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!
Hola, and happy Cinco de Mayo! Today, something I've been thinking about, and maybe you have too if you’re writing a new spec for this year’s upcoming TV writing program circuit (as mentioned yesterday, deadlines are fast approaching...be sure to check the list again, I had a few mistakes actually that I just corrected).
Specs can cause a lot of headaches. Like I said in a post way back when, there are a lot of conflicting “rules” when it comes to specs.
“Rules” aside, one issue I always seem to hear fellow spec writers discussing this time of year is: how do I deal with spec’ing a highly serialized show? (like Breaking Bad, Sons of Anarchy, and lots of other cool shows you might want to spec). As a friend of mine recently summed up, “I wrote a spec for a really serialized show last year and a couple episodes later, everything on the show had changed and now my spec is worthless and makes no sense.”
Wrong kind of "serial."
Jane Espenson has written extensively about specs and this specific issue on her a-mazing blog (btw she advocates NOT constantly updating your specs, so don’t think that is the solution). I suggest checking out her blog for real pro advice, but two tips I’ve run across/have been suggested in my baby writing circles that I think are most helpful when spec'ing serialized shows are as follows:
1. Write a “one off” episode.
A “one off” is an episode that could happen essentially any time in the show’s chronology/doesn’t have to come after the last episode that aired/you saw. This is easier said than done with some shows, and honestly, no matter what, you will probably have (and want) to deal with SOME (or many) juicy serialized elements or current cool storylines of any show you want to spec. However, instead of trying to play psychic with how all the mysteries of your favorite show will develop, try instead to introduce something new into the show (and I don’t mean “new” like new character or location, I mean new like new conflict or relationship between existing characters...something that hasn’t been extensively explored or even hinted at...yet).
OR
2. Write an “in between” episode.
This is when you pick two fairly current episodes of the show you want to spec and write an episode that occurs in between these. Your spec might seem a little stale as the show progresses and characters change, get together, break up, die, move away, but technically your episode will always be valid. Thinking this way might actually help you do #1 and create a one off idea since you won’t be as preoccupied with predicting your show’s future.
Ah, I kid I kid. Let's see, what's new...outlining my new spec, but the mood struck and I actually wrote the first draft of the first act, so that’s good…just need to buckle down and focus on actually finishing the outline before I get too far along writing scenes or I know I’ll get stuck later.
In other news, I obviously saw the new Morgan Spurlock film, The Greatest Movie Ever Sold, and found it really funny and enjoyable. That being said, I don’t think it said anything new or amazing that most people don’t already know/assume…yes, product placement happens…a lot...yes, it can be funny... yes, it can be necessary to make money/finance films and TV shows... yes, you should take advantage of that and take the money but try not to "sell out."
One of my favorite parts of the movie that was not entirely related to the overall point of the movie was a scene where Morgan had to identify his “brand.” I actually mentioned this idea of "brand" last Friday and I’ve alluded to it before when I talked about streamlining the genres/types of pilots, specs, and screenplays you write.
So yeah, think about your “brand” so people will "get" who you are as a writer. I know it’s hard for a baby writer and I struggle with it ALL THE TIME. I want to be a special little snowflake and write all sorts of stuff in different genres, or I read a new book/see a new show/watch a cool movie and feel all inspired to try something like what I’ve seen. I guess growing as a writer is about learning to balance that urge to stretch/try new things, and perfecting a specific style.
On a slightly related note, Idol did another “express yourself” themed show last night and the Idol wannabes got one of their best chances to show their “brand” as it was "Songs of the 21st Century Night." I think some Idol winners have struggled with “brand” in the past. You win the show by essentially being an awesome karaoke singer and singing songs in a bunch of genres, some of which haven’t been Top 40 popular for 20, 30, even 40 years, and then you’re expected to be a current artist…it’s tough.
Speaking of expressing yourself what was with all the Lady Gaga drama this week? If I’m all caught up, here’s where things stand: no, she did not rip off Madonna's Express Yourselfwhen she wrote Born This Way, and no, she didn’t tell Weird Al not to parody her (by the way, I happen to enjoy Gaga AND Weird Al, and Perform This Way is fantastic...even if it does sound suspiciously like Madonna's Express Yourself).
Second, I find the way profanity is treated by the media to be interesting. I think it's incredible that movies like The Dark Knight and Avatar are rated PG-13 while a film like The King’s Speech gets an R rating because of one scene where Colin Firth (humorously) drops the F bomb over an over again. Apparently, being blown up or stabbed in the face/chest is okie dokey as long as there isn’t lots of flowing blood or the movie is a “fantasy.” It’s the same with network TV. People get raped, murdered, shot, and mutilated on crime/law shows almost every week, but as long as it’s not too graphic, it’s just fine. But, don’t even think about dropping a swear word. That’s over the line.
And then there's sex in movies/TV...the way sex gets treated is bizarre. I remember people protesting that film Zack and Miri Make a Porno just because it had the word “porno” in the title…as if the film was an actual porno that was going to be shown to your kids in school (btw if you want to protect kids, please keep that Miracle of Life film out of classrooms, you know the one with the close up of a baby being born...seriously, that movie kinda traumatized my entire 11th grade class).
