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Inside the Room: Writing Television with the Pros at UCLA Extension Writers' Program

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What does it take to go from being a fan to professional television writer? For the first time outside of the UCLA Extension Writers' Programme classrooms, TV writers whose many produced credits include The Simpsons, House M.D., and Pretty Little Liars take aspiring writers through the process of writing their first spec script for an on-air series, creating one-hour drama What does it take to go from being a fan to professional television writer? For the first time outside of the UCLA Extension Writers' Programme classrooms, TV writers whose many produced credits include The Simpsons, House M.D., and Pretty Little Liars take aspiring writers through the process of writing their first spec script for an on-air series, creating one-hour drama and sitcom pilots that break out from the pack, and revising scripts to meet pro standards. Learn how to launch and sustain a writing career and get a rare, intimate look inside the yearlong process of creating, selling, and getting a TV show made. Edited by writers' program director Linda Venis, Inside the Room is the ultimate guide to writing one's way into the Writers Guild of America. "Venis corrals an accessible and useful guide for anyone with the dream and the drive who needs to know, practically, what to do. An engaging and helpful how-to for hopeful TV writers or anyone interested in the nuts and bolts of this ephemeral art." - Kirkus Reviews


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What does it take to go from being a fan to professional television writer? For the first time outside of the UCLA Extension Writers' Programme classrooms, TV writers whose many produced credits include The Simpsons, House M.D., and Pretty Little Liars take aspiring writers through the process of writing their first spec script for an on-air series, creating one-hour drama What does it take to go from being a fan to professional television writer? For the first time outside of the UCLA Extension Writers' Programme classrooms, TV writers whose many produced credits include The Simpsons, House M.D., and Pretty Little Liars take aspiring writers through the process of writing their first spec script for an on-air series, creating one-hour drama and sitcom pilots that break out from the pack, and revising scripts to meet pro standards. Learn how to launch and sustain a writing career and get a rare, intimate look inside the yearlong process of creating, selling, and getting a TV show made. Edited by writers' program director Linda Venis, Inside the Room is the ultimate guide to writing one's way into the Writers Guild of America. "Venis corrals an accessible and useful guide for anyone with the dream and the drive who needs to know, practically, what to do. An engaging and helpful how-to for hopeful TV writers or anyone interested in the nuts and bolts of this ephemeral art." - Kirkus Reviews

30 review for Inside the Room: Writing Television with the Pros at UCLA Extension Writers' Program

  1. 5 out of 5

    YourFriendlyNeighborhoodSpidey

    Great book! I skipped part 2 about writing comedy, because that's not what I'm aiming for, but I feel like I know a lot more of the TV writing lingo, have a good idea of how to break into the industry, and how to get an idea of what to write for a script (spec or original). Great book! I skipped part 2 about writing comedy, because that's not what I'm aiming for, but I feel like I know a lot more of the TV writing lingo, have a good idea of how to break into the industry, and how to get an idea of what to write for a script (spec or original).

  2. 4 out of 5

    Craig Williams

    While this collection of essays by seasoned television writers is a must-read for anyone interested in the industry, the book as a whole suffers a bit from redundancy. You will read the same advice repeated by different writers, which emphasizes the relevancy of that advice, but also makes it feel like the book can no longer offer you any new advice the further you read it. This is a book that works better as a handbook to reference piece meal while you're in the process of writing a spec script While this collection of essays by seasoned television writers is a must-read for anyone interested in the industry, the book as a whole suffers a bit from redundancy. You will read the same advice repeated by different writers, which emphasizes the relevancy of that advice, but also makes it feel like the book can no longer offer you any new advice the further you read it. This is a book that works better as a handbook to reference piece meal while you're in the process of writing a spec script or pilot, rather than a book to read straight through. The last chapter in particular, which chronicles the process of getting a pilot approved from the perspective of a fictional aspiring TV writer, is worth reading alone just to give you an idea of what you're in for when entering this field of work.

  3. 4 out of 5

    Andréa Fehsenfeld

    As a TV Producer/Writer I like to read books on craft at least once a year to stay fresh. Inside The Room was engaging and filled with lots of tips. The final chapter is worth its weight in gold - it outlines the journey of writer and script during a year of being picked up by a network. All the highs and lows and the outside factors beyond a writers control as the script moves to pilot greenlight. If you're not familiar with the industry, this is a great primer. As a TV Producer/Writer I like to read books on craft at least once a year to stay fresh. Inside The Room was engaging and filled with lots of tips. The final chapter is worth its weight in gold - it outlines the journey of writer and script during a year of being picked up by a network. All the highs and lows and the outside factors beyond a writers control as the script moves to pilot greenlight. If you're not familiar with the industry, this is a great primer.

  4. 4 out of 5

    Alex

    Some chapters are quite good, others so so, and a fair amount of repetition. Best not to read cover-to-cover as I did but to pick and choose the topics you care most about.

  5. 5 out of 5

    Richard Carilo

    Critical Score: 3.75 Personal Score: 3.75 Total Score: 7.5

  6. 5 out of 5

    Lauren

    In comparison to the plethora of books available about screenwriting, books about writing for television are in short supply. Inside the Room fills a needed void. Although basic in places and occasionally repetitive, Inside the Room does a nice job of explaining the industry and offering useful advice. Extra points for the format and having several different writers tackle the subject. Although aspiring writers could pick and choose which chapters to skim, the entire book is worth reading, regar In comparison to the plethora of books available about screenwriting, books about writing for television are in short supply. Inside the Room fills a needed void. Although basic in places and occasionally repetitive, Inside the Room does a nice job of explaining the industry and offering useful advice. Extra points for the format and having several different writers tackle the subject. Although aspiring writers could pick and choose which chapters to skim, the entire book is worth reading, regardless of genre. Said aspiring writers might still want to check out a screenwriting book or two, but Inside the Room is a must – and not just because it’s the only game in town. Recommended.

  7. 4 out of 5

    Alexis Johnson

    An absolute must-read for screenwriters. One of the best books on writing series, if not THE best book I've encountered. An absolute must-read for screenwriters. One of the best books on writing series, if not THE best book I've encountered.

  8. 5 out of 5

    Ayu

    Informative, but because it was written by multiple people is often repetitive.

  9. 5 out of 5

    Yvette

  10. 5 out of 5

    Kimberly Dietz

  11. 4 out of 5

    Joshua C Boshnack

  12. 4 out of 5

    Emily

  13. 4 out of 5

    Matthew Downs

  14. 5 out of 5

    Sydney

  15. 4 out of 5

    Sandra Flowers

  16. 4 out of 5

    Alexandra King

  17. 5 out of 5

    Jason M.

  18. 4 out of 5

    Julie

  19. 5 out of 5

    Catherine

  20. 4 out of 5

    Melissa

  21. 5 out of 5

    Cindy

  22. 4 out of 5

    Brandon

  23. 4 out of 5

    Thea Camilla Eriksen

  24. 5 out of 5

    John

  25. 5 out of 5

    Dan

  26. 4 out of 5

    Megan

  27. 4 out of 5

    Sierra

  28. 5 out of 5

    Leticia

  29. 4 out of 5

    Kari Wolf

  30. 4 out of 5

    Arlo Thompson

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