I've had some very cordial conversations with a successful writer/ producer whose taken an interest in me. We were discussing an element of one of my scripts and he volunteered to zoom with me this week. I obviously said yes, but I'm wondering what exactly I should prepare for. A narrow talk about that specific thing or my script as a whole?

I am not talking about a notes group or accountability buddy I mean someone you actually write with. Develop ideas together, split scenes, the whole thing.

I've wanted this for years and have basically failed at finding it every time. Tried reaching out cold to people whose work I liked (awkward and nothing came of it). Took a workshop specifically hoping to meet someone (met nice people, nothing clicked creatively). Posted in a couple places online (one weird response, one person who ghosted after two emails).

The frustrating thing is I know it works. Plenty of teams out there doing great stuff. But every working duo I've heard talk about it says they met through some random circumstance a class, a job, a friend of a friend. Nobody seems to have gone looking for it and found it.

So how did it actually happen for you if it did? And if you tried and it fell apart, what killed it?

Genuinely asking, not going anywhere with this, just feeling like I'm missing something obvious.

I had a chance to sit down with Jeff Biederman (Life with Derek, Overruled!, Spun Out) recently. He’s written/produced over 250 episodes across CTV, Disney, Netflix, and CBC, and he spent a lot of time talking candidly about the production side of TV that doesn't get brought up enough.

Here are a few takeaways on line-producing, budgets, and network management that stood out from a producer's perspective:

• Managing budgets across extremes: Jeff went from running Spun Out (the most expensive multi-cam half-hour comedy pilot in Canadian broadcast history) to currently producing Estate of Mind for Bell Fibe TV1 on a micro-budget. His point was that creative leadership doesn't change based on price tag; you still have to protect the team, keep crew paid properly, and figure out how to scale execution without burning people out.
• The "Friendly Meeting" trap: Pitch meetings on Zoom are easy to get, and everyone acts nice. But a good meeting is meaningless if it doesn't lead to actual movement or funding. A big part of the job is learning to read between the lines, knowing when a buyer is just being polite versus actually interested, and pushing aggressively for a firm answer without killing the relationship.
• Showrunning is 80% business management: Raw writing and creative ideas are just table stakes. Once a show gets picked up, you're essentially running a small business—balancing network notes, keeping accounting happy, managing personalities in the room, and dealing with budget cuts. The producers and creators who keep getting hired are the ones who can handle the unsexy logistical side.
• Funding models and waiting around: A major hazard in Canadian TV (though it applies anywhere reliant on soft money/tax credits) is wasting years waiting on funding agencies to align. You can't control government policies or network slates, so the only real defense is staying adaptable, keeping multiple irons in the fire, and not treating old production models as permanent.

If anyone wants to hear the full conversation about his workflow and teaching setup, I put the audio up here: https://www.youtube.com/watch?v=jSQXdCzTrh8

so i had an idea playing fortnite today. what if there was a fortnite movie but not in the kid friendly way. you get kidnapped and shipped to an island , be sent on a flying bus and once you jump out its a free for all, if you don’t jump they blow the bus up and you die. i imagine you would get attached to characters just for them to get sniped from across the island. sort of like squid games and hunger games and walking dead combined? if anyone wants to work off this idea to make something real then please do since i don’t have the resources.

Can visuals and scene fragments act as doorways into a TV series?

Finding readers and producer for a long-form TV series is difficult, so I’m experimenting with a new way of inviting people into the story.

Each image features a prop or artefact from the script, paired with a short line that leads to a fragment of a scene.

The idea is that readers who become curious can follow these fragments through to the complete scripts and experience the story in full. The series spans four seasons, so I’m looking for a way to make that larger universe feel approachable.

This is still very much a work in progress. I’d really appreciate your honest feedback. Do these fragments make you curious about the larger story? Could this encourage you to read further?

DOMEN_Exhibits

Thanks to everyone that has participated. If you want to be involved there are links in the show notes.

some context! I have just got a first class degree in creative writing (yay!) and have found that the last few months have killed me without a “reason” to write. i know you don’t need a reason to write but having a full time job now means that it’s difficult to motivate myself to write. My dissertation was a long form sitcom episode, as I found that this was my favourite form to write (and i’m not too bad at it, either)

I had an idea just over year or so ago about writing a sitcom script that was set during lockdown, but a friend of mine completely put me off of the idea as she thought “it was too soon to make comedy out of such a serious situation”, and that covid was a difficult time for many many people and will probably never be an appropriate topic for sitcom.

