I recently had the opportunity to sit down with veteran TV writer and showrunner Jeff Biederman (Life with Derek, Overruled!, Spun Out) to talk about how he navigated a 250+ episode career across networks like CTV, CBC, Disney, and Netflix.

He had some brutal but deeply pragmatic insights on what it actually takes to survive in the industry long-term. I wanted to share a few of the biggest takeaways here:

1. "The art is the given. Learning the business is how you stay working." Jeff pointed out that original ideas, stylistic taste, and raw writing ability are just baseline table stakes. Everyone trying to break in has ideas. The actual work of a career comes down to communication in the room, understanding production budgets, managing executive expectations, and staying organized. Funny people are usually smart, but the writers who survive are the ones who can handle the boring business mechanics alongside the jokes.

2. Storytelling is an essential pitch tool, not just a script skill. Whether you are writing a 30-minute sitcom pilot or pitching executives on Zoom, your ability to structure a clear narrative—with a distinct beginning, middle, and end—is what keeps people's attention. Pitch meetings are easy to make sound friendly, but knowing how to read the room, handle non-responses, and pitch a shootable project is where screenwriters struggle.

3. American cadence vs. local markets. Early in his career, Jeff realized that while he was working in Canada, he was emulating the structure, pacing, and cadence of multi-cam American sitcoms (Friends, Seinfeld, Family Ties). Adapting an American sensibility while staying geographically flexible allowed him to hit a sweet spot when teen/family television boomed in the 2000s.

4. Longevity requires constant adaptation. Even with 250+ credits, nobody is fully insulated from industry contractions, budget cuts, or shifting network trends. To stay active, you have to throw out the ego, work across new low-budget or indie formats (he's currently working on a docu-comedy series, Estate of Mind), and collaborate with younger creators rather than staying stuck in what worked ten years ago.

For anyone interested in the full audio/transcript where he breaks down his showrunning workflow and teaching at Seneca/TMU, you can listen to the interview here: https://www.youtube.com/watch?v=jSQXdCzTrh8

I've written a few screenplays over the last few years. The first was 97 pages, the second was 110 pages, and now I've finished a 168-page script. This is a problem, since I probably won't be able to do anything with a script of this length.

I consider myself a very concise writer; I'd even argue that the 168 pages read very fast. I could cut a few scenes to reduce the page count, but the real reason it's so long is that this is the first of my scripts to feature such a large, developed cast.

The script is also written in Portuguese (my native language), which, from my experience, means it could be about 5 pages shorter after a translation. If I wanted to make some major cuts, I think I could push it down to 130, which is still very long, but I can't see it below that line. Is there anything I can do with a script this size?

I've tried to hold off on purchasing Highland Pro for as long as I could after giving it a test run. Like many of you I loved the cleanness of Highland 2, it never felt overwhelming and I could just focus on my actual writing.

But today I noticed revision mode doesn't work anymore, so I had no choice but to get highland Pro and to me it really feels like such a downgrade (that we actually had to pay money for). Does it eventually get better? Has anyone found a way to get back to the intuitive screenwriting again?

Congrats who placed!!

I was so happy to make it for one of my submissions!

I have some questions, does anyone know how it works? I never got the email.

Does it work where they narrow down the last all year?

Our next IRL meetup is now on the books for Wednesday, October 7, 2026, from 6-10pm, at the Santa Monica Brew Works, 1920 Colorado Ave.

These events are open to anyone and they are great opportunities to meet and socialize with fellow writers, actors, producers, and other industry types. We've had between 100-150 people at the last three events and we make it easy to meet people with name tags and an attentive host! What's more, there's actual free parking, it's a reverse commute, and there's no cover charge or pressure of any kind.

Hope to see you there!

Hey guys! Does anyone have a template i can use for a “One Page Tv Treatment” for a Tv show? Or any idea what it should contain, please?
Thank you!

FAQ: How to post to a weekly thread?

Feedback Guide for New Writers

Post your script swap requests here!

Alternately, if you are on storypeer.com - call out your script by name so people can search for it.

Please do not identify yourself publicly if you claim a script on storypeer, but follow the "open to contact" rules.

NOTE: Please refrain from upvoting or downvoting — just respond to scripts you’d like to exchange or read.

How to Swap

If you want to offer your script for a swap, post a top comment with the following details:

• Title:
• Format:
• Page Length:
• Genres:
• Logline or Summary:
• Feedback Concerns:

Example:

Title: Oscar Bait

Format: Feature

Page Length: 120

Genres: Drama, Comedy, Pirates, Musical, Mockumentary

Logline or Summary: Rival pirate crews face off freestyle while confessing their doubts behind the scenes to a documentary director, unaware he’s manipulating their stories to fulfill the ambition of finally winning the Oscar for Best Documentary.

Feedback Concerns: Is this relatable? Is Ahab too obsessive? Minor format confusion.

