicate that idea to others. In a television writers room , you will pitch ideas to the room and the showrunner for series plot points, episode changes, jokes, and even problem-solving on set. Writers pitch pilots to buyers before being hired to actually write the script. You may pitch your written pilot to networks and studios to try to sell it or get a green light. 

It is also invaluable to know how to pitch  yourself.  You will often be asked questions like, “Tell me about yourself,” or “What are you working on?” or “What kind of writer are you?” The responses may seem straightforward, but consider the difference between the following two responses: 

“Well, I live here in Los Angeles. I like writing fantasy. I have a very adorable puppy named Zell…”

“Hi, I’m Shannon, an Air Force veteran interested in deconstructing the hero archetype through a female lens.”

Both answer the questions and can lead to a polite conversation — but if time with a contact is brief, one of these responses might pique someone’s curiosity a bit more than the other.

The best way to get better at pitching is to practice. Classes and screenwriting labs will have sessions that work on this skill. You can also write a five-minute pitch for one of your writing samples and practice it with a trusted friend. Saying your pitch out loud and often is the best way to make it smooth — and to increase your odds of conjuring it again when you’re nervous.

Read More: The Ultimate Guide to Screenwriting Labs

Adopting Someone Else’s Voice

There’s a difference between writing your own original material and being able to write in the tone and voice of the show you are hired on. While it is very rare that someone will buy your spec script of an existing show, it is still a great practice to write them. They can help introduce you to a new style of writing — for example, if you’ve always written dramas but you’ve seen every episode of  Modern Family,  writing a  Modern Family  spec (and, more significantly, studying  Modern Family  scripts) will help you learn the format and timing for comedies.

You will be expected to bring your unique skills to a writers room while writing in the appropriate tone and style of the show you’re on. There are also specific opportunities out there that call for spec scripts, such as different TV writing fellowship applications.

Read More: Why You Should Write Spec Scripts of Existing Shows

Giving and receiving feedback are skills in and of themselves. As a writer, you’re probably already well aware that receiving feedback is inevitable.  Even bad feedback  can help you revise your screenplay. Learning to find “the note behind the note” or even discerning when to disregard feedback are critical skills. 

It’s also very important to learn how to  give  feedback . You will be exchanging scripts with your community for the rest of your career — and if and when you are promoted or running your own show, you will be giving feedback to other writers in your room. 

Learning how to help them tell their own story — and hopefully doing that in a compassionate and supportive way — will help everyone achieve their goals and get home in time for dinner.

Communication

Writing can often feel very personal. Receiving rejection or negative feedback is dispiriting at best. Learning how to communicate well with others is a life skill that everyone needs, especially writers. 

You may have a disagreement with your showrunner or studio head about a script or season plotline — discussing it involves clear and rational communication. 

Maybe you’re struggling with a deadline — communicating that with your reps or your boss as early as possible can mean you receive the support you need to break through writer’s block or receive an extension that won’t inconvenience anyone down the line in production. 

If someone is behaving inappropriately in the room or on set, strong communication skills can alert proper personnel or cool down rising tempers. 

You may have the experience doing publicity for a project — great communication can help get eyes on your show or secure your next job interview. 

If you are still dreaming of writing in isolation out in France, it’s possible TV writing may not be for you. If you’ve come this far and you still see yourself working on the next  Succession,  then it’s important to develop yourself into a well-rounded individual who is ready to work well with others. If you’re an introvert (as many writers are), try not to worry too much — authenticity and kindness truly go a long way toward making meaningful connections. 

If you’re still feeling intimidated, check out some classes, workshops, or screenwriting labs that have modules focusing on these kinds of skills. You don’t have to become an expert in anything right away — just keep learning. 

Good luck out there and happy TV writing!

Read More: How to Get a Job Writing for TV

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WRITING FOR FILM AND TELEVISION

What can you do with an MFA in Writing for Film & Television?

With an MFA Degree in Writing for Film & Television, you can pursue diverse career paths in the entertainment industry and related fields. These opportunities include becoming a screenwriter, television writer, script consultant, or showrunner, creating engaging narratives for the screen. You may also venture into production, working as a film or TV producer, or transition to roles in the development and creative departments of production companies or studios. Alternatively, you can apply your storytelling across all genres in skills in education, video games, and corporate communication or even become a critic or reviewer in the film and TV industry.

Tech Knowledge

Students pursuing a Master’s Degree in Writing for Film & Television may benefit from having a basic understanding of various technologies related to the film and television industry, as well as storytelling in the digital age. While the core focus is on writing and storytelling, being tech-savvy can enhance their ability to thrive in the industry. As an Emerson student, you have free access to several software programs, for example, Final Draft for screenwriting, video editing Emerson students can receive access to Adobe Suite with Premier Pro. Here are some relevant technology areas:

• Screenwriting Software: Familiarity with screenwriting software can help streamline the writing process and ensure scripts are correctly formatted.
• Video Editing Software : Basic knowledge of video editing tools can be valuable, especially for writers who want to edit their own video content. Some programs are available for free as an Emerson student.
• Digital Storyboarding: Using digital storyboarding tools to visualize scenes and sequences.
• Script Analysis Software: Familiarity with script analysis tools for analyzing and improving script structure and pacing.
• Virtual Production: Knowledge of virtual production technologies like virtual sets and real-time rendering used in film and television production.
• Social Media and Promotion: Understanding how to use social media platforms, websites, and email marketing tools to promote scripts, films, or shows.
• Online Screenwriting Communities: Participation in online screenwriting communities and forums to network with other writers and gain insights into industry trends.
• Podcasting Tools: If interested in audio storytelling, proficiency in podcasting tools and platforms for scriptwriting, recording, and editing.

While proficiency in these areas is not mandatory, a foundational understanding of the relevant technologies can make writers more versatile and adaptable in today’s rapidly evolving media landscape. Additionally, staying updated on emerging technologies and trends in the film and television industry is essential to remain competitive and innovative as a writer. 

