You must listen to...Jen Grisanti's interviews with writers!

So, I'm plugging away on the next big thing I'm up to (and yeah, maybe doing a little internet surfing procrastination) when I ran across something cool...

Half off blankets and pacifiers...kidding.

I’ve heard of Jen Grisanti and think I’ve even mentioned her somewhere on this blog before...but somehow I only just checked out her awesome blog and all the sweet podcast interviews she has posted with various writers.  Anyway, now I’m addicted and I’d highly recommend listening to them.  I’ve added the blog to my links on the right (under YOU MUST READ).

I especially recommend listening to her latest interview…it’s with FNL and Parenthood writer David Hudgins (Hudgins also created/ran the show Past Life…which he talks about).  The whole interview was really cool, but one of the best parts was when Hudgins (and Grisanti) recommended writing specs.  While I just finished a spec and am working on a pilot right now (because I want to and yeah, because pilots are supposedly hotter to have than specs) it was great to hear a couple pros advocate for specs.  After putting so much darn time into them for contest season, it’s nice to know that a former (and likely future) showrunner like Hudgins would like to read them.

I think Hudgins makes the excellent point that while reading original work is great and can show how amazing and creative you are (like a script about a man with pork chop hands) a spec can show your ability to capture the voice of a character…something pretty much impossible to judge in a pilot since...you know...you don't know these characters the way you know the characters on a show you like and watch.

So yeah, huge recommend…what are you waiting for?  Check out the site/interviews, already!

How do you edit a .pdf file?

Not all of writing is glamorous creative work.  Occasionally, a knowledge of the mundane or slightly computer technical is important.  One thing I have to do constantly for writing contests that require hard copy submissions/entry forms is edit .pdf files or make them editable (also, good to know if you ever have to prepare contracts for a production).

Sex:      Yes, please!      

Now, I guess you can always fill all those forms out by hand (ugh) or use Photoshop or Adobe Professional/whatever it’s called if you have it, but if you don’t, you’ll need a good free online .pdf editor.

My favorite one (i.e. the best one, duh) is PDFescape.  I like that you can go to the site and immediately use its services as an unregistered guest (so if you don’t want to sign up for anything you don’t have to) but I think I did sign up at one point because I wanted to store a form longer or something and I didn’t get any emails from the site or extra spam, so that’s good enough for me.

I’m sure some people feel iffy about uploading their forms to a site, but most of the things I have to upload are generic forms (like the blank ones already online that I download from a contest).  And, as far as editing on the site, I don’t have to edit directly on the site, in fact what I usually do is add the empty fields so the file is editable, and then download it back to my desktop to fill it out (although if I did want to edit a form I uploaded while still on the site, I’ve never seen a way I personally would have access to someone else’s files, but I understand the site might keep that stuff and people want their privacy).

While I know the site doesn’t have all the fancy bells and whistles some Adobe program has, it has what I need, saves me time when filling out contest submissions, and is really easy to use.  Not bad.

When are this year's TV upfronts?

Today, a simple question...but first, what are “upfronts?”

If you follow TV at all, you've probably heard the term/already know what they are, but “upfronts” are the meetings/shows put on by each network for advertisers/press/anyone like me who is interested from a far, where they officially announce their show line up for the next season.  Upfronts are important since ad sales = $$$ for the network so networks often try to put on a big show at upfronts to convince advertisers how cool their current and new shows are…and hopefully, all those advertisers will agree to buy lots of time.  You’ve probably heard of upfronts bringing out the stars of their shows to do funny skits/videos or perform for the crowd (I think a trip to the Fox upfront pretty much guarantees a concert by the Glee kids and probably some other song/dance action from their reality hits).

When will we know what we'll be watching next year?

At any rate, average people like me want to know when upfronts are because we’re waiting to hear if a show we liked that’s on the bubble is gonna be renewed/what new pilots are gonna get picked up/what shows we are gonna try to get a job on next year.

Check out the following link for a fairly up to date calendar of the upfront events (less than a month away for most of the big networks).

Also, check out the following link for info on the ever changing status of current shows…many have already been cancelled while some have recently been picked up.

Library baby

We decided to bug bomb our apartment for four hours yesterday (TMI?) so, I got to try writing outside the apartment (something I’ve mentioned before that I’m not too keen on).  Instead of Starbucks, I opted for my local library.  I’ve gotta admit I liked the quiet, there were some comfy chairs, and I definitely got work done.  However, at my library the plugs for the computers were far from the comfy chairs, so it was either drag my cord all over other people’s business (that sounds kinda dirty) or sit at a cold hard table with four other people.  In the end, I opted to just type this blog post and then shut down the old computer to do some reading (it is a library after all).

I once worked at a library with only old books like these.  Yes, they do smell.

Before shutting down, I ran across this blog post in my blog reading that is being passed around.

