You must read...the "Memento" beat sheet

I mentioned Save The Cat and beat sheets and the importance of outlining in my last post AND I’ve also mentioned Christopher Nolan once before on this blog.  I wouldn’t call myself a die hard Nolan fan, but I really enjoyed Memento, the movie he directed and co-wrote that got Hollywood to take notice (hey, his screenplay got nominated for an Oscar).  I’ve gotta say, I didn’t remember much about the movie except some of the actors, a few key scenes, and most importantly...spoiler alert…that the movie happens in reverse.

I bring up Memento because I think it’s the type of movie lots of baby writers are dying to write – something indie and something that has a really unusual or unique hook (like being told in reverse).  One problem though, is that writing these sorts of scripts divides a lot of people.  Some, including the late great Save The Cat creator himself, Blake Snyder, point out that while these types of scripts can be calling cards, they aren't the sort of specs that sell.  And so, I see writers who want to write these types of scripts saying “screw beat sheets, screw Save The Cat”  OR giving up on their original idea to write something mediocre that they think is “commercial."

That’s why I think it would surprise certain baby writers to read this entry that appeared last year on the Save The Cat  blog…why look, it’s a beat sheet for Memento.  Ha.  I know there are some people that would say it’s easy to try and make any completed movie fit into a box or beat sheet, but I think the beat sheet is right on...annnnd...as out there as the movie/script might seem, Memento is surprisingly simple and can be viewed as hitting all the usual beats.

So yeah, read that beat sheet, watch the movie again, and know that maybe, just maybe, the world of Save The Cat beat sheets and the world of unusual indie screenplays don’t have to be mutually exclusive.

Save the pilot!

It’s 80 degrees in January and as much as I’d love to be playing outside, I’m inside trying to finish my new pilot.  I stopped for a while this week to finish reading a couple novels I’m sure I’ll talk about at some point (and to work on a novel I’m also kicking around...that old writer’s ADD).  I guess I was also feeling a little discouraged by the pilot and had to set it aside because it’s waaaay too long (ah to be J.J. Abrams and get 2 hours for a pilot…not that my family drama needs 2 hours but I could probably use it). 

Anyway, I know I’ll get through it, and make the cuts I need to make, but I think what’s harder than running too long right now is feeling a little lost at the end of my episode because my original outline falls apart a bit near the end (i.e. it degenerates from lovely little summaries of each scene in each act to a list of things that I know happen in roughly the right order in the last 2 acts).  And didn’t I just mention how important outlines are?  Well, they are, and this proves it.  Shame on me.  Now, here I am, stalled on finishing my first draft because I have to go back and fix the original outline. 

But, let’s not dwell on that.  Instead, how about some resources for writing an outline?  Don’t know how to write an outline?  Everyone has their own preferences, but I think the library section of John August's site has some excellent outlines of his own work (film and TV), and if you’re a baby screenwriter and haven’t heard of Blake Snyder’s Save The Cat  beat sheet you really should check out that site (and read the book!).  Not that a screenplay has to hit every single Save The Cat beat right down to the page (I’ve heard some people say they dislike this because it’s so predictable) I still think it’s a great resource for anyone starting out who needs that guiding hand to get through a screenplay (and isn’t that all of us, at some point?).

Bad networking types - PART 2

And now, the dramatic conclusion to yesterday's post on bad networking types!  Here are a few more people everyone dreads running into at a mixer.  Take note, and try not to fall into any of these categories.

Debby Downer

Some people (like Woody Allen) can be down on themselves or self deprecating in a way that’s adorable, even lovable, or simply in a way that doesn’t make you want to ditch them for whoever is on the phone...“Excuse me, I’ve gotta take this.”  But, the majority of us can’t do this well.  I’d say this is the type of bad networking personality I fall into the most…and I totally hate when I do.  Try not to be a Debby Downer.  Maybe you want to downplay accomplishments and ambitions so you don’t sound braggy...that’s fine, but putting yourself down makes people uncomfortable and diminishing yourself makes it hard for people to get to know who you are and exactly what you do.  Likewise, if you got laid off, your girlfriend left you, you got passed over for that promotion you deserved, and you just can’t get a break, try not to dwell on it too much.  If the person you're talking with tells you "sorry" or "that sucks" more than once during your conversation, that's a bad sign.  It’s cool to say you’re looking for a job and you need help.  Some people don’t know to offer help or don’t want to insult you by offering help if they don’t know you need it.  I think the key is seeming upbeat while still serious and not self loathing or pitying.

The Drunk

I actually don’t mind the drunk too much.  Sometimes The Drunk is fun or does something hilarious.  Honestly, they probably hate these things as much as I do...but avoid being The Drunk or getting the reputation for always being The Drunk.  Save The Drunk for your birthday party, Vegas, or not when you’re meeting a bunch of potential work associates for the first time.

The  Town Gossip

When you come face to face with a bad networking type it’s important to handle yourself gracefully.  As much fun as it is to pick on all these types, it’s best to vent your feelings at home…alone...on your blog, and not at the actual event.  Don’t put down or gossip about other people within earshot of them (or to their face…I’ve seen that happen too).  You never know who you might be speaking to when you gossip away.  Even raised eyebrows and rolling eyes are bad.  I know it can be tempting to bond with other people over how much you HATE the drunk guy, the braggy bragster, little miss brown noser, or the aspiring actress who keeps handing out her headshot, but try and restrain yourself.  Resist the urge to become that person because, they often come off worse than the people they're gossiping about.  It might seem okay to pick on someone while you’re laughing it up with a couple people who seem to agree with you, but honestly, if we’ve just met and this is my first impression of you, I always wonder if you’re not going to make fun of ME when I turn my back.  Why would I want to trust or help someone like that?  While you're out networking, focus on being the best YOU can be and not on critiquing the performance of the other networkers.

Bad networking types - PART 1

I’ve stressed connections several times on this blog already.  As a result, I think networking can be an essential part of "making it" in Hollywood.  I’m not so great at networking (99.9% of people will tell you the same thing when you meet them in networking situations, then immediately tell a story that doesn’t have to end with “and then I found $5” to be interesting).  