If you are considering working within the business of Film and TV, it could be beneficial to familiarize yourself with a basic understanding of the following:

• The legal nuances of Copyright and Intellectual Property, encompass intellectual property rights, copyrights, and licensing as they pertain to scripts and content.
• A foundation in Data Analytics and Audience Research is valuable for comprehending audience preferences and trends, crucial for making informed storytelling decisions.
• Familiarize yourself with Adaptation and Transmedia Storytelling techniques to expand narratives across various platforms such as video games, books, and web series. 
• Lastly, don’t overlook the significance of Storytelling in VR/AR, which involves an awareness of immersive storytelling in virtual reality and augmented reality, along with the tools utilized in creating these experiences.

Other Business Tools Include:

• Collaboration Tools: Proficiency in collaboration and project management tools like Google Workspace (formerly G Suite), Slack, or project management software to work effectively in collaborative environments.
• Digital Distribution Platforms: Understanding digital distribution platforms for the distribution of content and knowing the requirements for submitting scripts or content.
• Writing Tools for Mobile: Familiarity with mobile writing apps and tools for on-the-go writing and note-taking.

Tech Tools Addendum:

• Final Draft, Celtx, or Adobe Story
• Adobe Premiere Pro, Final Cut Pro, or DaVinci Resolve
• Storyboard That or Toon Boom Storyboard Pro
• StudioBinder or Celtx Script Insights
• Unreal Engine

Competencies + Characteristics

The internal architecture of being a writer includes competencies such as storytelling expertise, scriptwriting proficiency, and collaboration skills. The following are foundational skills we focus on in the program, and you’ll need to continue developing them extracurricularly to dovetail the curriculum. Skills like creativity, empathy, and resilience are crucial for developing original narratives, understanding diverse perspectives, and persevering in a competitive industry. Effective communication, adaptability, and attention to detail further enhance a writer’s ability to create compelling scripts and navigate the challenges of the entertainment field. Your education doesn’t end with your MFA degree; continuously be aware of and understand socio-political and economic changes, cultural movements, and understanding of the human race and how humans engage with one another. You will rely on the following characteristics for your career. Learning this will be imperative to your success.

• Storytelling: Mastery of storytelling techniques, including plot development, character arcs, pacing, and dialogue, to create compelling narratives.
• Scriptwriting : Proficiency in scriptwriting formats, including screenplays, teleplays, and treatments, adhering to industry standards and conventions.
• Research: The ability to conduct research to ensure accuracy and authenticity in scripts, especially for projects based on real events or historical periods.
• Genre Expertise: Knowledge of different genres (e.g., drama, comedy, sci-fi, horror) and the ability to write effectively within them.
• Adaptation: The skill to adapt existing material, such as books, articles, or real-life events, into screenplays or teleplays.
• Collaboration: Effective collaboration with directors, producers, actors, and fellow writers to bring scripts to life and address creative challenges.
• Feedback Integration: Willingness to receive and incorporate feedback into script revisions, improving the overall quality of the content.
• Pitching: The ability to pitch script ideas and concepts persuasively to producers and executives.
• Script Analysis: Skill in analyzing scripts, identifying areas for improvement, and providing constructive feedback to other writers.
• Character Development: Creating well-rounded and relatable characters with distinct personalities and motivations.
• World-Building: Building immersive and believable fictional worlds or settings.
• Adherence to Deadlines: Strong time management and organization skills to meet project deadlines, often tight in the industry.
• Adaptability: The capacity to adapt to changing project requirements and industry trends.

Industry Job Boards

• Screenwriting Staffing
• Entertainment Jobs
• ProductionHub
• SimplyHired
• ShowbizJobs
• TheTrackingBoard
• CareersInFilm
• ShoreScripts
• Craig’s List
• The Write Life

Professional Associations and Conferences

• American Screenwriter’s Association
• Director’s Net
• Film Independent
• Women In Film
• Writers Guild of America

Film Festivals & Writer Conferences

• Atlanta Film & Video Festival
• Austin Film Festival
• Berlin International Film Festival
• BFI London Film Festival
• Cannes Film Festival
• Chicago Int’l Film Festival
• Denver Int’l Film Festival
• London Screenwriters’ Festival
• Los Angeles Film Festival
• NashFilm Creators Conference
• New York Film Festival
• Rome Film Fest
• San Francisco Film Festival
• San Sebastian Film Festival
• Seattle Int’l Film Festival
• Slamdance Film Festival
• Sundance Film Festival
• The Indie Fest Film Awards
• Vienna International Film Festival
• SXSW Film & TV Industry
• SeriesFest.com

Sample Job Titles with an MFA

• Screenwriter : As a screenwriter, you can write scripts for feature films, television series, documentaries, or even short films. Your storytelling skills will be critical in crafting engaging narratives for the screen.
• Television Writer: Work specifically as a television writer, creating scripts for episodic TV shows, including dramas, comedies, or even reality television programs.
• Script Consultant/Script Doctor: Offer your expertise to filmmakers and producers as a script consultant or script doctor. You can provide feedback and revisions to existing scripts to enhance their quality.
• Showrunner: If you gain experience as a television writer, you may eventually become a showrunner. In this role, you’ll oversee the creative direction of an entire TV series, including writing and production.
• Film or TV Producer: Transition into the production side of the industry, where you can develop and produce films or TV shows based on your scripts or those of other writers.
• Director: Some screenwriters transition to directing, especially if they have a strong vision for how their scripts should be brought to life on the screen.
• Story Editor/Development Executive: Work in the development department of production companies or studios, where you assess scripts, source potential projects, and help shape the creative direction of films and television shows.
• Creative Executive: Collaborate with production companies or studios as a creative executive, helping to identify, acquire, and develop screenplays for future production.
• Content Creator for Streaming Platforms: As streaming services continue to grow, they require content creators who can write and develop original shows and films for their platforms.
• Freelance Writer : Pursue a freelance writing career, contributing to various film and television projects, including writing spec scripts, treatments, or adaptations.
• Film Critic/Reviewer: Apply your knowledge and critical thinking skills to write film and TV reviews, essays, or articles for newspapers, magazines, websites, or blogs.
• Film and Media Educator: Teach writing for film and television at the university or college level to aspiring writers and filmmakers.
• Author/Novelist: Use your storytelling skills to write novels or books, which can serve as source material for future film or television adaptations.
• Video Game Writer: Transition into the video game industry, where you can write narratives, dialogues, and storylines for video games.
• Corporate Communication: Apply your writing and storytelling skills in corporate settings, crafting video scripts, training materials, or company marketing content.
• Documentary Filmmaker: If you are interested in non-fiction storytelling, you can work as a documentary filmmaker, writing, and directing factual content.
• Podcast Writer/Producer : Create and produce scripted podcasts, audio dramas, or storytelling podcasts, where strong writing skills are essential.
• Advertising and Marketing Copywriter: Write creative and persuasive advertising and marketing content, including TV and radio commercials, web videos, and campaigns.
• Playwright: Explore opportunities in theater by writing original plays or adapting your screenwriting skills to the stage.
• Film and TV Industry Consultant: Offer your expertise as a consultant, advising filmmakers, writers, or production companies on storytelling and script development.

