Hey Stu,
Talk Less, Listen More
I talk to writers of all levels — up through Showrunner — and here's what I keep noticing: the writers who are the most curious about other people tend to be the better writers.
So much of the richness in our work comes from outside ourselves. Ideas, characters, plot turns, entire worlds — they often come from listening. From other people's lives, their stories, their contradictions. From podcasts, books, articles, conversations with strangers. Our own experience is a starting point, but it's not the whole well. The whole world is the well, if we're paying attention to it.
Recently, I was telling another writer about a podcast I'm listening to, about a controversial figure who's lived an incredible life, the kind of material you could mine for a character, a twist, a whole arc. But the other writer had already formed such a strong opinion about this person that there wasn't any room left to hear more. And I thought — what a missed opportunity. Because if we're not curious about the people and ideas right in front of us, where exactly are we drawing material from?
Here's my suggestion: in your next conversations, try asking more questions than you answer. Get curious about someone else's project, their life, their take on something you don't fully understand yet. Let them talk. Really listen — don't just wait for your turn to respond, but actually take in what they're saying. You might be surprised what sparks.
The most interesting writers I know are rarely the most talkative, they're the most interested.
Warner Bros. Discovery Access Writers Program
As we mentioned last week, the submission window for the 2027 cohort closes Sunday, July 12, 2026 at 11:59pm PT. This is open to writers staffed on one or zero seasons of US scripted TV; submit two original samples in the same genre. It provides a pathway for writers seeking to enhance their skills in episodic television writing, with master classes on storytelling and collaborative creative writing.
Script Anatomy has taught this program for the past 4 years and are excited to continue on in 2027! You have a few weeks to get those applications in, writers!!!
Writers Group Vacancies
One per group. You know what to do—write to taw...@scriptanatomy.com if you think you're eligible. These are affordable, high level groups, run by our instructors.
Tawnya |
Jul 12 to Sep 13, 10:00am ● Instructor: Jackie Penn
Turner and Hooch (Disney+), 4400 (CW)
Over nine sessions you will go from seed of an idea to an outline as we cover the foundational elements of developing and writing a TV pilot script. It’s a thorough and demanding course – a cross between Televisionary and a TV Pilot Lab class.
This TV writing class takes you through the step-by-step process of how to write an undeniable pilot outline that will have impact, help your material stand out, and move your career forward.
|
Jul 19 to Aug 23 10:00am ● Instructor: Aaron Vaccaro
Mike & Molly, Superior Donuts (CBS), The Villains of Valley View (Disney)
Whatever your level—and whether you’re working on a TV spec or an original pilot—this course will help ensure your story has been developed and built for maximum impact and that you’re ready to go to draft.
An intensive 5-week course that is perfect for both new and working writers who want to develop and build their stories from concept to solid outline. |
Jul 23 to Oct 1 6:00pm ● Instructor: Alex Raiman
NCIS: Tony & Ziva (Paramount+), The Magician (Netflix)
Before class begins, your instructor will provide detailed personal notes on your script, giving you a clear roadmap for your rewrite. Over five in-depth sessions, you’ll tackle Core Structural Beats, deepen Character and Relationship Dynamics, heighten Conflict & Stakes, and refine every layer of your story.
An intensive 8-week course designed for writers ready to fully rewrite and polish an existing TV project. |
Jul 26 to Aug 23 2:00pm ● Instructor: Sasha Feiler
Robot Chicken (Adult Swim), Fellow at The Colony
It begins with a pre-class prep week in which you hand in your outline and read a comedy or drama script chosen by the instructor. In Week One you receive notes on your outlines from your peers and the instructor.
A structured 3 session class designed for writers who have a completed script outline and are ready to write their draft. |
FEATURE CLASSES
Last Spots |
Jul 9 to Aug 27 6:00pm ● Instructor: Ross Lazar
Amazon Studios, Fifth Season, Screen Gems, Point Grey Pictures, Netflix
Feature Draft Intensive is a structured 4 session class designed for screenwriters who have a completed outline and are ready to write their draft. It will help you get that unfinished project written and polished while reviewing Core Structure and other key elements as well as focus on tools.
It begins with a pre-class prep week in which writers hand in their outline and read a comedy or drama script chosen by the screenwriting instructor. |
Jul 15 to Sep 2 6:30pm ● Instructor: Phillip Van
Netflix, Endeavor Content, Ramona Films, New Mandate Films, Boat Rocker Studios
Writing is rewriting, and this is the place to do it. The first four weeks will be guided classes in which the instructor and your peers will offer honest notes on your material and help you hone the key elements of your project.
You’ll learn techniques to fine tune all aspects of your script, from structure to character development, to dialogue and scene work. |
Aug 2 to Sep 13 10:00am ● Instructor: Stacey Miller
Tenn (starring Vincent D’Onofrio), I Am Michael (starring James Franco, Emma Roberts)
Each week, you will learn a new writing tool, and then receive a corresponding assignment in which you apply it to your own project. You will also give and receive weekly feedback, from your instructor and your peers, providing you with an honest evaluation of your material in a dynamic and supportive environment.
Feature Development Lab is the course upon which all of our feature writing courses are built. |
Aug 2 to Sep 13 10:00am ● Instructor: Craig Fernandez
22 Features Sold: From Prada To Nada (Lionsgate), Biker Boyz (Dreamworks), Frankenstein (Sony)
In the first class, your instructor will pitch you a feature that’s being taken out to studios so you can see exactly what a professional pitch should look like. In the last class, you will pitch your instructor (and the class) your movie and get feedback.
You’ve written your feature draft, outline or treatment and now you need to pitch. You’ll learn how it’s done and by the end, you’ll be pitching your movie to the class. |
🎉 Got a win? Let’s celebrate together! 🎉
Share your success with us—email est...@scriptanatomy.com
or tag us on your IG story/post.
We can’t wait to cheer you on!
|
|
.png?width=300&upscale=true&name=images%20(1).png)