Whether you’re good at it or not, I think when most people say they’re bad what they really mean is they dislike doing it.  And why shouldn’t you?  I have some good friends I’ve met networking, but there can be a certain air of phony baloney to Hollywood networking ("let's do drinks!").  Like speed dating, it can feel weird to have to "turn on" your personality.  Also, I think there are certain types of bad networkers who make the experience extra uncomfortable.  So, to help you on your quest to be better networkers here are some of my least favorite networking types.  Try not to be these people while networking, okay?

My New BFF

Without a doubt I meet this person at every industry mixer I go to, and without a doubt, they are always full of it.  For example, two minutes after meeting if I mention that I’m loving Friday Night Lights my new BFF will say they ALSO love Friday Night Lights (maybe true), and that we should TOTALLY have a watching marathon at their place (never gonna happen) then ask for my name (which they already forgot) so they can “facebook me” and set that up.  Don’t do this, please.  We just met.  You might not even like me…I’m pretty sure you don’t.  Then, when we meet again at some point you’re gonna have to say something dumb like: “Oh man, I’ve been so busy, we’ve gotta have that TV marathon…uh…what was your name again?  Sorry I’m terrible with names!”

The Kiss Ass

Most people will say “I hate brown-nosers,” but let’s face it, everyone loves to be complimented, and we enjoy it so much that we don’t always realize when someone is doing it in a way that’s insincere (it’s always easier to spot when it’s happening to someone else, right?). I think the kiss ass is most obvious when you meet them and they’re a sour stick in the mud, but when you mention something that they latch onto (like you have a job they want to have) they suddenly become another person.  Or, they are super social and flutter around the room like hummingbirds looking for that sweet sweet nectar that they like (which is anything they think can help them personally) and if you've got what they want, they will ditch the person they were just enthusiastically chatting with to start talking to YOU…and worst of all, they will be so darn flattering you might not even care what a kiss ass they are.

The Bragger (AKA The One Upper AKA The Name Dropper)

This person is tough because they can often hide under the guise of having a “big “ or “fun” personality.  They’re just so darn excited, they can’t help but talk about themselves and all the amazing things they’ve done and the people they know!  It’s like they’re on a non-stop sales pitch and the product is THEM.  You’re a writer?  So are they!  They just finished 5 screenplays one of which was a semi-finalist for the Nicholl.  You went to film school?  They went to film school too!  Perhaps you’ve heard of their Oscar nominated student film?  You’re from New Jersey?  No way!  They once lived in the Himalayas where they not only discovered an injured yeti, but also nursed it back to health.  It’s great (and important) to list and be proud of your accomplishments while networking, but it's no fun being around someone who seems to think the universe revolves around them.  Pepper in how great you are, otherwise it sounds like you’re putting other people down or that you don’t give a shit about anyone but yourself.  You might not, but don’t make it so obvious, okay?

Wow, I think I could write a whole blog on bad networking types, but I’ll spare the preaching and limit myself to one more entry for now…stay tuned for tomorrow's post when I'll talk about some more bad networking types, including the one bad type I constantly fall into...

Should you go to film school?

Here’s a question I feel decently qualified to answer because I went to certain well known film school in the LA area (considered by some to be the top film school in the country, and blah blah blah).  So, was it worth it?  Should YOU go to film school?  The answer is: MAYBE.  Let me explain…

First, I HIGHLY recommend getting a 4 year degree in SOMETHING.  Most places won’t let you fetch coffee without a college education…whether you study film, econ, or dead languages of Mesopotamia, just get a 4 year degree. 

Now then, should you focus on film?  I’ve worked on shows where every higher up was a film school grad and they loved it/wouldn’t be where they were without it.  On the flip side, I’ve worked in offices where the higher ups did not go to film school and they REALLY looked down on it.  Both groups made great projects and were successful.  So, how do you know which category you fit in?  I think to decide, it’s important to think about two things and those are: CONNECTIONS and something I’ll call, JUST DO IT.  

CONNECTIONS: I've mentioned the importance of connections before, and my agent friend also mentioned connections (AKA referrals) as the best way to get representation...so yeah, connections!  How does this relate to film school?  Well, I suggest taking a route in life that will allow you to make the most connections (whether that's film school or not).  I think moving to LA for film school allowed me to make a lot of connections because I was surrounded by peers who all wanted to work in the industry.  I got my first job out of school from my friend/classmate and my second job off my school’s job board…and every job since then through subsequent connections via those jobs.  But hey, connections are everywhere, and I know people who didn't attend film school, or had non film majors who got the EXACT same jobs as me via totally different types of connections, so yeah, to each their own.

JUST DO IT: Regardless of your education credentials, if you want to be a director, you have to direct, if you want to be a writer, you have to write.  If that means attending film school where you might pay a lot of money up front to have professors, crew, equipment, and facilities at your disposal, then so be it.  If you can do it without film school, then so be it as well.  What’s important is that your creative life doesn’t end when school is over.  Just doing what you want to do is the first step to success…if you think film school is gonna help you do it, and do it better, then go for it, if you don’t think so, then don’t…but either way, if you don’t "just do it" (thanks Nike) it’s never gonna happen.

So…film school might be right for some, and wrong for others.  I think there will always be a bias for or against it.  I loved film school because things worked out pretty well: I love the friends I made, most of my professors, everything I learned, I didn’t “waste a bunch of money” (a common complaint) because I was lucky to receive a scholarship, and I got work after graduation.  Despite all this, school didn’t magically give me a career, but it gave me connections that led to jobs and it taught me skills I needed to “just do it,” like how to write a script.  Could I have gotten connections elsewhere or learned to write a script by reading a book (or blog)?  Maybe…but I didn’t because I knew I needed a more structured environment.

I think most people who say DO FILM SCHOOL say so because it helped them in some way (or they saw it was helpful for someone else).  Those who say NOOOO, well, chances are they went and things didn’t work out well so they blame film school for taking their time/money while promising a lot and giving nothing in return, OR they found success without film school so they see it as a waste of time/money, OR they dislike film school people because they see them as snooty and entitled.  Hindsight is 20/20 and everyone’s case is different.  Don’t go to film school thinking you’re buying yourself a career…while some schools might imply this is the case, I can assure you, it isn’t.  If you do go, do so to learn, make connections (i.e. your friends), jump start a career…and know the real work starts after you graduate.