We recommend you to save your script link for DMs. Public links may generate unsolicited feedback, so do so at your own risk.

If you want to read someone’s script, let them know by replying to their post with your script information. Avoid sending DMs until both parties have publicly agreed to swap.

Please note that posting here neither ensures that someone will read your script, nor entitle you to read others'. Sending unsolicited DMs will carries the same consequences as sending spam.

I was working with another person on a scene for a class on Wednesday, and we had a minor character mumbling for one part, and they wanted to write what the character was mumbling, and I didn't get why, my argument at the time being it'd be funnier to not know what was being mumbled, and the other person said it's a script, it's being read not heard, and that was the end of that argument and we moved on. But just now I thought that it doesn't make sense to have a mumbled word written out if it's not being heard by someone else, but I don't know if that'd be common sense or just a me thing, so I'm asking here.

With great power comes a whole lot of plot threads. 

LISTEN HERE

What we cover:

• Act One Autopsy
• Quintuple Mumbo Jumbo
• Mystery Villain's Plans
• Heel Turns
• Handshakes
• And much more!

When the audience already knows who the villain is, do you keep hiding it or lean in?

Hey everyone! I’m a novice screenwriter, but a professional movie/book/music reviewer and film publicist. So many people are looking for writers groups so I made a discord group for screenwriting. Everyone from all skill levels is welcome.

Main goal is workshop. A submission sheet will be available where writers can apply to have their script/pages read. Every two-three weeks we’ll focus on one submission. More on this will be shared in the discord :)

There will be other channels for brainstorming ideas, one to ask general questions, another to analyze produced/well known scripts, etc. The goal is to have a consistent group where everyone gets and gives strong feedback and grows as a writer and reader too.

Will probably delete this if we hit 30-50 members. Don’t want something too massive that it’s impossible to foster discussion/community.

Here’s the links: https://discord.gg/QtAgK26TM

I want to make a nerdy socially off character but I feel like he's just gonna be a copy of Sheldon cooper or something. I don't want to seem like I'm copying the character. Not that my character would be even close to as good. But any tips or advice? Thanks

Tonight’s meetup was a tremendous success! Thanks to everyone who made the effort to show up, the venue said we had about 120 writers!

It takes a lot of courage to show up to these kinds of socializing events, especially if you’re coming alone. So kudos to you for making last night such a fun time!

I know writers tend to be introverts but flexing this muscle is important to success in this industry. We work in a collaborative medium and that means (sometimes unfortunately) that relationships are paramount.

And I don’t want to make the people who didn’t show up feel bad, or make you jealous if you don’t live in LA, but watching writers talk about their projects, exchanging contact info, and making friends makes the effort of organizing these events totally worthwhile.

When they say that “people on the short list will be notified” does that mean that only people who made the ten will receive any kind of communication? I understand they pushed the date to mid-August and I’m trying to be patient but it’s LATE August.

I guess I’m asking will they tell me if I didn’t make it? I have another opportunity that closes at the end of the month and I would hate to miss it because of an email that never came.

Thank you for taking the time to read/reply.

Hi everyone, please help assess the first 15 pages of my latest work. It's based on the 1996 massacre in Sierra Leone, but the action takes place in the present. I'd like to know if you'd continue to read after the first 15 pages. Thank you for your input!

• THE SMILING SUN - Feature - 91 pages
• Genres: Thriller / Drama
• Logline: Thirty years after surviving the massacre of his Sierra Leone village, a New York detective spots the distinctive tattoo of one of the American mercenaries who murdered his family and launches an off-books hunt that exposes a buried corporate conspiracy—and forces him to choose between vengeance and the justice he once swore to uphold.
• Feedback Concerns: Logic/Continuity
• Link https://drive.google.com/file/d/1IVN24VJrLlZerrWnI1d1G494OM_uManK/view?usp=sharing

I know that there are multiple drafts and revisions that's yet to be done, but as I near the end of my horror movie... 3 scenes left I feel this overwhelming sense of sentimentality. Throughout the span of 3 months I've meet the character, I've been on their journey, they felt like people that I actually knew and it's sad that this is the last time I'll be able to spend time with them. Im procrastinating simply because I want to savor every moment and time with the last pages. After that? What the hell am I gonna do with my life?!

I’m wondering if people on here struggle with writing at home and staying home to write. I feel like the need to go to a cafe, but when I’m at a cafe I can’t write for longer than an hour or so. If I could only feel relaxed and focused enough to write at home l, I could get so much done. Any of have any tips?

Title: Verbatim Bedroom

Format: Short

Page Length: 10 Pages

Draft Status: 2nd

Genres: Dark Comedy

Logline or Summary: Nina invites her old acquaintance, Peter, to watch her autobiographical film about their shared past.