Disney Entertainment Television (DET) Writing Program

The Disney Entertainment Television (DET) Writing Program is a highly selective, annual TV staffing program. The goal is to staff emerging and diverse television writers on DET scripted series. Program Writers are contract employees of Disney for one year (or until they staff on a show), and receive mentorship, professional development, and unprecedented access to the company and its creative executives, producers, showrunners, and program alumni. Each year, one writer receives the Eunetta T. Boone Comedy Writers Scholarship and special staffing consideration on a Disney Branded Television series. In 2024, the program will create the FX John Singleton Scholarship, providing one writer special staffing consideration on an FX Networks series.

Established in 1990, the one-year writing program is widely recognized as one of the entertainment industry’s most successful of its type. It has kickstarted the careers of many established and award-winning writers, producers and showrunners, including Saladin Patterson, Raamla Mohammed, Peter Saji, Zahir McGhee, Dailyn Rodriguez, Luvh Rakhe, Sierra Ornelas, and Claudia Foriestri, among many others.

The Program has had a 100% staffing rate each year. It also has a long history of being the only staffing/writing initiative in the entertainment industry to employ its writers contractually as full-time employees prior to staffing.

Writing Program Application

WHEN TO APPLY

Please visit our application page, or follow us on our Facebook page to receive updates and alerts about the submission period.

2024 Disney Entertainment Writing Program

Celebrating its 35 th anniversary, the DET Writing Program is a launchpad for fresh voices in television storytelling and helps diverse comedy and drama writers secure their first staff writer assignment on a Disney series.

During the program, writers participate in advanced creative workshops, refine their portfolios, and meet and learn from DET creative executives, producers, showrunners and program alumni through networking and professional development sessions. Each participant is a contract employee of Disney, with weekly salary and benefits, for one year, or until they staff on a show and are compensated at WGA scale. For over a decade, the program has maintained a 100% annual staffing rate.

This year’s cohort includes comedy writers Sarah Beth Ballard, Jordan Crawford, Paloma Lamb, Naomi Lambert, Mahtub Zare Mochanloo, Elisa Oh and Jorge Thomson; and drama writers Letícia Ayroza, Darek Cioch, Isabel E., Jordan Goodman, Jaleese Ramos, Antoine Perry and Rance Ward.

Sarah Beth Ballard has been selected as the fifth annual Eunetta T. Boone Comedy Writers Scholar, receiving mentorship from Disney Branded Television (DBT) and special staffing consideration on a DBT series. The scholarship honors trailblazing showrunner, producer and comedy writer Eunetta T. Boone, who was executive producer and showrunner for DBT’s “Raven’s Home,” among many other credits.

Rance Ward has been selected as the inaugural FX Singleton Scholar, receiving mentorship from FX and special staffing consideration on a FX series. The scholarship honors the life and legacy of legendary director and producer John Singleton. The youngest and first Black person to receive an Academy Award ® nomination for Best Director, Singleton co-created the FX drama “Snowfall,” directed episodes for FX’s “American Crime Story: The People v. O.J. Simpson,” and mentored many other creatives embarking on careers in television.

Notable program alumni include show creators, co-creators and showrunners such as Zahir McGhee (“Queens”), Raamla Mohamed (“Reasonable Doubt”), Saladin Patterson (“The Wonder Years,” “Dave”), Aseem Batra (“I Feel Bad”), Ayanna Floyd Davis (“The Chi”), Dailyn Rodriguez (“Queen of the South”) and Anthony Sparks (“Queen Sugar”).

Antoine Perry is a genre writer who survived two tornados and an odd buffalo encounter in his youth. Growing up very Black, very Puerto Rican, and very gay in very conservative Oklahoma, his writing often centers around marginalized individuals triumphing over societal oppression by being their authentic selves. Antoine won the grand prize in Screencraft’s 2022 Sci-fi & Fantasy Competition with his script FOREVER YOUNG. He is also an alum of Mentorship Matters, a prominent writers’ program founded by Raelle Tucker and Gianna Sobol, where he was mentored by Neil Reynolds. Antoine’s short film script “Scaredy Cat” was a top 10 finalist in the inaugural Pan African Film Festival / embRACE L.A. John Singleton competition for live-action short films. He graduated from the University of Southern California with a degree in economics… that he has never used.

Darek Cioch is a Korean and Polish-American writer from Seattle. While studying film at the University of California, Santa Barbara, Darek won a school-wide screenwriting competition with his romantic comedy about zombies. After moving to Los Angeles, Darek began his entertainment career working for Anonymous Content assisting the producers of the Emmy Award-winning series TRUE DETECTIVE. He then worked in the programming department at HBO, where he supported the teams behind BARRY, BALLERS and INSECURE. Darek transitioned into the writers’ room by serving as a Showrunner's Assistant and Writers’ Assistant on several drama series, including ABC’s THE BAKER AND THE BEAUTY and FX’s CLASS OF ‘09. Additionally, Darek was a researcher for FX’s IMPEACHMENT: AMERICAN CRIME STORY. Darek is a finalist for the Sundance Episodic Lab and he was selected for the 2021 CAPE New Writers Fellowship. He most recently worked on Hulu’s upcoming series INTERIOR CHINATOWN. He lives in Los Angeles, California with his wife and newborn daughter.