My problems with "The Walking Dead"

This Monday, I’d like to talk about another show I'm watching...the popular new AMC zombie hit, The Walking Dead.  I watched Season 1 (along with a few million other people) but I’m not really feeling like watching Season 2.  Maybe I’m in the minority on this, but I just felt something lacking with the characters, like I have no sense of who these people are.  Maybe this isn’t a problem if you’ve read the graphic novels, but I haven't.

Granted, we’ve only gotten 6 episodes, but as of now, I couldn't tell you much about these people other than their races, genders, and an identifying aspect like: “that guy is the racist” “that guy slept with that guy’s wife,” and “that guy wears a hat.”  While there are other cool things about the show like the action and awesome make up effects, I just didn’t get invested in these people.  Why should I care if they all get munched by a bunch of zombies…er, walkers? 

I think Lost did “a bunch of people get thrown together in a terrible situation” way better.  By using flashbacks in each episode, Lost was able to give backstory on their characters and show their lives leading up to this point where they had to fight to survive.  By episode 6 I felt invested in several characters (especially those who got flashbacks like Jack, Kate, Charlie, Locke, and Sun).  I especially remember Locke’s GREAT episode “Walkabout” … that was only the 4^th episode of the series!  Likewise, I wanted to keep watching because I was curious to see more cool and juicy flashbacks about characters who hadn't gotten flashbacks yet (like Sawyer, Sayid,  and Hurley).  The flashbacks made me care about who these people were before the island, so I started to care what they did on the island, and if they would get off the island.

Along those same lines, I think having a big fat goal from day 1, like “gotta get off the island,” or “gotta find Earth,” (Battlestar Galactica) is really important to maintaining a serialized genre "event" show.  I’m not saying every episode has to be about that goal.  Getting sidetracked or having to deal with other problems like “gotta find food” and “gotta keep jumping away from the cylons” are great, but the big goal is gonna root your series and keep it from getting old, and give you a point to work towards.  Right now, I’m not sure what that goal is for The Walking Dead (if there IS a goal).  Is it: "gotta find a cure,"  "gotta kill all the walkers,"  "gotta rescue all survivors," or simply, “gotta survive?” If it’s “gotta survive,” I think that might be too vague since everyone is already surviving.  Survival is just the status quo...I want to see these people GO somewhere DO something or NEED something more.

So yeah, The Walking Dead, I think you have potential (you certainly offer something people want) and I want to like your characters, I really do.  You don't have to copy Lost or do flashbacks, but please find ways to give character backstory, and perhaps a bigger goal so I will continue watching (not that you care about little old Z, what with your high ratings, but I just thought I’d ask).

WTF is my script about!?

As I write this (earlier in the week) I’m still working on my new 1 hour drama pilot.  On my new blog schedule, I’ve reserved Fridays to talk about my own writing, so here I go.  Let’s see...I’m on page 51, which probably sounds like I’m close to finishing, but I’ve got over an act still to write so a major blood letting will happen once I’m done.  I see myself having to cut down several scenes I like, and just plain cutting a bunch of stuff I outlined…no wonder I've been procrastinating this!  

But, cutting down is nothing new for me.  If you can’t tell from the blog, I tend to be long winded when I don’t have a page limit to hold me back.  I’m used to deleting my precious words (or cutting and pasting them to use another time).  It’s amazing what setting something aside for a week will do.  I might think I can’t live without a scene now, but next week I’ll be brutal and say: “Wow, what was I thinking?  DELETE!”  I think the biggest changes will have to come in my first act.  Of course, trying to put all my puzzle pieces together just how I want is taking more space than I want.  Right now, my first act is 22 pages, which wouldn’t be so bad if my show only had four acts, but it has five (plus a teaser) so that’s too much...especially since I’m just a baby writer.  I’ve seen a lot of pro pilots around 60-65 pages, but I figure for a baby, a little shorter is always better.

Anyway, yeah that’s where I am, but I’d be making no progress if I hadn’t outlined the episode before I started writing.  That leads me to a short but amusing article I read on Lifehacker.  Outlining/making a beat sheet/breaking your episode/writing a logline...all that sort of groundwork is ESSENTIAL (I think) to a writer (especially a baby writer), but I know a lot of people don't enjoy it.  I know people who feel like they’re dumbing down their complex ideas when they create a logline, or that they’re sapping their creativity by tying themselves down with an outline...for me, I sometimes think I just suck at it (especially loglines).  So,  if you want to make the process more fun, read the article.  It basically says that asking yourself short, profane, and confrontational questions about your work can elicit shorter/focused and more convincing answers.  I think that’s just the type of useful feedback you need, whether you’re in the early outlining stages, or are pitching your finished script to someone.  So try it, ask yourself: “WTF is my script about!!!???” and see what you get.

Malcolm Gladwell - advice for aspiring writers

In a previous post I expressed my enthusiasm for Malcolm Gladwell's book, Outliers, and cited that book's 10,000 hour rule as a good reason why you should write daily or put more hours into your writing.  

Last week, Big Think released a short video where Gladwell gives advice to aspiring writers (click the link to see the video or read the transcript).  The basic gist of what Gladwell says (or all of what he says since the video is only about 2 minutes long) is that writers and creative types in general need to learn to embrace chaos and not edit themselves.  In contrast, a surgeon probably shouldn't let his/her mind wander too much while in the middle of a procedure.  Simple enough, makes sense, and I can totally understand how over-editing yourself might keep you from writing something great/new/totally original.  

The only problem I have with Gladwell's advice is that it's pretty general (understandable, it's just a short video) and I'm left with more questions than answers.  For example, how does letting your mind wander connect with the reality of having to produce a product?  I mean, it's great to brainstorm, have a vivid imagination, not throw out any idea as it comes to you, but at some point it IS necessary for a writer to focus and complete a project.  

