If you test positive for Covid – Don’t come to class until you test negative. But let your teacher know and we’ll work to give you access to your missed classes via Zoom.
If you show Covid symptoms OR If you have been exposed to someone with Covid – Don’t come to class for at least 5 days after showing symptoms or exposure, and then take a test to confirm that you are negative. Let your teacher know and we’ll work to give you access to your missed classes via Zoom.
If you have any questions about this, you may call (212-974-8377) or email us ([email protected]).
TV Writing I
GUIDE TO SCRIPTWRITING COURSES
Scriptwriting Pathways
Foundation
If you’re not sure what kind of script to write...
If you know what kind of script to write...
Somewhat related...
If you want a rather short course...
Screenwriting Intensive
TV Writing Intensive
Playwriting Intensive
Web Series
Documentary Films
Stand-Up Comedy Writing Intensive
Songwriting Intensive
Or...
Next Steps
After completing a Level I ten-week course...
After completing TV Writing II Pilot…
Also Helpful
These essential courses are great for writers of any level.
TV Writing I is a 10-week workshop, which includes lectures, exercises, and the critiquing of student projects. It’s for beginners or anyone who wants to brush up on the fundamentals. Farther down, you can view a syllabus for this course.
The best TV shows are addictive, beckoning us to bring the characters into our homes or devices, episode after episode. The people might be cops, thugs, monsters, geeks, doctors, lawyers, fixers, or just ordinary people with everyday problems. The format might be network, streaming, or a web series. As long as it hooks us.
Each TV show is a unique story-machine, with its own rules and formulas. Here you’ll learn how to write for TV and how to market your work.
Whether you seek to write comedy, drama, or something in between, we’ll show you how to write TV episodes that might, someday, get everybody buzzing.
I learned everything there is to know concerning TV writing.
Erica Lake
accounting
Notes
TV writers either work on the staff of an existing series or they create an original show. To break into the business, you need samples of your work—either episodes of existing shows or original scripts, the latter more desirable these days.
TV Writing I focuses on writing “spec” scripts for existing shows, which is the best way to learn how TV episodes work. TV Writing II Pilot focuses on creating an original series and “pilot” episode.
These courses cover “scripted” shows, as opposed to reality TV.
Upcoming Classes
NYC COVID Info
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You can still enroll in this class.
10-Week
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Zoom
Real-time videoconference
Tuition: $439 (returning students: $409)
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Online
Anytime, week-long sessions
Tuition: $439 (returning students: $409)
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One-on-One
Tuition: $1,895
Syllabus
This course gives you a firm grounding in the basics of TV writing craft and gets you writing a TV script for an existing show. Course components:
Lectures
Writing exercises
Workshopping of student projects (each student presenting work two times)
New York City/Zoom classes
The syllabus varies from teacher to teacher, term to term. Many topics will be similar to those covered in the Online classes.
Online classes
Week 1
Introduction to TV Writing: Writing samples—specs for existing shows, original work. Elements of a TV series—type, premise, episodes (self-contained/serialized, storylines, signatures), characters, setting, tone, secret theme. How to choose a show to spec. Studying shows.
Week 2
Episode Ideas: Getting storyline ideas. Finding ideas inside and outside the show. Vertical exploration of regular characters. Interaction of multiple storylines. Using the expected and unexpected.
Week 3
Mapping It Out: Finding the storyline beats. Plot basics. Prose outlines. Segments. Step outlines. Tips for outlining.
Week 4
Character: Understanding the regular characters. Desire—super objective, episode objective. Strengths/flaws. Personality. Relationships.
Week 5
Format/Description: Examining the technical format for TV scripts. How to handle description.
Week 6
Scene: Scene defined. Scene guidelines—importance, desire, structure, character. Scenes analyzed—short, medium, long.
Week 7
Dialogue: Naturalistic dialogue. The art of compression. Stylized dialogue. Lingo. Character through dialogue. Subtext. Stage directions.
Week 8
Drama/Comedy: Drama—character complexity, emotion, suspense, action. Comedy—character folly, extreme situations, verbal wit, physical humor. Comedy/Drama—finding the right balance.
Week 9
The Process: The real-world process of writing TV shows. Your process-beating it out, breaking story, scenes, transitions, length, finishing touches. Making sure a script is ready.
Week 10
The Business: Building a collection of samples. Getting in the door-connections, non-writing jobs in the business, agents/managers, production companies. Who to contact. Query letter. Response. Meetings. Ways to maximize your chances.
Note: Content may vary among individual classes.
Teachers
Miriam Datskovsky
Miriam Datskovsky was a writer for the series Speechless (ABC Television) and a writers' assistant for The Carrie Diaries (The CW). She developed the original pilot Hacked for Bluegrass FanFare at ABC Studios, and worked as a development associate for Silver and Gold Productions. Her pilot Missed Connections made Amazon's Consider List, and other original pilots have been finalists for the Creative World Awards and the Screencraft Pilot Launch awards. Her journalism and essays have appeared in Los Angeles magazine, New York magazine, Condé Nast Portfolio, Brides, and Ravishly. She has taught at the Posse Foundation and volunteered with WriteGirl. She holds a BA from Columbia University.
Read more
Pamela Harris
Pamela Harris has had TV pilots packaged with 20th Century Fox and others, and served as a staff writer for Life on the Line, a one-hour drama (Oxygen Network). She wrote the feature screenplay Joyville, which was selected for the Writers Lab, a program sponsored by Meryl Streep, Nicole Kidman and Oprah Winfrey, and was a finalist for the WGA/FilmNation Fellowship. She directed and co-wrote a short film, En Route, that screened at many festivals including Soho International, Vermont Music and Film, and Adirondack. Pamela is also an award-winning visual artist and has exhibited extensively. She holds a BFA from the Hartford Art School.
Read moreMiriam Datskovsky
Miriam Datskovsky
was a writer for the series Speechless (ABC Television) and a writers' assistant for The Carrie Diaries (The CW). She developed the original pilot Hacked for Bluegrass FanFare at ABC Studios, and worked as a development associate for Silver and Gold Productions. Her pilot Missed Connections made Amazon's Consider List, and other original pilots have been finalists for the Creative World Awards and the Screencraft Pilot Launch awards. Her journalism and essays have appeared in Los Angeles magazine, New York magazine, Condé Nast Portfolio, Brides, and Ravishly. She has taught at the Posse Foundation and volunteered with WriteGirl. She holds a BA from Columbia University.
Pamela Harris
Pamela Harris
has had TV pilots packaged with 20th Century Fox and others, and served as a staff writer for Life on the Line, a one-hour drama (Oxygen Network). She wrote the feature screenplay Joyville, which was selected for the Writers Lab, a program sponsored by Meryl Streep, Nicole Kidman and Oprah Winfrey, and was a finalist for the WGA/FilmNation Fellowship. She directed and co-wrote a short film, En Route, that screened at many festivals including Soho International, Vermont Music and Film, and Adirondack. Pamela is also an award-winning visual artist and has exhibited extensively. She holds a BFA from the Hartford Art School.