Elisa Myung Un Oh is a Korean American dramedy writer. She grew up in Gardena, California and as a queer kid being raised by a Pentecostal preacher father and an “inner-healer” mother. She has a Masters in Divinity from Fuller Theological Seminary and Masters in Film and Television from the University of Southern California. During her time at USC, she was a recipient of the Jonny Carson Comedy award and a Sundance New Voices Lab Fellowship. She currently works as an assistant to Christina Lee, first as a Showrunner’s Assistant on MADE FOR LOVE, and subsequently as a Writers’ Assistant on an upcoming show MINOR FEELINGS. She was a Showrunner’s Assistant to Semi Chellas on KENT STATE and prior to that, a writer’s PA on Frankie Shaw’s BELL JAR. She lives with her girlfriend in Echo Park and hopes one day to be someone’s successful 이모 (auntie) who hooked them up with their cool first job in TV (as an Office PA).

Isabel E is a drama writer from San Diego currently residing in Los Angeles. Queer and mixed-race, she enjoys writing about cultural identity and complex family dynamics. Isabel is a graduate of Emerson College, where she majored in Visual Media Arts and produced multiple award-winning shorts. A seasoned industry assistant, she has worked in a variety of creative roles, from assistant at United Talent Agency's Theatre Literary Department to New York’s renowned live events venue House of Yes. She is currently in a support staff position on POWER BOOK III: RAISING KANAN, one of Starz’ most acclaimed series on air. Isabel was selected as a 2022 fellow in the WGA's Support Staff Training Program and is a screenwriting mentee of WU-TANG: AN AMERICAN SAGA’s Alex Tse in the Unlock Her Potential mentorship program.

Jaleese Ramos is a second-generation Mexican-American drama writer who grew up in the Central Valley of California surrounded by almond orchards and dairy farms. Her work is influenced by her sometimes messy, always loud Mexican family, especially her witchy grandma who is, ironically, afraid of anything resembling witchcraft. Her storytelling focuses on exploring identity, family lineage, and the effects that time and unresolved trauma can have on characters with a desperate desire to do right but who never quite know how to. Jaleese received an MFA in Writing for Television, Theatre, and Film from Cal State LA and a BA in English Literature from CSU Stanislaus. She was previously an assistant to a literary manager at 3 Arts Entertainment and is currently the Showrunner’s Assistant on NBC’s LOPEZ vs LOPEZ.

Jordan Crawford is a biracial writer based in Los Angeles. She was recently a Writers’ Assistant and Showrunner's Assistant on Seasons 1 and 2 of Hulu/Onyx’s REASONABLE DOUBT. Before that, Jordan worked her way up as an assistant at Spielberg’s Amblin Television. She honed her craft at Loyola Marymount University’s School of Film & Television, graduating Magna Cum Laude with a BA in Screenwriting. During her time at LMU, she interned in the Freeform Original Programming department. Her half-hour pilot script, THE M WORD, was a quarter-finalist in the 2021 Austin Film Festival and has since been adapted into a digital series for Turner’s online platforms after receiving a grant from Tongal’s Black Voices Digital Pilot Development Program. Jordan hopes to make her mark capitalizing on her diverse POV and telling darkly comedic stories about love, identity, and the dark depths of the human psyche. Her hobbies include her dog, Nala, and that’s it.

Jordan Goodman writes dramas with a supernatural edge that feature complex female protagonists. She was recently the Writers' Assistant for NBC’s FOUND, and before that was an assistant on the CW’s ALL AMERICAN: HOMECOMING and BATWOMAN. Prior to working on these shows, she worked in Warner Bros TV Production, assisting in the day-to-day of eight network shows including the CW’s ARROW, SUPERGIRL, LEGENDS OF TOMORROW, BATWOMAN, ALL AMERICAN, Fox’s GOTHAM, and CBS’s GOD FRIENDED ME. Jordan received her BA in screenwriting from Loyola Marymount University. During her undergrad, she held internships at AwesomenessTV, Lionsgate, Dreamworks, Nickelodeon, Sonar Entertainment, MGM, and Circle of Confusion. She graduated with a job assisting at Abrams Artists Agency, while simultaneously working as a script reader for Coverfly. Her original work won her the Mentorship Selection from Launch Pad’s 2021 Pilot Competition, placement in ScreenCraft’s 2023 Writing Fellowship, as well as recognition from the Austin Film Festival.

Jorge Thomson is a queer comedy writer with Cuban, Puerto Rican, and Irish American roots. He spent his childhood moving back and forth between Washington D.C. and New Mexico as his mother pursued her political career. Jorge disappointed his two lawyer parents by going to NYU’s Tisch School of The Arts to study acting. Since then, he’s performed improv and produced comedy shows at the Upright Citizens Brigade Theatre, including “Lunch is Late” a Benefit Show for Writer’s Room Support Staff. Jorge worked as the Writers’ PA on the final two seasons of MODERN FAMILY, as Development Assistant for comedy writer Abraham Higginbotham at 20th Television, and Showrunner's Assistant to Jeffrey Richman on UNCOUPLED (Netflix). He was a 2020 National Hispanic Media Coalition Writing Fellow, a finalist for the 2022 Disney Writing Fellowship, and was selected by the National Association of Latino Independent Producers to participate in the STARZ #TakeTheLead Writer’s Intensive in 2022. Currently, Jorge is the Showrunner’s Assistant to Michael Jonathan Smith on TWISTED METAL and co-wrote an episode of the upcoming second season. Through joke heavy and heartwarming writing, Jorge explores his own Latinx cultural identity crisis, finally proving he was right to pocket his law school tuition.

Letícia Ayroza is a first-generation immigrant who was born and raised in Brazil and is now based in Los Angeles. She was recently Showrunner’s Assistant to Tze Chun on Amazon’s I’M A VIRGO. Before that, she was Showrunner’s Assistant to Brigitte Hales on the pilot EPIC for ABC, as well as Showrunner’s Assistant to Sera Gamble on season 4 of Netflix’s YOU. While still in Brazil, she worked as a script supervisor for four years on features and television shows, and considers herself lucky to have been the script supervisor on an episode of Netflix’s BLACK MIRROR, shot in her hometown of São Paulo. Letícia received her MFA in Screenwriting from the AFI Conservatory, and in 2021 she was selected to be part of the inaugural class of the Mentorship Matters Fellowship. Growing up loving all things ""nerd"" instead of samba, soccer, or anything typically considered Brazilian, she found herself drawn to storytelling, and now loves writing about finding one’s purpose and coming into one’s power. Her most recent and best project is her twin baby girls, who already have notes on her scripts.