Maybe I'm over analyzing this, but it's a problem I struggle with personally.  I think I have a sort of writer's ADD where I endlessly start (but don't finish) projects and I think it's partly because I always have tons of half baked ideas floating around.  Since I don't focus and embrace chaos TOO much, it's easy for me to put projects aside and say: "When I know how to end that, or when the inspiration strikes for how to write that scene, I'll do it."  But it doesn't always happen, or I'm not thinking about it because I'm on to something new.  Maybe continuing to embrace chaos while making more time for writing will allow me to both keep all the ideas I get (or save them for later) while giving me more time/space to complete projects.  Like how a room full of monkeys typing into infinity might eventually produce Hamlet, me typing into infinity might eventually produce a finished script...or something like that.

Screenplays for "The Social Network" and "The King's Speech"

Holy scripts Batman!  This past week, Deadline Hollywood posted (with permission from Sony Pictures and The Weinstein Co.) the scripts for both The Social Network and The King's Speech (if you missed those articles, get to each one and the subsequent script by clicking those links, Aaron Sorkin also does a Q&A).  While many people in the Hollywood grapevine have likely passed around and read these scripts already, not everyone is on a tracking board or has friends who work at agencies, so this is really great.  It's not only nice to see these scripts released for public consumption and education, but it also shines the spotlight on screenwriters, and let's face it, screenwriters often get the shaft or go unnoticed (okay, maybe not Aaron Sorkin, but I'd never heard of David Seidler before).  I'm sure the release of these scripts corresponds with awards season/Oscar campaigning (The Social Network and The King's Speech just won the top screenplay awards at the Critics' Choice Movie Awards) so, enjoy!

How do you get an agent?

While it’s great to work on your art and plug away endlessly on specs and pilots, the truth is this is a business and if you want to make the jump from baby writer to pro, you are going to have to SELL your work (not that art and business can't mix).  That’s where agents usually come in.  Agents have relationships with just about everyone in Hollywood and they send their clients’ work around town to be seen/admired/bought and send their clients on meetings/auditions/interviews to book jobs, or, they'll negotiate deals for their clients once they’ve booked a job.

Now, I don’t have agent, but I have an opinion on this subject after working in the industry a few years. But, rather than just tell you what I think, I decided to go to the source and ask my friend who is an actual agent at one of the Big Five (or I guess it’s Big Four since William Morris and Endeavor merged).  Anyway, I asked my friend a bunch of questions like “How do you find new clients?” and “What do you look for in a new client?”  This was the answer:

I feel like the reason we take on clients is pretty standard but hopefully it's helpful.  Basically, agents just want to make money so if they're taking on clients it's because they foresee making money with the client.  They need to feel like other people are going to want to invest money in this client.  It's obviously easier to get representation once you're already making money (aka booking your own jobs, etc.).

The best way to get an agent is through a referral.  So people should really be networking and meeting people in all different facets of the industry.  If some development exec at some studio tells an agent about you he/she'll probably be more inclined to look into who you are.  Unsolicited material is definitely not the right way to get an agent since most agents never read it.  Lastly, being out there and working on your craft is important because you never know when an agent is going to go see a play, read a magazine article, watch something online, etc. and the more exposure you have the better the odds of an agent running into you.

So there you have it.  I think the most common frustration with the whole “get an agent” thing is the Catch-22 of: "You need an agent to get paid work, but you can’t get an agent unless you can get paid work."  Doh!  And yet, people get agents all the time.  How do they do it?  Well, like my friend said, usually through referrals and through working on their craft (having their work noticed online or in festivals, contests, etc.).

I think working on your craft to help land an agent is important for another reason as well.  I had a friend send a (good) screenplay to a lit agent at a big four (then five) agency through a connection/referral.  That got my friend a meeting with the agent who said they liked the script, but the genre wasn’t an easy sell (it was like an indie comedy drama).  Anyway, the agent asked if my friend had anything else (maybe something more commercial, like just a comedy) and…nope, they didn’t.  That was the ONLY thing my friend had written.  The agent told them to go out, write a few more scripts (they recommended doing a comedy next), and to send those along when they finished.  So yeah, work on your craft so you have more than one thing to show when you get that referral.

I mentioned festivals/contests as well.  If you win a contest as prestigious as say, the Nicholl, you will have agents knocking on your door because they know those scripts often sell to production companies/get made and they want in on the action (plus they figure you are talented since you won a prestigious contest).   In that case, you can probably get scooped up by an agent if you’ve only written one script, but you’ll do way better careerwise if you have more to show.  That’s a whole other thing…getting scooped up.  If you are in the position where agents are coming after you regardless of your level of industry experience, choose wisely.  Some large agencies will try to sign clients who have heat or are experiencing some success just to keep them away from competitors.  Sometimes having an agent at a large agency is best, sometimes having an agent at a slightly smaller agency who is hungry, is best.  I have a friend who described their relationship with their big name agency agent as “I only hear from them after I’ve booked my next job and then they step in to sign the deal.”

You Must Watch..."Friday Night Lights"

My significant other suggested I create a blog schedule to help keep me organized (like a TV schedule, with certain types of posts on certain days).  So, here it is: Must See Monday.  Each Monday I’ll talk about something I’m watching, reading, etc.

To start, I can't resist mentioning one of my favorites on TV, Friday Night Lights.  Now, this show isn't new (in fact, it's final season is airing right now) and I know lots of baby writers who also love this show (because the writing is so darn good) but I only started watching recently.  I actually had read (and enjoyed) excerpts of the nonfiction book of the same name on which the Peter Berg movie was based.  But, I missed seeing that movie so I guess when the show came out, I also let it pass me by (and then it moved from NBC to DirecTV).  On the bright side, I now get to devour all the seasons at once instead of having to wait.

What’s so great about Friday Night Lights?

Well, for starters, I think it has an awesome pilot.  Seriously, if you can watch it without laughing, getting pumped, cheering, biting your nails, tearing up, or some combination of all of these, I’m not certain you’re human. 

The show also has an amazing cast of characters you can’t help but love (even with their flaws).  All the characters (even the small ones) are complex.  What do I mean by complex?  Well, sometimes they do the right and totally awesome thing and sometimes they do the wrong and totally terrible thing, but they’re never dumb robots or chess pieces.  I hate watching “complex” characters who you’re supposed to believe are “flawed” but are actually just doing whatever dumb (and usually unbelievable) thing their writer has made them do to move their plot forward.  I always believe Friday Night Lights.  Even when characters do bad things, dumb things, or hurt one another (which they do often) I understand from their point of view why they do those things (even if I don’t agree with them).

