1. Why I Wrote This

2. Starting From Ground Zero

3. Who Buys Scripts

4. Getting Read

5. What a Pitch Is, and Isn't

6. Pitching a Spec Script

7. Pitching a Concept You Want to Write

8. Writer Speak vs. Mogul Speak

9. The Pitch Letter

10. Cold Calling

11. Faxing

12. Happy Birthday, Read My Script

13. Who Gets Read

14. Format

15. Submissions and Presentation

16. Simultaneous Submissions

17. Releases

18. Coverage

19. Submission Records

20. The Cost of Submission

21. Following Up, Staying in Touch

22. Selling Ideas

23. Protecting Ideas

24. Business Meetings

25. Guerrilla Meeting Tactics

26. Meeting People in General

27. The Screenwriter's Uniform

28. The Dating Metaphor

29. Agents

30. Bad Agents

31. Leaving an Agent

32. Cheating on Agents

33. Managers vs. Agents

34. Producers

35. Bozos

36. The Free Option

37. What the Hell Do I Call This Chapter, or, Do It Right

38. Who You Want to Work With

39. On Writing That Works, and Writing That Doesn't

40. On "Visual" Writing, or, Your Lit Professor Lied

41. Parentheticals and Other Lies

42. What You See On Screen

43. High Concept

44. That Genre is Dead

45. Teen Girls Don't See Movies

46. Writing for Ratings

47. Don't Write "Batman"

48. Writing "Marketable"

49. Why You Do This

50. The Green Light and Turnaround

51. What You Really Get Paid

52. The Guild

53. Screen Credit and Arbitration

54. Separation of Rights

55. Entertainment Attorneys and Business Affairs

56. Death and Taxes

57. Reading Fees and Consultants

58. Classes and Seminars

59. Workshops and Critiques

60. Clubs and Memberships

61. Competitions

62. Where to Get Scripts

63. Do You Have to Live in L.A.?

64. The Last Word