Showrunner Tia Napolitano Offers Tips On Getting Your Next TV Writing Job

There’s an ongoing fiery debate regarding ways newer TV writers can most effectively break into writing for television or securing their next writing job. More specifically, whether they should write a spec script for an existing TV show or an original sample.

“I think an original sample is what people are looking for and have been for a while,” states Fire Country executive producer and showrunner Tia Napolitano. Spec scripts are occasionally required to submit to writing programs, but legal constraints prohibit them from being considered for current television shows, particularly the ones prospective writers are hoping to write on.

“TV writing is a team sport. This differs from writing feature scripts in which you write solo. There’s a lot of collaboration in television and you have to be able to communicate your ideas every step of the way even before you have a script. You have to quickly share story areas, pitches, and work with people. You have to play ball with others to make the best show possible,” continues Napolitano.

Newer writers should pitch ideas they’re super passionate about and be able to defend them in the context of the show; probably more so if you’re pitching your original TV show.

Passion matters as much as the idea itself. Writers should also have an idea of why the time is right for their show and why you’re the right person to write it. “Have confidence in your pitch. Get specific without asking for an assignment.” Executives know where to find you if they want to hire you or buy your pitch.

Hiring TV Writers On Fire Country

Tia Napolitano reads many original writing samples from writers looking to staff on Fire Country. “Legally we’re not allowed to accept outside ideas until we’re in contract to pay you for them.” 

The showrunner also advises that writers should share “a little bit of themselves in their scripts” to distinguish themselves from other writers. This speaks to their voice.

Once you get your first staff writer job, “try to be good at one thing such as dialogue,” advises Tia. “Once you become a mid- or upper-level writer, you should be good at all of those things, and be great at at least one. If you’re great at more than one, then you’re the person everyone wants on staff.”

"There’s a learning curve and you really need some time under your belt."

When you’re starting out, “know your story, know your brand, know your voice, know what that brings to a job, and know your tastes,” continues Tia.

What TV Shows Does Tia Napolitano Like?

The showrunner claims the she’s really attracted to “weird and rebellious television.” Some might argue that’s a far cry from Fire Country.

“When I was on TV staffing interviews, I used to say if I could have created a show that’s already out there to give you a sense of what my voice, I wish I created Shameless because it’s rebellious and a little wrong. But it’s a family with a lot of heart and humor. This is an easy way to talk about your voice or how you might be useful on a show.”

There’s a big question of how specific or broad writers should be when stating the ideal show they wanted to work on to describe their voice and whether it might be right for the show. “Have multiple writing samples so you’ll have a suitable sample for each job.” Napolitano concedes that this isn’t always easy or practical.

However, when she was pitching her rebellious voice as a fan of Shameless to the producers of Fire Country, she discussed how both were shows about families and family dynamics. Both are ensemble TV shows which put characters first. “Find the common thread between the two.”