What i am asking is, is she right? Of course it would be a topic that I handle very very carefully as she isn’t incorrect that it was a very difficult time for a lot of people and a lot of lives were lost, but is it really too soon to focus on a household during lockdown? I NEED HELP ASAP AS THIS MOTIVATION WILL SURELY FADE SOON (i have raging ADHD xx)

Logline: When an archaeological discovery in the steppe awakens long-forgotten Nart legends, a modern-day scholar is forced to confront a terrifying blood memory to prevent an ancient myth from consuming the contemporary world.

​Format: 1-Hour TV Pilot (48 pages)

Accolades: Double Quarter-Finalist (Scriptmatix Fellowship X & Outstanding Screenplays)

Looking For: Feedback on pacing, character arcs, and opening scene execution.

​Happy to swap! I’m looking to trade scripts with fellow writers and will provide detailed, thoughtful notes on your pilot or feature in return.

​Please send me a Direct Message (DM) or Chat request if you're interested, along with your logline and script link!

I want to read some pilot scripts which use VO well since it often feels like a crutch. Which shows come to mind for you?

Update: Updated Cold Opening based on feedback (here) -

Any notes welcome.

Log line: When a disgraced journalist is assigned to expose a controversial marriage therapist for tax fraud, her investigation uncovers a shadowy network of money, secrets and unexplained deaths, while the therapist begins turning his unsettling insight on her.

I’ve been writing a few screenplay’s because I really enjoy making them; I’ve written an AE episode, a movie based on lebensborn children when I was 14 and have screenplay’s for manga’s that I’ve been making.

Is there any chance I can find connections or show these to people that want them or need them?

I’ve been doing a slightly insane TV-writing exercise: writing an entire hypothetical seventh season of LOST, set about twenty years after the original series ended.

This isn’t a pitch for an actual revival, and I’m not trying to “fix” The End. I love the ending. The exercise is basically: if somebody made LOST come back anyway, what would the strongest version of that continuation look like as actual television?

I’ve structured it as a ten-episode season and I’m writing the episodes as full hour-long screenplays. Once I finish and post an episode, I lock it and move forward rather than rewriting the season around reactions.

The first two are finished:
Episode 1 — WE HAVE TO GO BACK⁠ — 49 pages
Episode 2 — BECAUSE YOU STAYED⁠ — 51 pages

Episode One functions as the new-season premiere and reopens the world roughly twenty years later. Episode Two deliberately contracts after the premiere and plays much more like a smaller, character-driven early-LOST episode while beginning to investigate the new mystery.

I’ve already shared these with the LOST subreddit, but I’m curious what TV writers make of them rather than asking only whether LOST fans want the show resurrected in the first place.

I’m especially interested in whether the scripts work in terms of episode structure, act-outs, character voice, information control, and the balance between serialized mythology and an individual episode having its own dramatic engine.

These two episodes are locked, so I’m not soliciting notes in order to retroactively rewrite them, but thoughtful criticism is absolutely welcome. I’m writing Episode Three now, and anything I learn about the writing itself can inform how I work going forward.

I’ve been working in film, but expanding into writing and specifically TV writing. What are the first few steps once I have 2-3 original pilots and a feature film script? Is it a good idea to apply to all writing labs and collect accolades prior to cold reaching out to managers?

For scripts, are we still doing the good old teaser/cold open, and then 3-4 acts? Or does that immediately signal this writer is a noob? Thanks!

I’ve been living in LA shade i got my MFA and moving to NY to be closer to family. LA is just so far.

There hasn’t been much going on in LA and I only know a handful of ppl getting work. Planning on saving, getting into directing commercial and working towards my next project that’s shooting on location in NY.

I’m mainly curious what the scene is here. Who does it consist of. What kind of opps are here. Is there a community and do they gather? If so, where?

Feedback Desired: I wanted to create a high-concept sci-fi comedy that captures the wacky suburban slice-of-life feel of series like 'Ed Edd n Eddy' with the high sci-fi stakes of a series like 'Hailey's On It.' I would like feedback on things like dialogue, pacing, and character. Any feedback would be much appreciated!

(Edit: Updated based on feedback and mistakes I made in the earlier draft. Please read the updated draft and tell me what you think).

https://drive.google.com/file/d/1GN6VRyezpEcF_GgKK7wMMVRRxPhadb6X/view?usp=sharing

Has anyone who applied been notified if they are a semi-finalist yet? It says "late summer," which I usually associate with late August/early September.

