TV Writers vs. Early Pickups

Our esteemed colleague Gray Jones, who has worked in the television industry for a number of years, decided to dust off his blog and address some fan concerns about the changes in the Chuck writers’ room, including the recent departure of Ali Adler, Matt Miller, and Phil Klemmer. Here’s an excerpt:

Let’s consider the landscape, particularly for a writer on one of the many shows in the bubble range. Even a critically acclaimed or well-rated show can be canceled or have its budget cut. In pilot season, writers take home stacks of pilot scripts, trying to get a sense of which shows they could aim for if they lose their job. When the time comes, they will have to think very quickly, because if they make the wrong decision, they could A) take a job on a show that only lasts a few episodes, or B) wait too long and miss out completely. If the latter happens, they may have to wait as much as a whole year for the next viable staffing season.

Not only that, but when a writer is offered a job on another show, there is a long line of other writers waiting to take that same position. There is usually a ticking clock on the offer, and if that clock runs out, the job instantly goes to someone else.

Read the full article for some more insight into the fairly common circumstances that cause a writer to move from one show to another and why it doesn’t have to be a bad thing.