Furthermore, the backdrop of having to win weekly football games and what winning those games means to each character (maybe their job, or their future, or their self respect) provides great tension from episode to episode.  The stakes are always high, even if it is JUST a high school football game, it doesn't feel that way.  You become invested in the team like they’re your home team and you can’t help but root for them to win.  

Finally, in the spirit of today's holiday, Martin Luther King Jr. Day, I thought it was worth mentioning that the show has been nominated over the past few years for four NAACP Image Awards (and two of those were for writing).  Likewise, the show has not been afraid to tackle difficult issues like racism in multiple episodes (and in ways that are not cliched).

So go on, check it out if you haven't yet.  Clear eyes, full hearts, can’t lose!

"Modern Family" scripts

Still plugging away on my pilot, so I’ll try to keep this brief.  I was talking to a baby writer friend who wants to move from screenplays to TV and was shocked to discover she didn’t know about one of the best links on my blog:

[link removed...read below to find out why] 

I remember years ago it used to be called something else..."googlepages tv writing" or something like that, and at the time I felt like no one had heard of it (recently, I’ve seen it posted on a bunch of other blogs and tracking boards).  Still, I guess everyone hasn’t discovered it yet, so I thought I should feature it.  As I said, the site offers TV scripts, specifically, tons of downloadable TV scripts from shows past and present (real scripts, not transcripts or recaps of episodes).   The site also has show bibles and pitch materials which are also great for baby writers.

I mentioned Modern Family in my title because that’s the spec my friend (and many others) are writing, and you can currently download season 1 Modern Family scripts from the site.  I know a few people who have written specs totally blind.  They love a show, watch every episode, but never get their hands on any of the scripts.  I think this is a bad idea.  Reading actual scripts is key to writing a good spec (or creating a pilot for that matter).  For specs specifically, I think reading the actual script of the show you are spec'ing is essential to writing something that nails the voice of the show AND looks pro/authentic.

EDIT: 3/15/11

So, my post today got me thinking about this particular post.  I loved the site I originally linked to in this post (clearly), and I loved being able to steer other writers towards resources that would help them learn and become better writers, but I’m not going to link to it anymore (you probably found it yourself already by googling info on TV writing). 

I originally felt alright linking to this site because not only had I seen other blogs link to it for the same purposes, but I had originally found the previous incarnation of the site via the WGA’s own website a few years back (they linked to it in a section about freelance scripts…although they now seem to have taken that link down, maybe they were asked to?  I don’t know).  While I think this site is an amazing resource for baby writers and while I don’t personally think the site is doing anything wrong per the fair use notice they have posted on the site, I’ve decided to take myself out of the equation. 

But, not wanting to leave anyone empty handed, I will take the time to promote a couple other places you can find those scripts you seek  (if you are in the LA area).  One is the WGA Library.  While you can’t check out/take home any of the scripts, it's open to everyone (not just WGA members).  According to their online catalogue they have a bunch of Modern Families, not to mention scripts for some hot shows that site didn’t have (like Glee scripts).  John August also recommended the Academy run Margaret Herrick Library once on his blog.  I haven’t been there, but I imagine they have an impressive collection as well.

Seacrest, out!

Okay, time to buckle down and finish the first draft of a new 1 hour pilot I set aside last month.  In the spirit of writing pilots (or specs) I thought I’d take a moment to stress the importance of nailing your act outs.  Act outs (or act breaks) are the moments that come at the end of your teaser/cold open/acts that make your viewers want to stay tuned during the commercial breaks.  Having physical act breaks is one of the big differences between writing features and writing TV.  Network TV is made possible by sponsors, so if you’re flipping away at the commercial to another station/don’t care about what happens after the break, you’ve lost your audience (and your ratings, and your show).

Act outs are not to be taken lightly.  Most 1 hour dramas used to only have 4 acts, and maybe a teaser.  Now, networks are adding more commercial breaks which means most new 1 hour dramas have 5 or even 6 acts (and sometimes a teaser, too!).  That means...more act outs!  You can’t just gloss over/ignore these moments.  You MUST have them.  Don’t think you can just write a script where stuff happens whenever you want, cut it into 5 equal parts, and assume you have a show with 5 acts.  

A common act out is a cliffhanger (House’s patient just went into cardiac arrest, will he live or die?  Find out, after the break!).  Some shows have fewer life and death moments, so act outs are trickier/usually more about emotional beats.  But, even family dramas have cliffhangers.  I really enjoyed the show Everwood when it was on, and at the end of the teaser/prologue in the pilot we see Dr. Brown setting off with his family for the town of Everwood after his wife’s death (What’s in store for Dr. Brown and his family in this new town?  Find out, after the break!).

I think the popularity of certain cable shows (and popularity of spec'ing certain cable shows) makes learning to write act outs harder since many of those shows either don’t have commercial breaks, or are written without act breaks (like Mad Men).  That doesn't mean you don't need those moments in your script, but I think the omission of the visual cue (END OF ACT ONE) can mask when you're lacking such twists and turns.  If you’ve only spec’d cable shows, or shows without act breaks, I’d HIGHLY recommend doing a network show next so you can practice this skill (and I think it IS a skill...it's not exactly a piece of cake to come up with 7 unique and dynamic moments to place at the end of a teaser + 6 acts AND still write something great that's only about 50 pages long).  

So, how do you know if you have a good act out?  Well, I think one way to answer that question involves the #1 show on TV.  That's right...American Idol.  If you're ever working on a pilot or spec and find yourself feeling iffy about you act outs, think of that moment when Ryan Seacrest says something like: “The next person voted off the show is…going to find out, after the break!”  Ask yourself, "Could Seacrest take my act out and send us into commercial?"  If the answer is yes, then I think you're probably in good shape and can act out accordingly.

Should writers write every day?

As we get further into January, it becomes sink or swim time for any 2011 resolutions.  I'm not a big resolution person (I think they're usually too general or nebulous like "lose weight" or "be a better person") but I do like to have a few concrete goals for myself at the start of each year.  For 2011, one was to start a blog (check!) while another was one that most baby writers make and break yearly: to finish several projects I'd started...which really translates to the more general/nebulous resolution to "write more often."  This brings me to the somewhat divisive question I recently discussed with another baby writer and one that I think baby writers discuss all the time: Should writers write every day?  Luckily, I think I have the answer, and that answer is YES...SORT OF.  Let me explain...

