These days, you have to be flexible as a writer.  You need to be willing and able to write for both film and television, and for more than one genre.  Not only that, but you need to understand writing for all media platforms: Web 2.0 (social media), mobile media (cell phones), web series, etc..  The more you know, the more valuable you are.

It’s easy to think that writing is writing, but it’s different for each medium.  Film has greater emphasis on the visual, so dialogue is sparse because it screened for a captive audience.  Television, however, requires more dialogue as people are busy doing other things and may not be in the room for the whole episode. 

Writing for cable is different from writing for conventional television.  There’s more to writing for cable TV than throwing in a few swear words, violence and controversial sex.  The subject matter, structure, characters and tone are different.  Conventional shows have to appeal to a broader audience so more offensive and controversial material has to go. 

When you write for television, you have to think about what’s going to happen every week – obviously.  Typically, production companies want you to have a vague idea of where the show is going up to 100 episodes, but this isn’t necessarily the case any more.  Shows like Durham County were created to only have six episodes per season, and Mad Men and Being Erica have only twelve.  Comedy is moving into full hour and drama into half an hour.  The lines are blurring, but still the basic rules apply.

Writing for television is highly competitive.  You need at least two kick-ass spec scripts of existing series or originals to showcase your writing and some comfortable walking shoes for pounding the pavement.  Working on your own show is probably the best job you can get as a screenwriter.  You have greater creative control especially versus feature film writing, you make a regular pay cheque, and best of all, you are in charge. 

Before you get carried away, writing and selling your first show ain’t easy.  Creating your own series is much like building a car.  You can’t build a car until you’ve taken a few apart and put them back together again.  Start by breaking down existing shows that are similar to your idea to understand the framework.

Successfully selling your own show is kind of a crap shoot.  Some people get their own shows off the ground easy peasy – G Spot, Corner Gas, Seinfeld – others take years of back and forth between broadcasters and production companies – Crash & Burn (eight years), MadMen (wrote for and partnered with David Chase of Sopranos).  But they usually all have something in common; they have back-up.  Whether that’s a stand-up comedy routine, a highly successful character, a partnership with a reputable show runner or even a friend in the biz, they’ve got that edge that gets them in the door.

Doesn’t mean you can’t get a producer to read your work and bang! you’ve got a hit show.  It’s just not likely.  There are hundreds, maybe thousands of experienced screenwriters who have show concepts bouncing around Hollywood from desk to desk and never get the green light.  So, you’ve got to be sure you’ve got the best script you can give them and hope, with crossed fingers, that they love it enough to put money on it.