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Ella pointed out something that I also noticed, which is that both the panel and the documentary centered around the white male perspective.

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It's important to be vulnerable in both TV and film writing to truly connect with an audience.

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The burnout for showrunners seems intense when compared to the experience of film writers.

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Television writing reaches an audience at a much faster pace than film writing because of the nature of the medium.

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The time investment on writing a show is extensive, especially if the show becomes wildly popular and runs for years.

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Another notable difference between TV and film writing is that a film gets the ability to tell the full story whether it is received well or not, while a TV show relies on the ratings continuing to be decent for that story to reach its destination.

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I think it's interesting how the internet has given the audience so much more influence on storytelling, especially with TV writing. The way the fans react can potentially change the direction of a story, even if that's not for the best overall.

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With TV writing, there seem to be a lot more voices having input on the story than in film writing.

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It was really compelling to hear Ali LeRoi talk about how gender and race affects a person's visibility in the industry and how hard they have to work to be recognized. The hurdles to making it in the industry as a woman or a person of color are extensive, and the industry is worse for that. As a viewer, I want to see stories from all kinds of perspectives with diverse representation, and  I know that people who identify with marginalized groups want to see themselves in characters and in the people who craft them too.

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I found it really inspiring to see a female showrunner like Janet Tamaro have so much success. The film/TV industry is so male-dominated in terms of what shows and movies reach wide audiences, and even within the documentary, there are mostly white male perspectives.

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It's not surprising that there is less creative freedom associated with writing a show for a network. The more money that's involved, the more it seems like a company wants to control the narrative.

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Another similarity between tv writing and film writing seems to be that knowing the destination is important.

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It seems like there are typically way less writers involved with a script for a feature-length film than there are for a tv show.

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A consistent idea between the screenwriters' panel and the Showrunners documentary was writing about what you know.

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I really relate to Jim Rash when he mentions not being able to write without editing himself. It is so difficult for me to just get into a flow because I'm always trying to turn the first draft into the final draft along the way.

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I like the idea of putting a lot of energy into the first scene because that scene is what's going to either garner attention or have people turning the channel.

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I like the idea from the screenwriters' panel that the first draft is letting your emotion lead the writing, and the second draft is refining that unfiltered version.

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I like the advice that it's more important to craft a good story than to worry about how faithful you are to your experience. Sometimes our real lives feel more interesting to us because we lived it, but when translated to a screenplay, it can get a little dry without some embellishment.

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A common theme among the people on the screenwriters' panel seemed to be that they saw screenwriting as therapeutic.

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The was a lot of emphasis placed on making the development of characters your focus because the characters carry the story.