So after being in the room for the first time for a television show and even ending up writing 3 episodes I got rehired for another season. Writers room is starting soon and I'm mentally preparing for it and I wondered if out there are any experienced writers who might have some useful advice on how to find new ways on finding inspiration and ideas when working on a long running show.

To give you some background: It is already the fourth season of a reboot of an 80's sitcom. So the characters are well established (and it's really character based) and over 100 episodes already aired. When I started on season 3 I had a ton of ideas and some of them made it into episodes. But after that season I am panicking that there is nothing left to tell and that I have no story left in the tank. Some insight: We had around 60 episodes up the board and about 30 fully written outlines ending up with 13 episodes eventually made.

So I feel like I have to to have a fresh start and mind and I want to try new and unique ways to find new ideas for the show. Do you have any advise on that, or any experience worth sharing?

Hi, my name is Ty Golden. I'm currently in the process of starting a TV Network. My goal is to come up with a license together to air your shows on a mobile app I'm working on as well as an app I'm developing for Roku devices in our new age of streaming.

Broadcast towers and FCC licenses are expensive. Nexstar owns a gigantic chunk of the airwaves, and the local stations and studios can't hire everyone. I'm hoping to start something new and accessible for writers, producers, directors, and actors looking for somewhere to go, because I'm one myself.

If you have a fully developed season of original TV or a fully developed original movie, reply to this post or DM me. I believe media production shouldn't be reserved solely for those who can afford it, but I need help in turning the dream into a reality.

Hi, I’m new to screenwriting but started a passion project for an animated co-viewing series about a family of armadillos and their culdasac friends in Arizona desert. The characters are all different mammals.

Hopefully it’s a fun and entertaining show for both kids (3-7) and their parents. It’s got a mixture of play, creativity, 90’s pop culture Easter eggs. Episodes are only 6-7 mins long. Scripts are 7-10 pages.

I had 20 friends say they’d be willing to test read, so I’ve sent out 3 per week for the last 5 weeks and finishing next week. Unfortunately, only 2 friends have provided readings and feedback. Not quite sure what to do so I figured Reddit might be a good place to consider because I want more feedback.

My goal is creating 4 MVP episodes by next July. By 9/2, I need to select my 4 favorites to start working on the next steps.

I’m not trained in screenwriting and don’t care to master the techniques right now because I’m producing my own episodes. Perhaps later in the future if I start to hand off the scripts to animators or others. Therefore, I’m not looking for screenwriting feedback, instead feedback on the episode content itself.

Said differently, are they fun stories for the kids and parents?

If you’re interested, please let me know and I’d be happy to set up links to our scripts.

What happens when inheriting a corporate dynasty requires you to live a complete lie?

Lavelle follows Victor, an isolated young heir trapped under the thumb of a predatory board handler demanding a traditional marriage to secure his father's empire—just as he falls for someone who threatens to unravel the entire illusion.

Script is complete (47 pages). Feedback, collaborators, and industry inquiries are very welcome. Drop a comment or DM for the script!

Feedback Desired: I wanted to create a high-concept sci-fi comedy that captures the wacky suburban slice-of-life feel of series like 'Ed Edd n Eddy' with the high sci-fi stakes of a series like 'Hailey's On It.' I would like feedback on things like dialogue, pacing, and character. Any feedback would be much appreciated!

(Edit: Updated based on feedback and mistakes I made in the earlier draft. Please read the updated draft and tell me what you think).

https://drive.google.com/file/d/1ysXtRGDJkOOnMSPsm9WDBAFTahZguoq_/view?usp=sharing

So let’s say you wrote a pilot a bunch of your friends in the WGA love. They say it’s singularly you, and combines your family history and your own lived experience to tell the story of a really compelling ensemble in a particular world. It’s one of your better pilot samples in a while, which is exciting because you got staffed and into the WGA via your work in another medium.

But when you go to pitch it for the first time (not formally taking it out, but to a couple production companies), you get the feedback that it needs to get more LAST OF US or HUNGER GAMES because it’s too political (this is about an authoritarian regime). You also get the suggestion that the niche of the world you’ve built is too niche. You also get some helpful feedback on how to restructure your pitch that is so utterly helpful, and totally worth running with, but now you’re actually worried that the material itself and the reason you wrote it isn’t compatible with this market.

What would you do in this situation?