Being a “good writer” is the most dangerous place to be in Film & TV. скачать в хорошем качестве

Being a “good writer” is the most dangerous place to be in Film & TV.

FILM & TV writers don’t stall because they lack talent. They stall because clarity, judgement and process start to matter more than raw ability — and no one explains that shift. I’m Sarah Asante, founder of Asante Space and a former BBC TV executive. I spent a decade commissioning and developing scripted shows, putting millions into programmes and thousands into development. In this video, I break down 10 practical craft truths mid-level writers need to hear — the things gatekeepers rarely say out loud, but quietly assess in every meeting, script and rewrite. This isn’t theory. It’s how scripts actually move forward. In this video, we cover: • Why second acts sag (and how to fix the engine, not the scenes) • What execs really mean by “character consistency” • Why plot must keep poking the same internal wound • The difference between explanation and momentum • Why writing speed is a professional skill • How to take notes without derailing your confidence • What actually builds staying power in a writing career If you’re an experienced or mid-level writer who’s tired of developing in isolation, I’m opening The Script Advantage Network — a space for sharper craft, better judgement and real accountability. 🔗 Work with me / join the network: https://asantespace.org