Well-written shop policies to potential disasters are like a bed of boric acid to an ant infestation: the sort of best practice you only learn the hard way.

Deadlines and scheduling are the keys. If I don’t have a show or other external deadlines, I create my own deadlines.

Nothing streamlines productivity like organizing your supples into a container you can take anywhere.

From Edie Everette’s “I Am An Artist” series.

I’d peel my face off the pillow and read what I’d written the night before. And even in my still fermented state, I knew it was trash.

He used his #2 pencils to record, in tiny perfect handwriting, every single writing-related task that he carried out each day for 50 years.

Any work first published in the U.S. before 1923 is in the public domain regardless of the lifespan of the author or authors.

Wow, I’ve had two of the most incredible days ever. Such highs and lows. This is for you overwhelmed filmmakers out there: Take a deep breath, you got this.

To help ride the waves of inconsistent finances I have a few different side jobs, which must meet all four of the following criteria.

Without a connection to the authenticity and story, a project can be hard to see through the clutter.

Woe to the musician lost in endless halls, quietly trying her room key in a hundred locked doors, one after the next.

For an artist, there’s a momentum of exponential discovery and growth that comes with steady working.

Even if you are a social media maven who gets tons of web traffic, your work will be useless if you can’t report and write and if you don’t have great news judgment.

If we want to be working writers, the only thing that really matters is that we keep showing up.

I went straight to work in Alex Cox’s production office after that disastrous brush with classic Hollywood mania. I was glad.

I don’t want to admit how many shows I’ve failed to book (at least two) because of simple negligence of my email inbox.