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If you’ve ever wondered how some TV writers manage to sell series after series, the answer lies in their story engine. The story engine is the underlying idea or concept that shapes the narrative and provides a sense of direction for the characters and plot. It’s not the story itself, but rather the framework that consistently produces stories. In this blog post, we’ve examined the four components of a successful story engine: central character, central goal, web of conflict, and unique arena. By understanding these elements and using them to create a clear and well-defined story engine, writers can set their series up for success from the very start. So, before diving into writing your pilot, take the time to develop your story engine using the blueprint and case studies provided in this post.

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.

If you get paid to generate words – whether its corporate communications, marketing copy or, yes, screenplays you WILL feel the impact of generative text AI in some way, shape or form. That’s a given. But is it the end of screenwriting as we know it?

After you’ve pitched your series concept (sometimes during the pitch) executives might throw you this curveball question:
“But why now?” You want to respond with something like… “Because I think it would be a cool show?” But you know that’s not the right answer.  So, what is the answer to “Why now?” Read on and find out…

When an experienced showrunner, creator or TV writer pitches their series to an exec, talent rep or producer, their primary goal is to convince them that they are the ONLY writer who can write this story. But how? Read on and find out…

So, you’re an aspiring TV writer who’s just come up with a great idea for a TV series. What do you do now? Read on and find out…

‘They want you to be the girl in the room.’

There was a time, early in my screenwriting career, when those were my most hated ten words…

How many times have you metaphorically hung a sign on your door saying, “Bad Writing Day” and called it a day? Here’s how you stop that from happening.

A sci-fi horror Western written and directed by a socially conscious African-American auteur in a post George Floyd world sounds like a lot. And it is. But writer/director Jordan Peele knows to ground the spectacular in his characters arcs, and keeps us hooked all the way through…