Carole Kirschner

Hollywood truth: Your dignity is worth more than chasing someone who doesn't want to be caught. If they wanted to meet with you, they'd find 45 minutes somewhere in their schedule. If you’re getting blown off over and over, take the initiative to bow out gracefully.
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Most writers wait until their script is "ready" to reach out for feedback. By then, you've missed the chance to build relationships through the messy middle drafts. Trading early pages with other writers creates bonds that last beyond any single project.
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Writing is a gig economy—even at the highest levels. My advice? Save during the busy times so you can breathe during the lean ones.

Interested in chatting one-on-one about your career? Check out my coaching services: www.carolekirschner.com/coaching

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The best program essays I've read feel like the opening of a memoir I couldn't put down. Generic statements like "I've always loved television" tell us nothing. What shows shaped you? What moments in your life would make great TV? Be specific, detailed, and unforgettable.
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Thank you, Janet!

Great point, Susan!

The Gratitude Hangover — Carole Kirschner Every Thanksgiving my family and I get invited to what can only be described as a spectacular Thanksgiving extravaganza.  It’s hosted by one of my best friends and is less dinner party and more...

This year’s “Thanksgiving” post isn’t for the grateful writers — it’s for the ones feeling stuck, bitter, and anything *but* thankful. If that’s you, here are a few tips for surviving family dinners, the industry slowdown, and the pressure to fake positivity.

Here's a mistake I see writers make too often: writing a period piece as their first sample. Period pieces are expensive, and unless you're Ryan Murphy or Shonda Rhimes, almost no one is buying them. Write a blazing hot, contemporary, high-concept sample instead. That's what's actually getting made.

Early career writers: target managers, not agents. In today's industry, agents typically only sign writers who are already working or about to make a sale. Managers are the ones who'll take a chance on emerging talent—but only if your work is truly ready.
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Most of the time networking does suck, but it gets a whole lot easier when you think of it as simply connecting with people who share your passion.

Want to chat one-on-one? Explore my coaching services: www.carolekirschner.com/coaching

#scriptsky #filmmaking #screenwriting

Talk to me. What do you think about this break from good to great? What's been hardest for you in getting your sample to the "blazing hot" level?

Those are different questions than "Is this pretty good?" And they tend to solicit different responses.

Don't just ask "What do you think?" Ask: "Do you think this script is not just good, but GREAT? Do you think this sample would make a potential manager not just interested, but excited to sign me?"

So how do you know if your work is not just good, but great?

Ask smart people. Could be peers at your level, could be more established writers. But ask them specific questions.

When you’re trying to get a manager or a staff job, you’re competing for limited spots with hundreds of other talented writers. Managers and showrunners can't take a chance on "shows promise." They need scripts & writers they're excited about right now.

The truth is, that’s just not how things work. This is a business, and an incredibly competitive one at that.

Many emerging writers imagine that managers are looking for work that “shows promise.” They assume that, though their work falls far short of their heroes, if they’re smart and have good ideas, representation and “entry level writing jobs” might be around the corner.

In 2025, a sample that moves your career forward has to already be at the professional level. It has to be the kind of script where someone finishes reading and immediately wants to meet you.

Going from Good to Great is what took him from Assistant to Staffed.

What does that look like?

Notice, I said it was good. Not great. Not blazing hot. Not the kind of script I wanted to send to my industry friends right away because WOW you have to check this out.

Just solid. Workmanlike. Really pretty decent.

It wasn't until I saw his sample that I diagnosed the problem.

His sample was good.

Does that sound like a problem to you?

When I met with him, I couldn't tell why. He was smart, personable, hardworking. He knew how to tell his own story in meetings.

A client of mine is now a working TV writer with a great career. Five years ago, he was a writers assistant who just couldn't make the jump to his first staff job.

Great samples have 3 key elements:
- Blazing Hot Work
- High Concept Premise
- Your Voice, and/or Your Story

But, Carole, what do you mean when you say “blazing hot work?” How do I know if my work is “blazing hot?” Great question! 🧵⤵️

The irony of micromanagement: showrunners who try to control everything end up compromising their vision because they're spread too thin. Your creative vision is actually protected when you delegate well and focus your energy where it counts most.
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I completely agree, Vincent!

For spec scripts, the sweet spot is often shows in season 2-4. Not so new they might get canceled, not so established that every story's been told. You want readers to know the characters well enough to judge your voice capture, but still have room for fresh stories.
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SO, YOU'VE BEEN LAID OFF... NOW WHAT?

This is a fantastic, inspiring post by Evan Shapiro (@eshap.bsky.social) of Media War & Peace. It's for everyone who's lost a job or is afraid they may. With real-world strategies for next steps. Please read it. You'll feel better if you do.

First impressions happen in about 2 seconds. In-person: stand tall, eye contact, confident handshake. On Zoom: sit up straight, camera on, well-lit, smiling. Confidence without ego. You want to be memorable for the right reasons, not insufferable for the wrong ones.
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A great pitch is always a performance 🎭

Get The Ultimate Guide to Pitching a TV Show that Sells (for free!): www.carolekirschner.com/pitching-ebook

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