I think the whole “writers should write daily” axiom can come across as a little bogus when pros say it to baby writers.  It sounds better to tell an eager baby, "Yes, write every day" than to say, "Well, yeah, I try to write all the time, but sometimes I just play Mass Effect and Madden all day."  Furthermore, I know for a fact some pros don’t write daily (on the flip side I know many who do).  And, how much are you supposed to write every day if you do write daily?  And, what about days you write a lot?  Do those balance out days you don’t write at all?  And does writing a blog count even if it has nothing to do with your screenwriting? (please say it does). So now that I’ve raised a bunch of questions and haven't explained anything, what was my point?

Well, I’m a big fan of the book Outliers by Malcolm Gladwell (my friends tell me I’m kinda obsessed).  Anyway, the book throws a lot of ideas out there, but the one that really stuck with me was that practicing your craft can be equally if not more important than natural talent or ability.  Gladwell gives examples of “outliers” in certain fields like the Beatles, Michael Jordan, and Bill Gates, and talks about how all of these "outliers" had tons of meaningful practice in their respective careers before they made it.  This introduces the 10,000 Hour Rule...you've probably heard of it, even if you haven't read the book.  The rule basically says you need to practice your craft for 10,000 hours before you can reach the level of expert.

Now, there are plenty of people who want to dispute and nitpick this rule, but considering all the success stories Gladwell mentioned, let’s assume for a minute that he's right (or that we at least want to emulate the success of those people).  So then, let’s say you decided (or only made time) to write for an hour a day, 3 days a week (basically every other day...pretty common among some baby writers I know).  At that rate, it would take you 64 years to get your 10,000 hours and become an “expert.”  Ouch.  If you change that number so you’re writing 1 hour every day, that number goes down to about 27 years, and if you can manage nearly 3 hours a day or 20 hours a week, that number goes down to around 10 years.  

So, what does this mean?  Well, even after dedicating as many (unpaid) hours to your writing as you would to a (paid) part time job, it still takes years to reach that expert level.  Now, the good news for writers is you probably didn’t write your first word today.  You’ve likely had hundreds of hours of practice through school and your own enjoyment, already…but if you never make time to write (despite life or a busy work schedule), it’s gonna take a long long long time to get to that 10,000 mark (if you EVER reach it). 

So, let’s all resolve to "write more often" (every day or several hours once a week if that’s what works best for you) oh, and to read Outliers if you haven't, because it's awesome.

No bras allowed

One thing to add to my last post that I just remembered (okay, it's totally unrelated) my friend mentioned another piece of advice she picked up from that same screenwriting event.  This tip comes from Oscar nominated screenwriter Susannah Grant (I guess the event was a Q & A with former Nicholl fellows).  Anyway, according Ms. Grant, you shouldn’t write with a bra on…it’s too uncomfortable.  So, lady baby writers (and men who enjoy women’s undergarments) take note, and try it out (for some reason, thinking about guys in bras reminded me of this episode of Seinfeld...yeah you know the one).

That’s Good! That’s Bad!

While driving to a recent event featuring pro writers talking to baby writers about writing, my friend told me about another screenwriting event she had just attended.  At it, one writer (she said it was the writer of Air Force One, which means it was Andrew W. Marlowe) talked about what my friend called, “his favorite book,” a children’s book called That’s Good!  That’s Bad!

I guess there’s a whole series of these books set in different locales, but the original goes something like: A boy’s balloon carries him up in the air (that’s good), but the balloon pops and he falls (that’s bad), but he lands safely in a stream (that’s good), but the stream leads to a scary jungle with mean baboons (that’s bad), but he grabs a vine and swings away (that’s good), but the vine turns out to be a snake (that’s bad)...you get the idea. 

Anyway, I loved this and I wanted to share it because I think the whole that’s good/that’s bad thing is great to keep in mind and even apply when you’re trying to write an exciting action scene or just…any scene.  What I think I like best is that it makes you aware of the fact that when you're telling a story you need to get right into the conflict and twists and turns.  I, like many baby writers, am guilty of forgetting this sometimes.  You get so caught up in your amazing protagonist, Joe Schmoe, and the way he wakes up in the morning and brushes his teeth, that you forget a character waking up and brushing their teeth is boring.  Joe wakes up and brushes his teeth.  So what?  Joe wakes up next to a beautiful woman (that's good) but has no clue who she is (that’s bad)...now that's a situation that could be interesting.

Now, I’m not saying every scene in a movie/show should have a that’s good/that’s bad rhythm...sometimes it’s important that characters make tons of mistakes in a row or be totally tortured and torn apart so the stakes to change their situation are high, but, I think a nice see-saw of that’s good/that’s bad moments or at least the surprise of bad turning into good turning into bad can really keep your reader guessing and turning pages (that's good).  Plus, I think it’s just plain fun to brainstorm with that’s good/that’s bad.  Stuck in a writing rut?  Start with something simple like "Joe wakes up" and go off on a that’s good/that’s bad tangent…you might find you have the start of something good (or bad…kidding).

Christopher Nolan, James Cameron, and YOUR original screenplay

It’s the most wonderful time of the year in LA….awards season!  Soon, Hollywood will rain trophies and praise on itself.  Nominations are rolling in, and the WGA announced their nominees last week.

As I was looking over the nominees in the narrative screenplay categories, I was surprised to see a lot of scripts with multiple writers, and sometimes multiple writers on top of multiple “story by” credits.  There were a few lone wolves, but of the 10 nominees (5 in each category) 7 had more than one writer.  This struck me as funny.  The joke is usually that the quality of a script goes down with each additional writer.  This stems from the reality that lots of writers often equals lots of drafts/development/people pulling in a bunch of directions so that what you finally see on screen is some terrible patchwork of fifty disparate visions.