Mahtub Zare Mochanloo is a first-generation Iranian-American writer born to a single, immigrant mother in Hamilton, Ohio. She graduated Magna Cum Laude from Vanderbilt University. She's worked at WME and at the arts advocacy nonprofit, The Creative Coalition, where she helped launch The Diversity Fund Gap Initiative, and is currently working at BallenStudios as a Coordinating Producer. Mahtub's feature THE SURROGATE is on the BlackList with an overall 8.5 rating. Her feature BUT I'M WEARING A SARI was a finalist in The Script Lab Screenplay Competition and is among the top 5% of all projects listed on Coverfly. Between performing standup comedy and surfing in Topanga, Mahtub is passionate about writing dramedies that touch on themes of queerness, shame and identity -- but in situationally refreshing and enlightening ways.

Naomi Lambert is a Black comedy writer based in Los Angeles. Most recently, she was Executive Assistant to the Chairman of Disney Entertainment Television, and was Development Assistant at 20th Television. Prior to that, she interned with Warner Bros. Discovery’s TLC and Nina Tassler’s PatMa Productions, and earned placements in Script Pipeline and WeScreenplay contests. Before graduating with high honors in TV Writing and Public Relations from Boston University, Naomi made sure to collect her fair share of awkward childhood anecdotes in the suburbs of New York, where she was raised in an interracial, interabled, and interfaith family. Of course, this incredibly uninteresting, conventional upbringing definitely did not contribute to her early passion for diversity and representation in media, nor did it inspire her quirky sense of humor in any way.

Paloma Lamb is a Latine writer, artist, and former goth. She has made the ascent from Writers' PA to Writers' Assistant, most notably on Taika Waititi’s OUR FLAG MEANS DEATH, Andy Greenwald’s BRIARPATCH and Marvel’s ECHO. Her work has received recognition from various competitions, such as the WeScreenplay Diverse Voices Lab, the ScreenCraft Comedy Competition, and the Roadmap Writers JumpStart Writing Competition, and is in the Top 3% of discoverable projects on Coverfly. She recently graduated from NHMC’s 2023 Series Scriptwriters Program, where she workshopped her latest pilot, CHOP SHOP, a modern-day grave-robbers story based on her own family’s funeral home. Growing up in an interracial household while navigating cancer and consequently addiction (don’t worry, she’s sober now!), Paloma writes stories for people on the fringes. When she’s not writing at her local library, she’s usually complaining to her mom, walking her angel of a dog Honey, or lurking the aisles of the closest Goodwill.

Rance Ward is an African American drama writer from Rancho Cucamonga, California. Rance was recently the Showrunner’s Assistant and Script Coordinator on STAR TREK PRODIGY for Nickelodeon, which can now be found on Netflix. Before this, he worked as an Executive Assistant to both Will Packer at Will Packer Productions as well as to Tommy and Codie Elaine Oliver at Confluential Films. At Confluential Films, he also served as the Production Coordinator for Season 3 of BLACK LOVE for OWN. Rance received his MFA from the Peter Stark Producing Program at USC and graduated from Howard University with an Honors BA in Film with a minor in Playwriting, where he also won the Exemplary Award in Film Production. Rance is an alumnus of the 2019 Academy Gold Program, where he interned at Warner Bros. and served as the assistant to Creative Executives Galen Vaisman and Dan Tausanovitch. Rance is drawn to stories that showcase the sides of the human experience that people like to keep hidden in hopes of revealing universal truths that bond us. He seeks to expand and deepen the representation of the black diaspora in television and film using compassion, empathy, but most importantly, authenticity.

Shaped by a nomadic childhood that saw her relocating to nearly 30 cities across the United States, Sarah Beth Ballard's love for storytelling comes from her exposure to many different cultures and ways of life. During her college years, Sarah was a Production Assistant and Casting Assistant on Hallmark Media films like CHRISTMAS MADE TO ORDER and ENCHANTING CHRISTMAS. She recently adapted the book 'The James Miracle' for New York Times best-selling author Jason Wright and pitched original projects to Fox and Paramount. Beyond her dedication to TV and film writing, Sarah's affinity for music has been a constant. She is currently a top 10 finalist in the 2024 CMT and Bluebird Cafe Songwriting Competition with her song 'Something Blue,' eagerly anticipating final judging. Sarah dedicates her free time to honing her craft through courses in the UCLA Extension Film Program. As a proud Disney enthusiast, her hobbies include taking long walks through Avengers Campus and enthusiastically sharing her steadily growing pin collection.

Minor in Creative Writing

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Take advantage of what the University of West Georgia has to offer. UWG boasts 87 programs of study.

UWG offers an exciting, diverse curriculum that allows its students to flourish and become community and world leaders.

Transform Words into Worlds.

Expand your writing skills and career choices with the Minor in Creative Writing .

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At-a-Glance

• 15 credit hours total
• Choose from courses in a diversity of writing styles and genres
• Get individualized training from a dynamic and caring faculty of professional writers
• Take classes with students in a variety of majors, from biology to business to mass communications
• Unleash your creative and career potential

write your future

Research shows that strong writers go further in the workplace. They climb because they communicate with precision and punch. The simple fact is: fewer and fewer college graduates use words well. And employers are crying out for good writers for a wide range of positions, from marketing to management to content writing. There's never been a better time to learn how to use your words. We welcome you to sign up for Creative Writing classes at UWG and see how far your words can take you.

Leverage Any Degree for Success

Whether you are a marketing major with plans to work for a Fortune 500 company, a mass communications major with a desire to enter the film industry, or a science major interested in research and teaching, the ability to write well and creatively will empower you on a daily basis in any future career.