It's more geared towards baby novelists, but I think the message of hard work and stick-to-it-ness is universal to all forms of baby writing…definitely the type of thing worth telling yourself when you’re faced with rejection (if you haven’t faced it yet, don’t worry, you will).

The difference between an Oscar and a Razzie

Happy Friday!  Today is the day I usually talk about my own writing, but who cares, it’s OSCAR WEEKEND!  I’ve always enjoyed the Oscars though as I’ve gotten older, I’ve gotten more jaded about them and the fact that the nominations/wins often reward a person more for their career or their last project than their current project, but hey, whatever, it’s the OSCARS.

One good thing about being a little jaded now is that I’m pretty good with an Oscar ballot.  Not to toot my own horn too much, but in the past few years I’ve won several Oscar pools.  My secret?  Honestly, the thing that clinches it is usually the shorts, docs, and technical awards.  If you just look these up beforehand or go with who won the guild awards, you can usually pick correctly, otherwise pick the movie with the coolest name, that works too.

Anyway, I’m clearly excited to see the show.  Also, for the first time ever, I worked on a movie that was nominated for a couple things, so I've got people to root for (actually I’ve worked with people who were nominated in previous years because Hollywood is such a small world, but I feel closer this time).  On the downside, I will probably be less objective with my ballot picks, but on the upside, it’s a nice change to tell people you worked on an Oscar nominated movie instead of a Razzie nominated movie (yep, I worked on one of those, too).  The funny thing is, from my perspective, the people I work with are always working hard and doing excellent and professional jobs.  I’ve worked on a couple “bad” movies, and their sets and costumes totally blew me away.

Now, I’m not saying I couldn’t tell the difference between working on an Oscar movie and a Razzie movie...in hindsight there was definitely a difference.  But in what areas?  Well, I’d say the biggest differences were at the script level, followed by the higher ups level (Director, Producers, etc.).   Now, maybe that’s just me being biased as a writer, but it makes sense doesn’t it?  All other technical quality factors being fairly equal, a better script with a stronger vision/direction, equals a better movie.

And on that note, I'll leave you with this video that cracked my up and made me think of all us baby writers out there.  

While I wouldn't recommend copying Seinfeld word for word if you want to be a comedy writer like this little girl, I think watching shows you love or exposing yourself to anything written by a writer you like can only help you be a better writer (plus, you've gotta watch a bunch of shows anyway if you're planning to write a new TV spec this year).  Speaking of exposing yourself (ha) to good work, here is a link posted by ScriptShadow yesterday to all the 2011 Oscar nominated scripts.  Enjoy, and happy Oscar watching/happy writing (whether you're penning a future Oscar winner, or just your latest TV spec, like me).  

What show to spec? More suggestions...

To build on yesterday’s post, here is an article my friend just sent me from scriptmag.com by Heather Hale appropriately titled Which Show Should I Spec?  It contains (naturally) a list of good shows both comedy and drama to spec in this upcoming year.  The list recommendations were made by Jen Grisanti who has an impressive resume that includes working with the NBC Writers on the Verge program.  Look the list over to get an idea of exactly what shows are hot to spec in 2011…and get ready to watch some shows, babies!

Is Teletubbies on that list?

Oversharing

John August had a great post earlier this week about waiting to share script ideas so you don’t get discouraged by less than enthusiastic responses.  I was happy to read this, I know Blake Snyder has a sort of different opinion (if I’m not mistaken, he basically suggests constantly pitching loglines and seeing what people respond to) but I’m with Mr. August on this one because I have first hand experience with sharing too early.  I told my friend who is a reader I respect about the spec I was going to write that eventually got me a finalist spot for a TV writing program.  He was very blah about my idea, but it ended up being the best spec I ever wrote, and thank goodness I didn’t scrap it right then.

I think the biggest problem with sharing work when it's still just an idea is that most baby writers aren’t very experienced pitchers so when we're in casual situations where we aren't ready to pitch we might give a bad pitch OR when people ask us what we're working on in these types of situations, they only take notice when our ideas are really out there.  I mean, if I told you I was writing a movie called Zombie Rainbow Butt Rockets that might get your attention, but if I said I was writing a psychological drama about a troubled ballet dancer you might think…ballet dancer?  BOOOORING!  But, I’m pretty sure Black Swan is a way better movie than Zombie Rainbow Butt Rockets.

On the flip side, I think you must share your work and get feedback when you have something to show (John August mentions around 20ish pages).  Being too secretive about projects will turn you into that person who thinks your work is too brilliant to have a logline or too complicated to explain, which is just bogus.  Think of it this way, how will Tom Hanks possibly intro a montage of your Best Picture nominated masterpiece at the Oscars if the plot of your movie can’t be condensed into about 20 seconds worth of description?

The simple joys of sharing.

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?).

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!

"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.