So yeah, that was interesting, but what was even MORE interesting to me was WHICH films only had one writer.  I think there is another perception in Hollywood that the movies written by committee are the big blockbusters while the solo efforts are original low budget indie projects (like Nicole Holofcenar’s Please Give, one of the nominees).  Lots of baby writers have this fantasy of sitting alone in their ivory tower, writing movies like Please Give, and one day reaping the rewards (sounds good to me).  But then you see a nominee like Christopher Nolan's Inception, one of the biggest blockbusters of the year...an original script AND a solo writing job (oh, and like Holofcenar, Nolan directed, too).  Last year, it was the same, there was James Cameron's Avatar.  Oh, and both Inception and Avatar made a TON of money.  

So, what does that all mean?  Well, it means original screenplays ARE being made AND doing well…BIG name “visionary” directors are getting studios behind them to produce their original stuff.  But what does that REALLY mean for the rest of us?  Well, Hollywood always wants to make money.  With the financial success of movies based on popular books like Alice in Wonderland, Twilight, Harry Potter, and cartoon/comic book characters like Transformers and Iron Man, studios can be expected to continue to greenlight movie after movie based on existing properties.  And who can blame them?  Hey, I liked the first Pirates of the Caribbean and that was based on a theme park ride, should I really be appalled that there is going to be a Ouija board movie?

But then, some of these movies flop, like The A Team and Jonah Hex.  So, did I have a point?  Well, as a baby writer, it’s a tough road.  It’s hard to get ANYTHING sold/made let alone something original you wrote all by your lonesome.  Maybe the only way you’ll ever see your solo masterpiece is to ALSO become a visionary director?  Or, more realistically, maybe these original projects doing well for big directors (both critically AND financially) will spill over for the rest of us?  Maybe the success of these films will justify studios getting behind more original scripts (like the next Furry Vengeance…)?  I recently read an interesting interview with Scott Rudin where he talked about his current awards season movies getting wide releases from their studios rather than small releases under their studios' indie divisions (like they might have a few years ago).  And what do you know, these movies have done well critically AND financially.

One final note…have you all seen the trailer for Sucker Punch the latest from director Zach Snyder (300, Watchmen)?  Usually movies categorized as "epic action fantasy" are based on a book or graphic novel, but nope, this one is totally original (although it has more than one writer).   Interesting...


EDIT: So I wrote this whole post, and then I saw this interview with Christopher Nolan where he addresses studios and originality...ha.

Winning the lotto

Earlier this week, I bought a lotto ticket for the first time in several years (and I wasn't the only one).  The Mega Millions was up to 355 million and after taxes that's 200 some million.  I didn't win, and that's way more money than I'd know what to do with, but I had a few ideas on how to spend it.  That being said, I don't like to play the lotto because the odds are astronomical while the promise of "it can happen to you" can suck you into spending lots of dollars on quick picks.  I much prefer contests where some skill is involved, or gambling games where I feel like I have some control over the results.  That's probably why I've tried my "luck" by sending my work off to several writing programs and competitions over the years.  Hey, one almost panned out.

I guess this is my way to get around to saying the last thing I'll say about moving/not moving to LA.  My last post talked about connections as a way to solve the problem of wanting to be a working writer but living in the wrong city.  Honestly, connections are important to anyone who wants to get paid to write, regardless of city, but when you're a baby writer lacking connections, there's one more option, and that's CONTESTS!

If connections are the secret handshake to get past an industry doorman, contests are the battering ram to break down the door.  You could be Joe Schmoe one day, win the Nicholl the next, and suddenly have agents blowing up your phone asking to meet.  Many Non-LA (but mostly LA) baby writers have sent their work off to prestigious and reputable contests, competitions, festivals, and writing workshops/fellowships to launch their careers.

Now, applying for stuff gets tricky because good contests are SUPER competitive AND there’s about a bazillion contests that will just plain scam you.  I’ve listed several contests that I think are reputable/worthwhile under CONTESTS AND STUFF on the right.  But, just like lotto quick picks, you shouldn't go crazy.  While some are free (huge plus) most charge a reasonable fee to enter.  Don't crank out something mediocre and waste a bunch of money sending it everywhere and don't apply to contests in areas outside your interest (I'm looking at YOU baby writer who applies to TV fellowships despite not actually wanting to write for TV).  After all, some of these contests have an interview/vetting process, and if you aren't serious, you don't stand a chance (this is mostly for the TV fellowships, but even the Nicholl has a small additional vetting process for finalists).

So yeah, that's pretty much my final word to baby writers who won't come to LA.  But, I warn you, lots of baby writers who DO live in LA (like me) will also be sending scripts off to all of these contests, and the ones that are programs often want people who have industry savvy and experience.  Being a baby writer with the wrong zip code might hurt your chances in the eyes of the contest deciders.

Get yourself connected!

The other day, I had lunch with a friend from college who is not in "the industry."  It was great, not only because this person is my friend, but because they have lots of cool stories from their work (in medicine) that have nothing to do with typing on a computer all day.  As a writer, this is the stuff I crave, otherwise, all my scripts would start to be about struggling artists or young assistants who get screwed over.  Bleh.

I think it's easy to get sucked into the wonderful world of Hollywood and suddenly realize all your friends are industry friends.  Now, this isn't totally bad.  Industry people are cool, have cool stories, and sometimes do cool non-industry things.  Also, this city does run on connections.  However, you'd be surprised to find connections are everywhere!  For example, my college friend once worked for a woman whose brother is an A list film director.  Heck, my grandmother, who lives in another state, once emailed me contact info for her neighbor's friend who lives in LA.  Turns out he was a very successful VFX supervisor.

What I'm getting at is an answer to the question I posed in my last post.  You want to write Hollywood movies/TV shows but you aren’t willing/ready to move to LA...so what should you do?  One answer is CONNECTIONS!  Connections can get you jobs, bridge city gaps, and bake ten minute brownies in five minutes.  Also, connections exist everywhere.  If you cast a wide net and tell everyone your goals, you might be surprised what turns up (even from people who don't live in LA who aren't in the industry).  Now, unfortunately, only certain types of connections (GOOD connections) can help with BIG problems like living in the wrong city.