Kickstart a Writing Career

Learning to write creatively is a perfect complement for anyone pursuing a profession in a writing-related field:

• Copywriting and Content Writing
• Copy Editing
• Language Arts/English Education
• Technical Writing
• Screenwriting
• Fiction, Memoir, and Novel Writing

Explore Your Creative Potential

If you've been interested in creative writing but unsure of where to start, you have come to the right place. At UWG, you can learn from talented and experienced faculty who don't just read books—they write them—and they are committed to teaching you from the ground up in small class sizes and dynamic workshops. With a creative writing minor at UWG, you'll emerge a well-trained writer able to tap into your creativity, transforming worlds into words.

Creative Writing minors are required to take one introductory course (3 hours), two intermediate courses in different genres (6 hours), and two advanced courses in any genre (6 hours). You can choose classes in a variety of genres:

• Creative Nonfiction
• Playwriting

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• Theatre, Film and Creative Writing
• Faculty and Staff

Film and Television Arts Faculty

Douglas Campbell

Ryan Cannon

Associate professor: film and television arts; director: narrative tv initiative.

Daehwan Cho

Associate professor: film and television arts.

Adjunct Professor: Film

Mike Petros

Adjunct faculty.

Richard St. Ofle

Clinical assistant professor of dramatic writing.

Department of Theatre, Film and Creative Writing

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‘the family business’ season 5 sets debut date, launches first trailer, breaking news.

Fox Writers Incubator Names 2024 Fellows

By Denise Petski

Denise Petski

Senior Managing Editor

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EXCLUSIVE: Fox Entertainment has selected four Fellows for the 2024 Fox Writers Incubator , an initiative designed to nurture diverse and creative voices, as well as provide support to four writers of all genres, including comedy, drama and animation. Ava Anderson, Jon Lazar, Ronald Metellus and Kirsten Rezazadeh-Jakob were named as the 2024 FWI Fellows. They were selected from over 1,400 submissions.

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Following successful completion of the FWI, Fellows will work across series produced by Fox Entertainment’s in-house production unit Fox Entertainment Studios and animation studio Bento Box Entertainment.

“Developing emerging talent through our Incubator initiative creates significant opportunity for both participants and our team,” said Fox Television Network President Michael Thorn. “By honing the skills of these four promising writers, we are investing in the creative community’s next generation and the future of storytelling excellence; and are excited to welcome Ronald, Kirsten, Ava and Jon as our 2024 Fellows.”

The Fox Writers Incubator 2024 Fellows:

Ronald Metellus

Ronald Metellus is a writer, comedian and actor based in Los Angeles. He currently writes for  Bleacher Report’s  shortform animated football comedy,  Gridiron Heights . Previously, he was a writer and recurring cast member of the late-night show,  Ziwe . He also worked as a staff writer on Stephen Colbert’s  Tooning Out The News , where he scored a WGA Award nomination.  He cut his teeth at  The Onion , writing hundreds of headlines for satire the institution over the course of four years, including the viral Sha’Carri Richardson headline: “Dream Crushed Over Trivial Bullshit Represents Nation Better Than Gold Medal Ever Could.” Originally from Philadelphia, he performs regularly on both coasts and annually co-hosts the variety show  Black History Monthly  at Helium Philly.

Kirsten Rezazadeh-Jakob

Kirsten Rezazadeh-Jakob is a Middle Eastern writer who recently co-wrote episodes of  Grimsburg  (Fox) and  Twisted Metal  (Peacock) as a writers’ assistant/script coordinator and is currently on the writing staff of Fox’s new series,  Going Dutch , through the 2024 Fox Writers Incubator initiative. She made her comedy debut in the 7th grade with “Wikipedia Brown,” an “Encyclopedia Brown” satire for the Internet Age (ironically written in #2 pencil). Kirsten’s television and feature projects focus on know-it-all protagonists who realize — through humor, heart, and high concepts — that they’re just know-it-somes. Kirsten holds a Screenwriting BFA from USC. Her other room experience includes  American Woman  (Paramount Network),  Cobra Kai  (Netflix), #BLACKAF (Netflix), and  The Crowded Room  (Apple+).

Ava Anderson:

Ava is an only child, so yes, she has strong main character syndrome. She studied film production and English at San Diego State University. Ava enjoys writing comedy, sci-fi, horror and coming of age stories…anything weird. Ava also has an interest in writing for animation. Ava is a member of IATSE Local 871 and currently works as an Art Department Coordinator for  The Price Is Right . She has worked on award winning movies such as  Barbie, The Fabelmans  and  Chip ‘n Dale: Rescue Rangers . Working in the Art Department has taught her the importance of visual storytelling, world building and physical production logistics when writing her own projects. Ava’s horror comedy/sci-fi pilot  Snatched  is a BloodList 14 Fresh Blood Selection and is currently on Coverfly’s Red List. 

Jon Lazar is a Los Angeles-based Latino writer/director from NY. He was a Zamboni driver before obtaining his MFA in writing from Columbia University where he was a Faculty Selects Winner for both his TV Pilot and feature film script thesis. He is a 2023 Circle of Confusion Discovery Fellow and a 2024 Sundance Episodic Intensive Fellow. As the nephew of a life-sentenced inmate, in his spare time, Jon volunteers with the Freedom To Choose Project where he assists in the transformation of the lives of California DOC Inmates through compassionate experiential education with the aim to reduce prison violence and recidivism. His work tends to focus on character-driven crime drama and mysteries with themes of mental illness and examining familial roots.

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How Writing Regularly Can Improve Your Creativity and Clarity

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Developing a consistent writing habit is helpful for success in content creation. Public or personal, you can develop a writing habit and bolster your creativity in different areas of your life. Read the full article How Writing Regularly Can Improve Your Creativity and Clarity for practical strategies and insights to help build and maintain an effective writing practice.  

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Center for Career Development Wilbur Cross Building, Rm 202 233 Glenbrook Road U-4051 Storrs, CT 06269

Fall 2024 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 151.S01: Introduction to English Studies

Tuesday and Thursday, 11 a.m.-12:15 p.m.

Sharon Smith

ENGL 151 serves as an introduction to both the English major and the discipline of English studies. In this class, you will develop the thinking, reading, writing and research practices that define both the major and the discipline. Much of the semester will be devoted to honing your literary analysis skills, and we will study and discuss texts from several different genres—poetry, short fiction, the novel, drama and film—as well as some literary criticism. As we do so, we will explore the language of the discipline, and you will learn a variety of key literary terms and concepts. In addition, you will develop your skills as both a writer and researcher within the discipline of English.

