What Writers Can Learn From Fighting With Mel Brooks

I hate when people tell me I need to be passionate about my writing. As if the only way for a script or story or post to work is if I’m DYING to tell it.

As my Canadian friend would say, Americans (especially TV writer types) don’t struggle with being passionate because they believe whatever they’re saying is the most important thing in the world.

I grew up in San Diego but I may as well be from Ottawa. I’m just not Capital-P PASSIONATE about my ideas the way many of my TV brothers and sisters are. And yet passion, or rather access to passion, is a vital component to a successful career in this biz.

A TV Writer’s Job

Your job as a TV writer is twofold. The first first fold, Fold A if you will, is to write. Duh, bro. You generate ideas and create material — screenplays, TV pilots, jokes and funny Tweets that everyone says are good for your brand. Chances are if you’re a TV writer or want to be one, this is the fold, Fold A, that you enjoy.

The second fold, Fold B, is to pitch. This is where you tell people about your ideas — why they’re great, why you want to make them and why they should make them. Also, why they’re going to make everyone a lot of money. Like enough bills to stack up into a money throne.