Insider's Guide to Writing for Television
by Julian Friedmann
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About This Book
Do you want to write for TV? Want advice from TV industry experts on how to sell a script? Whether you understand beats and through lines or are still trying to figure out your A story from your B story, The Insider's Guide to Writing for TV supports you through the whole process of writing a television script - from working out a premise to getting your script on screen. Co-authored by a successful scriptwriter and script editor, and the co-founder of one of the UK's most prestigious scriptwrit
Our Review
This practical guide delivers exactly what aspiring television writers need: a clear roadmap from initial concept to getting your script in front of decision-makers. Co-authored by a successful scriptwriter and a top UK agent, it demystifies the entire process, from structuring your A and B stories to understanding the commercial realities of the industry. The advice is grounded in real-world experience, offering actionable steps for developing a compelling premise and a sellable script.
Its unflinching focus on the business side of television writing provides insider knowledge on how to actually market your work and navigate the industry. It’s an invaluable resource for anyone serious about a career in the writer's room, cutting through the creative fog with professional, hard-won wisdom. You'll finish this book not just with a better script, but with a concrete strategy for getting it made.
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KATABASIS
Peter Murdoch, one of Grimes\u0027 other students—\u0022He was simply born brilliant…Alice couldn\u0027t stand him\u0022—and she reluctantly agrees to join forces. Despite the accounts of Dante and the like, Hell is full of surprises, including (sometimes) a remarkable resemblance to a college campus. As Alice and Peter journey deeper, they encounter nefarious deities\u003B twisted, once\u002Dhuman enemies\u003B and Shades from Grimes’ past with their own agendas. Hell will test Alice and Peter in ways their academic careers have not, dredging up their pasts at Cambridge, their messy relationships with their advisor, and their distrust of each other—after all, academia is a cutthroat game. The stakes are high, with mortal souls on the line, as Alice grapples with the question of whether academia even matters. Kuang melds a fantasy adventure (don’t look too closely at the magic—that’s not the point) with a rumination on academia’s problems to create a new take on the journey through the underworld. Alice is deeply flawed but also deeply understandable, stuck in a system that damages her while making questionable choices that feed into the same system\u003B this is a tightly constructed novel that aims a clear lens on academia, with both its faults and its virtues. The heady draw of discovery is ever\u002Dpresent, even if what Alice is discovering is Hell."
THE LACK OF LIGHT
suicide 20 years earlier—a fact we learn in the first chapter but come to fully understand only 700 eagerly turned pages later. The narrator is Keto, who grows up in a delightfully quirky household with two battling grandmothers, a widowed physicist father, and a beloved older brother\u003B the story follows her friendships with brilliant Ira, daring Dina, and beautiful Nene, the darling daughter of a mobster family, from their schoolyard beginnings, through young loves, emerging talents, and life\u002Dchanging decisions, everything thrown into high relief by the unfolding disaster around them. Ferrante lovers will find many echoes of the Neapolitan novels here, the plot similarly featuring almost mythic levels of intensity in love and grief, centering the importance of women’s friendship. An unexpectedly moving translators’ note says that the novel, while not autobiographical, is probably Haratischwili’s \u0022most personal work to date,\u0022 a history strongly felt in myriad gorgeously written summary passages like this one: “We, the children of the nineties, who swapped our childhood and youth for Kalashnikovs and heroin—we, of all people, listened to Barry White and longed for nothing more than eternal love and the ecstatic fruits of that love, for fun and excitement. We, of all people, let the music play. And how! We played it right to the bitter end.”"

THE BEWITCHING
a haunting of her own." />

PLAY NICE
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