ENGL 201.ST1 Composition II: The Mind/Body Connection

In this section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the mind, the body and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the efficacy of sex education programs; the degree to which beliefs about race and gender influence school dress codes; and the unique mental and physical challenges faced by college students today. In this course, you will be learning about different approaches to argumentation, analyzing the arguments of others and constructing your own arguments. At the same time, you will be honing your skills as a researcher and developing your abilities as a persuasive and effective writer.

ENGL 201.S10 Composition II: Environmental Writing   

Monday/Wednesday/Friday 1-1:50 p.m.

Gwen Horsley

English 201 will help students develop the ability to think critically and analytically and to write effectively for other university courses and careers. This course will provide opportunities to develop analytical skills that will help students become critical readers and effective writers. Specifically, in this class, students will:

• Focus on the relationships between world environments, land, animals and humankind.
• Read various essays by environmental, conservational and regional authors.
• Produce student writings. 

Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in "Literature and the Environment " and other sources. They may use "The St. Martin’s Handbook," as well as other sources, to review grammar, punctuation, mechanics and usage as needed.

ENGL 201.13 Composition II: Writing the Environment

Tuesday and Thursday 9:30-10:45 a.m.

Paul Baggett

For generations, environmentalists have relied on the power of prose to change the minds and habits of their contemporaries. In the wake of fires, floods, storms and droughts, environmental writing has gained a new sense of urgency, with authors joining activists in their efforts to educate the public about the grim realities of climate change. But do they make a difference? Have reports of present and future disasters so saturated our airwaves that we no longer hear them? How do writers make us care about the planet amidst all the noise? In this course, students will examine the various rhetorical strategies employed by some of today’s leading environmental writers and filmmakers. And while analyzing their different arguments, students also will strengthen their own strategies of argumentation as they research and develop essays that explore a range of environmental concerns.

ENGL 201 Composition II: Food Writing

S17 Tuesday and Thursday 12:30-1:45 p.m.

S18 Tuesday and Thursday 2-3:15 p.m.

Jodi Andrews

In this composition class, students will critically analyze essays about food, food systems and environments, food cultures, the intersections of personal choice, market forces and policy and the values underneath these forces. Students will learn to better read like writers, noting authors’ purpose, audience organizational moves, sentence-level punctuation and diction. We will read a variety of essays including research-intensive arguments and personal narratives which intersect with one of our most primal needs as humans: food consumption. Students will rhetorically analyze texts, conduct advanced research, reflect on the writing process and write essays utilizing intentional rhetorical strategies. Through doing this work, students will practice the writing moves valued in every discipline: argument, evidence, concision, engaging prose and the essential research skills for the 21st century.

ENGL 221.S01 British Literature I

Michael S. Nagy

English 221 is a survey of early British literature from its inception in the Old English period with works such as "Beowulf" and the “Battle of Maldon,” through the Middle Ages and the incomparable writings of Geoffrey Chaucer and the Gawain - poet, to the Renaissance and beyond. Students will explore the historical and cultural contexts in which all assigned reading materials were written, and they will bring that information to bear on class discussion. Likely themes that this class will cover include heroism, humor, honor, religion, heresy and moral relativity. Students will write one research paper in this class and sit for two formal exams: a midterm covering everything up to that point in the semester, and a comprehensive final. Probable texts include the following:

• The Norton Anthology of English Literature: The Middle Ages. Ed. Alfred David, M. H. Abrams, and Stephen Greenblatt. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Restoration and the Eighteenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• Gibaldi, Joseph. The MLA Handbook for Writers of Research Papers. 6th ed. New York: The Modern Language Association of America, 2003.
• Any Standard College Dictionary.

ENGL 240.S01 Juvenile Literature Elementary-5th Grade

Monday, Wednesday and Friday noon-12:50 p.m.

April Myrick

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 240.ST1 Juvenile Literature Elementary-5th Grade

Randi Anderson

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the K-5 grade level. We will read a large range of works that fall into this category, as well as information on the history, development and genre of juvenile literature.

Readings for this course include classical works such as "Hatchet," "Little Women", "The Lion, the Witch and the Wardrobe" and "Brown Girl Dreaming," as well as newer works like "Storm in the Barn," "Anne Frank’s Diary: A Graphic Adaptation," "Lumberjanes," and a variety of picture books. These readings will be paired with chapters from "Reading Children’s Literature: A Critical Introduction " to help develop understanding of various genres, themes and concepts that are both related to juvenile literature and also present in our readings.

In addition to exposing students to various genres of writing (poetry, historical fiction, non-fiction, fantasy, picture books, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race and gender. Students’ understanding of these works and concepts will be developed through readings, research, discussion posts, exams and writing assignments designed to get students to practice analyzing poetry, picture books, informational books and transitional/easy readers.

ENGL 241.S01: American Literature I

Tuesday and Thursday 12:30-1:45 p.m.

This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender and democracy continue to influence how Americans see themselves and their society.

Required Texts

• The Norton Anthology of American Literature: Package 1, Volumes A and B Beginnings to 1865, Ninth Edition. (ISBN 978-0-393-26454-8)

ENGL 283.S01 Introduction to Creative Writing

Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve a research project. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

ENGL 283.S02 Introduction to Creative Writing

Jodilyn Andrews

This course introduces students to the craft of writing, with readings and practice in at least two genres (including fiction, poetry and drama).

ENGL 283.ST1 Introduction to Creative Writing

Amber Jensen, M.A., M.F.A.

This course explores creative writing as a way of encountering the world, research as a component of the creative writing process, elements of craft and their rhetorical effect and drafting, workshop and revision as integral parts of writing polished literary creative work. Student writers will engage in the research practices that inform the writing of literature and in the composing strategies and writing process writers use to create literary texts. Through their reading and writing of fiction, poetry and creative nonfiction, students will learn about craft elements, find examples of those craft elements in published works and apply these elements in their own creative work, developed through weekly writing activities, small group and large group workshop and conferences with the instructor. Work will be submitted, along with a learning reflection and revision plan in each genre and will then be revised and submitted as a final portfolio at the end of the semester to demonstrate continued growth in the creation of polished literary writing.