Examples of GOOD connections are:

Your good friend/close relative or good friend's close relative is …

• A creative executive at a reputable production company
• The VP of Development at a reputable production company
• A Lit Manager at a reputable company
• A Lit Agent at one of the major agencies

And to counter, here are some examples of NOT-AS-GOOD connections:

Your roommate’s, friend’s buddy is…

• A security guard at a studio
• A PA
• A recent film school graduate
• A Blockbuster employee

Don't get me wrong, ALL connections on both lists can actually be great for a baby writer living in LA (except the guy who works at Blockbuster, sorry) but the only ones who can probably solve a baby writer's wrong city problem are the GOOD connections (and even then, they can't just hold up your unsold script(s) snap their fingers and make magic).  If your writing is good and your connection can really come through for you, you might get some meetings, and if those go well, perhaps you can cross the whole “living in another city” bridge at some point after.  On the other hand, I think knowing you have ANY connections is a good incentive to think about moving to LA, already.

Won't move to LA, but still want to be a writer?

LA has heard my complaints about the weather and has responded with a beautiful sunny day.  Thanks!  In other cool news, some recent mail hijinks has confirmed a semi-famous actress lives in the apartment directly above mine (which is funny because I swore a tap dancer lived directly above me...maybe that's just the extra large cockroaches?).  

Looking back, I realize I've met the actress in passing in our elevator but I totally didn't notice because all actors and actresses are actually TINY in real life.  Or, GIANT.  There is no in between.  Anyway, I just had to mention this because despite living in LA for several years, I NEVER see celebrities or pseudo celebrities unless I'm at work and they're asking me for something (usually a beverage).  But now, one lives above me!  Yet another part of my sales pitch for moving to LA (Come to LA!  Land of famous neighbors and tap dancing cockroaches!).

Speaking of which...I was thinking about my last post, and I have a few revisions.  Yes, you wonderful LA hating babies, you don’t HAVE to move to LA (or NYC) if you don’t want to.  Even if Los Angeles isn't as dangerous as you might think, I get it.  LA is still expensive, big, occasionally soul sucking, tough for families, and writers can write anywhere, right?  So, what should you do if you want to be a writer but won’t move to LA? 

Well, the big exceptions I can think of to the LA rule are writers who write books.  I think authors can pretty much live anywhere and still find a way to sell their stuff.  Didn’t Stephanie Meyer write Twilight from her home in Utah in between changing baby diapers?  Yeah, those stories are one in a million and you shouldn't count on becoming the next Stephanie Meyer, but if you have your heart set on a career in writing and won’t live in LA, I’d suggest focusing on novels or nonfiction.

BUT,  let’s say that’s not what you want.  Noooo, you want to write screenplays and TV shows, but won't move.  Then what?  Well, you're screwed!  Just kidding.  I think you actually still have a few options.  More on that next time...

Should you move to LA?

Is it just me, or is everyone in this city sick right now?  Seriously.  Myself, my significant other, and just about everyone I know is suffering from some sort of cold/allergy/flu/seasonal Ebola.  I’m sure this has something to do with the very un-Los Angeles weather we’ve been having (i.e. the nonstop rain).  I know some people love when this happens, but I’m sick of it.  This isn’t what I signed up for when I moved to you, LA!!!  Which brings me to a question I see all the time…Should YOU move to LA? 

More specifically, what I usually see is a baby writer (who doesn’t live in LA) asks if it is necessary that they move here (or NYC) to pursue their writing dreams.  I’ve seen people waffle on this, but the answer is simple: YES.

You're a baby writer who wants to write studio movies, TV shows, or maybe just get your foot in the door by working on a show or at a reputable production company?  Well then, you better come to LA (or Shreveport, or Detroit or…).  Ah, that’s the tricky part, there actually ARE lots of film/TV employment opportunities for people starting out in places all over the country and if you live in one of those places (mostly states that have big rebates for filming like Louisiana and Michigan) you can probably get a job on the next show that comes to town (if you know somebody who knows somebody who knows somebody). 

Doing that might help you make a few connections, but don’t misunderstand me, eventually, if you want to move upwards and onwards in this business, you’ll have to move to one of the big cities.  How else are you going to have drinks with that manager or take that sweet writer’s assistant job that just opened up if you don’t? 

Now, maybe I'm just a little biased.  I currently live in LA, AND, I was lucky enough to go to college in LA, so I basically got a 4 year transition period where I got to learn the city, make friends, and figure a bunch of things out without the instant pressure of gotta-get-an-apartment-gotta-get-a-job-gotta-not-starve.  But, I stand by my opinion.  LA or bust.  I know it’s scary to move to any new place and LA is as big and scary as it gets, not to mention kind of lonely (and now, with more rain!).  So maybe, if you know this is what you want but you’re on the fence, consider moving out with some friends.  OR, before you move, try to reconnect with any friends/acquaintances from high school, college, or anywhere, who work and live out here.  Actually, yeah, definitely do that last thing.  This city runs on connections and the more you have, the better off you’ll be when you get here.

Uh, read my blog, okay?

Hi, my name is Z, and I’m a baby writer.  Let me be clear, this blog doesn’t have anything to do with babies (although I think they are adorable and tasty).  No, this is a blog to chronicle my adventures as a young and fairly inexperienced writer (a baby writer, if you will).  Like many other babies out there I’m trying to make a living writing (TV, movies, novels, okay, mostly TV). 

Wait!  Don’t close that window!  Let me be clear, I’m not completely inexperienced, and I think I have stories, unsolicited advice, and other good stuff to share that will make reading this here blog worth your while.  That, or I made a New Year’s resolution to finally start a blog and I like listening to the sound of my own voice in my head.

If you’re not sure, well then, here’s a little bit more about me…I live in LA, I went to film school out here, I’ve worked at production companies in their development departments, and I’ve also worked directly on films and TV shows.  I know actual writers with actual agents who have written actual things you might have actually seen.  I’ve written, directed, and produced things that have appeared in festivals, won awards, and been licensed for distribution, oh, and once upon a time, I was a finalist for one of those prestigious TV writing fellowship/workshop/program thingies.

But, I haven’t made it yet (clearly, ha) and I’m still out in the trenches, working long hours by day, and writing by night (or when the boss isn’t looking).  Join me on my exciting foray into the wonderful world of blogging.

Oh, and if you want to send me questions, suggestions, or not pictures of your private parts, feel free to do so at Babywriting@gmail.com.  Please, no requests to read your work…babies can’t read.