Interview: Jane Baker

Being open about my anxiety has been very freeing, and it’s made people connect with me when they previously might have thought we had nothing in common.
Interview: Jay Silverman

To be a good director in both TV or film, you need to be a good listener. It’s about taking all the best ideas to make the project better and to collaborate.
Interview: Evan Cooper

A lot of people told me not to direct. But it was getting to the point where my scripts just weren’t getting made–or they were being rewritten by morons.
Interview: Jen Goldson

A writer who thinks they can write every genre is not going to perfect any one genre. So know who you are—and that takes time to figure out.
Interview: Prarthana Mohan & Kay Tuxford

The trick is to be non-stop. Which is not a trick at all, but exhausting. You have to be promoting around the clock. And not just the same post—you have to turn it into an event with your audience.
Interview: Howard Jordan, Part 2

... all the clichés are true. Keep writing. Keep networking. Keep improving.
Interview: Ashley Kreeb

... the best advice I can give is to be ready when the opportunity presents itself.
Interview: Joshua Paul Johnson and Jamie Napoli

... the challenges involved with any creative relationship necessitate being respectful of each other’s ideas and being able to navigate disagreements.
Interview: Penelope Chai and Matteo Bernardini

Let it go—when your co-writer says what you’ve written is unclear or confusing or not working or not on the page, trust them. They have the benefit of objectivity.
Interview: Nir Paniry

... your story will change and morph and become a much more team-oriented endeavor, but there’s something so interesting about it all starting with you and a computer, and that’s it.
Interview: Howard Jordan Jr.

Larger audiences seem curious to delve into stories of people who look and live differently.
Interview: Josh Chesler

But the truth is, you have to earn it, and you have to develop your craft to the point where you’re ready for that career.
Interview: Micah Barnett

Writers sometimes forget this is a business and that the majority of people who read your script are looking at it as a commodity. “Can I sell this concept?”
Interview: Debbie Lollie

For a writer to stretch and find an original plot and a fresh and creative way to package those elements, that’s an illustration of high-concept.
Interview: Alex Ross

The true definition of madness was becoming a reality. And it took a few years, money ran out, bills weren’t being paid, and it was time to go get a job again. But I always believed.