• 300-400 level

ENGL 424.S01 Language Arts Methods grades 7-12  

Tuesday 6-8:50 p.m.

Danielle Harms

Techniques, materials and resources for teaching English language and literature to middle and secondary school students. Required of students in the English education option.

AIS/ENGL 447.S01: American Indian Literature of the Present 

Thursdays 3-6 p.m.

This course introduces students to contemporary works by authors from various Indigenous nations. Students examine these works to enhance their historical understanding of Indigenous peoples, discover the variety of literary forms used by those who identify as Indigenous writers, and consider the cultural and political significance of these varieties of expression. Topics and questions to be explored include:

• Genre: What makes Indigenous literature indigenous?
• Political and Cultural Sovereignty: Why have an emphasis on tribal specificity and calls for “literary separatism” emerged in recent decades, and what are some of the critical conversations surrounding such particularized perspectives?
• Gender and Sexuality: What are the intersecting concerns of Indigenous Studies and Women, Gender and Sexuality Studies, and how might these research fields inform one another?
• Trans-Indigeneity: What might we learn by comparing works across different Indigenous traditions, and what challenges do such comparisons present?
• Aesthetics: How do Indigenous writers understand the dynamics between tradition and creativity?
• Visual Forms: What questions or concerns do visual representations (television and film) by or about Indigenous peoples present?

Possible Texts

• Akiwenzie-Damm, Kateri and Josie Douglas (eds), Skins: Contemporary Indigenous Writing. IAD Press, 2000. (978-1864650327)
• Erdrich, Louise, The Sentence. Harper, 2021 (978-0062671127)
• Harjo, Joy, Poet Warrior: A Memoir. Norton, 2021 (978-0393248524)
• Harjo, Sterlin and Taika Waititi, Reservation Dogs (selected episodes)
• Talty, Morgan. Night of the Living Rez, 2022, Tin House (978-1953534187)
• Wall Kimmerer, Robin. Braiding Sweet Grass, Milkweed Editions (978-1571313560)
• Wilson, Diane. The Seed Keeper: A Novel. Milkweed Editions (978-1571311375)
• Critical essays by Alexie, Allen, Cohen, Cox, King, Kroeber, Ortiz, Piatote, Ross and Sexton, Smith, Taylor, Teuton, Treuer, Vizenor, and Womack.

ENGL 472.S01: Film Criticism

Tuesdays 2-4:50 p.m.

Jason McEntee

Do you have an appreciation for, and enjoy watching, movies? Do you want to study movies in a genre-oriented format (such as those we typically call the Western, the screwball comedy, the science fiction or the crime/gangster, to name a few)? Do you want to explore the different critical approaches for talking and writing about movies (such as auteur, feminist, genre or reception)?

In this class, you will examine movies through viewing and defining different genres while, at the same time, studying and utilizing different styles of film criticism. You will share your discoveries in both class discussions and short writings. The final project will be a formal written piece of film criticism based on our work throughout the semester. The course satisfies requirements and electives for all English majors and minors, including both the Film Studies and Professional Writing minors. (Note: Viewing of movies outside of class required and may require rental and/or streaming service fees.)

ENGL 476.ST1: Fiction

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence, and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 479.01 Capstone: The Gothic

Wednesday 3-5:50 p.m.

With the publication of Horace Walpole’s "The Castle of Otranto " in 1764, the Gothic officially came into being. Dark tales of physical violence and psychological terror, the Gothic incorporates elements such as distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways and mysterious chambers; haunting dreams, troubling prophecies and disturbing premonitions; abduction, imprisonment and murder; and a varied assortment of corpses, apparitions and “monsters.” In this course, we will trace the development of Gothic literature—and some film—from the eighteenth-century to the present time. As we do so, we will consider how the Gothic engages philosophical beliefs about the beautiful and sublime; shapes psychological understandings of human beings’ encounters with horror, terror, the fantastic and the uncanny; and intervenes in the social and historical contexts in which it was written. We’ll consider, for example, how the Gothic undermines ideals related to domesticity and marriage through representations of domestic abuse, toxicity and gaslighting. In addition, we’ll discuss Gothic texts that center the injustices of slavery and racism. As many Gothic texts suggest, the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the realities of the world in which we live. 

ENGL 485.S01: Undergraduate Writing Center Learning Assistants 

Flexible Scheduling

Nathan Serfling

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations, and develop a richer sense of writing as a complex and negotiated social process.

Graduate Courses

Engl 572.s01: film criticism, engl 576.st1 fiction.

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 605.S01 Seminar in Teaching Composition

Thursdays 1-3:50 p.m.

This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts.

As we read about, discuss and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar.

At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities.

ENGL 726.S01: The New Woman, 1880–1900s 

Thursdays 3–5:50 p.m.

Katherine Malone

This course explores the rise of the New Woman at the end of the nineteenth century. The label New Woman referred to independent women who rebelled against social conventions. Often depicted riding bicycles, smoking cigarettes and wearing masculine clothing, these early feminists challenged gender roles and sought broader opportunities for women’s employment and self-determination. We will read provocative fiction and nonfiction by New Women writers and their critics, including authors such as Sarah Grand, Mona Caird, George Egerton, Amy Levy, Ella Hepworth Dixon, Grant Allen and George Gissing. We will analyze these exciting texts through a range of critical lenses and within the historical context of imperialism, scientific and technological innovation, the growth of the periodical press and discourse about race, class and gender. In addition to writing an argumentative seminar paper, students will complete short research assignments and lead discussion.

ENGL 792.ST1 Women in War: Female Authors and Characters in Contemporary War Lit

In this course, we will explore the voices of female authors and characters in contemporary literature of war. Drawing from various literary theories, our readings and discussion will explore the contributions of these voices to the evolving literature of war through archetypal and feminist criticism. We will read a variety of short works (both theoretical and creative) and complete works such as (selections subject to change): "Eyes Right" by Tracy Crow, "Plenty of Time When We Get Home" by Kayla Williams, "You Know When the Men are Gone" by Siobhan Fallon, "Still, Come Home" by Katie Schultz and "The Fine Art of Camouflage" by Lauren Johnson.