Skip to main content
July 2, 2022
Screenplays
Television
Filmmaking
Multi-Media
Career
Interviews
Inspiration
Reviews
Free Resources
Contributors
Shop
Free Resources
Events
Classes
Webinars
Screenplays
Television
Filmmaking
Multi-Media
Career
Interviews
Inspiration
Reviews
Free Resources
executive
Screenwriting How-To Articles
PRIMETIME: How Do I Submit My Scripts to TV Shows?
By Chad Gervich
May 31, 2016
Screenwriting How-To Articles
Acting Challenges
By Ray Morton
Dec 23, 2011
Screenwriting How-To Articles
Landing Your First Assignment
By John Buchanan
Dec 23, 2011
Screenwriting How-To Articles
PrimeTime: If You Hate TV, Why Do You Want to Write It?
By Chad Gervich
Oct 31, 2011
Screenwriting How-To Articles
PrimeTime: Should I Shoot My Pilot on Spec?
By Chad Gervich
Sep 19, 2011
Screenwriting How-To Articles
PrimeTime: The Truth About Protecting Your Work
By Chad Gervich
Jun 6, 2011
Screenwriting How-To Articles
PRIMETIME: Using CAPS in a Spec Script... and How Ready Should a Sizzle Reel Be Before Pitching?
By Chad Gervich
May 30, 2011
Screenwriting How-To Articles
PRIMETIME: Getting Your First Job In Hollywood
By Chad Gervich
Apr 12, 2011
Screenwriting How-To Articles
PRIMETIME: Why Winning a Contest Rarely Gives Your Script an Edge
By Chad Gervich
Mar 4, 2011
Screenwriting How-To Articles
PRIMETIME: Does Having an Agent Allow You to Live Outside L.A.?
By Chad Gervich
Feb 4, 2011
Screenwriting How-To Articles
Why Shows Have So Many Producers... and Why You Should NOT Buy My Book
By Chad Gervich
Jan 21, 2011
Screenwriting How-To Articles
PRIMETIME: Rebuttals & Smackdowns... Cool Websites... and a Question for YOU
By Chad Gervich
Jan 7, 2011
Screenwriting How-To Articles
PRIMETIME: Living in L.A., Submitting to Websites-- Rebuttals and Guest Thoughts
By Chad Gervich
Dec 4, 2010
Screenwriting How-To Articles
PRIMETIME: How Can I Get My Pilot From Chicago To L.A.?
By Chad Gervich
Oct 15, 2010
Screenwriting How-To Articles
PRIMETIME: How should I lay out episodic format in a written pitch?
By Chad Gervich
Aug 30, 2010
CLOSE
CLOSE
CLOSE
CLOSE