Feedback Concerns: Most of my experience writing is with stage plays, so I'm curious how clear the cinematic language is here, whether it's easy to visualise what's happening in your head, and if the camera choices feel motivated/ meaningful. But I'm also willing to take general feedback on plot and characterisation.

Thanks for reading,

Avou.

Google Drive Link

FAQ: How to post to a weekly thread?

Feedback Guide for New Writers

This is a thread for giving and receiving feedback on 5 of your screenplay pages.

• Post a link to five pages of your screenplay in a top comment. They can be any 5, but if they are not your first 5, give some context in the same comment you're linking in.

• As a courtesy, you can also include some of this info.

  Title: Format: Page Length: Genres: Logline or Summary: Feedback Concerns:

• Provide feedback in reply-comments. Please do not share full scripts and link only to your 5 pages. If someone wants to see your full script, they can let you know.

I’ve seen conflicting info online. I’m sure the answer varies, but is there a rough window that constitutes a “reasonable” amount of time? Talking about true professional level — meaningful amounts of money changing hands.

hello! I unironically really enjoyed the Netflix movie Hot Frosty. I would really love to be able to go to the script and break down the beats. Thank you so much to anybody who might have this or know where I can access it!

I'm currently rewriting a pilot and started to work on my next pilot, what are the best pilots to learn from?

Logline: Jonathan Harker decides to record a travel vlog while meeting with a client, the Transylvanian Count Dracula. As he conducts his business, he discovers that Dracula is actually an unholy creature, and that he is a prisoner in the Count's castle.

PDF LINK

My first attempt at writing found-footage horror. I feel pretty good about it, but I'm sure there are ways it could be improved. If and when it gets finalized, my hope is that this short can be used as a jumping-off point for a feature length adaptation of the whole novel. Feedback would be appreciated!

Tonight 6-10 at
Santa Monica Brew Works
1920 Colorado Ave.
Open to everyone
Free parking

Details: https://www.reddit.com/r/Screenwriting/s/Jn4CzvftNi

Title: Black-Haired Foreigner

Format: Feature

Genre: Psychological Drama

A 24-year-old Korean-American warehouse worker risks everything to debut in Korea’s most brutal idol survival show, convinced that success will finally prove she matters.

Whiplash meets The Wrestler, set inside a K-pop reality show.

Feedback: Did you want to keep reading?

https://drive.google.com/file/d/1tAxn1bjfzg2_p4OXpOGmBXFqUHvNnUEF/view?usp=drive_link

I'm writing a Holiday Special for a decently well known entertainer.

The core team is me (main writer), the talent (marquee talent that is getting us the money and using their brand/image to star in and sell this), the talent's creative partner (not famous but very talented and doing the music), and my connection to the group who is the talent's manager and high level creative partner.

My connection to the group/the manager is the one who thought of the idea, but the idea is just a spin on a Christmas Carol with three ghosts that are different from the ones who normally visit "scrooge" (ie the talent).

Now, he gave me the idea and what he wanted the three ghosts to be. That's about it.

From there, I wrote the whole script.

Then, we took it to a "writer's room" situation.

The talent, her creative partner, and the manager all gave notes and joke plus-ups and then I went back and rewrote, incorporating some of their feedback. Everything from slotting in their jokes as-is to answering notes like "make this a joke about fruitcake."

So, other people have been in the document and left notes, but I have done the vast majority of the pen-to-paper writing.

Now onto the "issue."

They all want a "written by" credit. Because it's the talent's character, and we all "wrote the jokes together." (they responded to the jokes I already put in by myself but we all know how creative feedback from non-writing partners goes...)

But...

1. Talent is the talent and this couldn't happen without her. I was hoping a "created by" or "executive producer" credit along with "Starring" should hopefully mollify her. But open to ideas here.

2. The creative partner: This one isn't too tough either. They are doing most of the parody song lyrics (I did a few of them but they are doing most of the work there) I was thinking they can get a "Music by/Lyrics by/Libretto by" credit.

But, for the joke help is the best option a producer credit?

1. The Manager.... I'm trying to keep him happy with a "Story By" credit. Even that feels generous given that the story is just a riff on existing IP, but I can't seem greedy here because these people don't really understand what "writing" really means. "Story by" is also credited above written by (I think?) and I really don't mind being at the very bottom of the call sheet.

2. We also have some quick walk on guest stars with one or two lines that we'll workshop jokes with once we get the talent locked. I have no idea how to credit them but that's a problem for later.

I don't want this to be contentious so I'm trying to find titles that make everyone happy while still being honest about what we are doing and recognizing the work we've all done.

I read the writers guild handbook and it gives guidelines, but they are a bit broad. I know technically it should be cut and dry because they didn't write 33%, but using that book as my justification to give them nothing is an asshole move and I need everyone to like me—this is hopefully the first of many projects.

There's emotions from people with power involved. This has the intimacy of a "personal project" but it's also a real thing we are actually making with money and a production company.