All jokes aside, I don’t really have a problem with violence, profanity, or nudity/sex on TV or in film as long as it’s being used to "serve the story" or whatnot. I just get annoyed by the way the three aren’t treated equally. I guess profanity is just the easiest to police. What’s simpler than “these are the words you can’t say in your movie or you’ll get this rating” or “these are the words you aren’t allowed to say on network TV.” On the other hand, violence gets a pass when it's not bloody…and sex…well, like I said, the way that it’s treated confuses the heck out of me. Shows have teens having sex all the time, and some get majorly called out for it (Gossip Girl, Skins) while others don’t get as much/any grief (Friday Night Lights, Parenthood, Glee). I know it has to do with the age of the actors and the perception of how sex is being “sold” or not sold to teens who watch the shows, but it’s still a little strange. Then there’s movies. I always thought any nudity equaled an R rating but look at Titanic...that has a big old nude scene but gets a pass (and a PG-13 rating) because it’s…what…“artistic”?
In the end, not sure there’s a point to this post except that I think a writer should write whatever they want as long as it serves their story...but I agree with John August in that it’s dumb to fill a pilot script with profanity (especially for a baby writer). There are pretty much only 2 major cable networks (HBO and Showtime) where you can say all the words you want. Why limit yourself so much? Or better yet, why write a show that you know is a network type show not a pay cable show and load it up with words you can't say? I guess some writers want to look edgy or maybe they think their show does belong on HBO? I remember reading the pilot for The Mentalist a while back and it had some profanity in the dialogue. I figured this was because the creator had done an HBO show before. Regardless of the reasoning, the show ended up on CBS and all traces of bad language were erased. While I think established writers can get away with slipping profanity in pilots and still be taken seriously, baby writers might look foolish to do so.
Happy Friday! Friday is supposed to be the day I talk about how my own writing is going/not going but I’ve noticed it’s turned into something else recently, and that is:
I Watch American Idol and try to relate it to writing in some way.
So, why break from tradition? Let’s look at this week’s Idol and see what we can learn. This week was Movie Week, which I thought was funny since I don’t remember 90%** of the songs performed ever being in movies (**not intended to be a factual statement).
Anyway, I’ve noticed that this year on Idol there are fewer of the theme/artist centric weeks (Beatles, Motown, Country, Big Band, Disco, etc.) in exchange for more of the “express your own personal style” weeks (songs by your personal Idol, Rock and Roll Hall of Fame, movie songs). Basically, this means that Scotty kid (the deep voiced country singer who is probably going to win) gets a MASSIVE break. In the past, he would have been forced to sing the Bee Gees and wear some terrible sequined outfit on Disco night.
However I might feel about Scotty (I actually think he’s cool) I like this change to the show because while the other format was more entertaining and produced way more hilarious flops, this way seems more true to how a creative industry actually works. People want to see you singing the type of music you want to sing (or sell) since that’s what you’re gonna do (or not do) when you’re no longer a contestant on a popular TV show. The show wants to find the best new artist in American (or whoever is gonna sell the most records and make them the most money). So now, we get to choose between contestants who identify with such diverse artists as Sammy Hagar, Nat King Cole, George Strait, and Miley Cyrus (all on the same night).
But, isn't it good to have the theme weeks that force artists to go outside their comfort zone every now and then? I remember thinking Kelly Clarkson was a great singer on season one, but she really shined in a whole new way when she did an awesome number on Big Band night and proved she had the chops to sing in any era.
Wow, I am a dork for Idol, how do I even remember this?
But, it's not like Kelly Clarkson ever put out a Big Band record, so...is showing a range of style really necessary?
The show presents a lot of differing opinions on that question. The judges tell one singer “If it ain’t broke, don’t fix it,” then turn around and tell another to stop “playing it safe” and step outside their comfort zone.
I think writers encounter this to some extent when they go to write a new sample (either a pilot or a spec…the latter of which which I’m doing right now). I sometimes struggle to pick the right show to spec. I like a lot of different shows but since I’m still starting out I want to spec shows that mesh well with the pilots I have written or want to write while not seeming too similar to my original samples. But, maybe I should try for more range? I was reading the new First Person interview on John August’s blog this week, and it came from a writer who made the jump from The Sarah Connor Chronicles to Melrose Place, a jump which got a lot of questions in meetings. So, it would seem like having too much "diversity" in your work is not an asset, but just a source of confusion. On the other hand, the writer also mentioned some disappointment over reading the new show, Georgetown, and loving it, but not having a sample that really worked for it.
So…streamline your samples or diversify to show variety?
In the end, I guess I’ll go with the idea that there is something to be said for perfecting one specific style and that while it is important to push your boundaries, maybe you shouldn't do that until you know what those boundaries are. I think the most well known writers in Hollywood all have specific styles. Aaron Sorkin doesn’t write gross out comedies, Judd Apatow doesn’t write political thrillers, and Diablo Cody doesn’t write period dramas, but they’re all good at bringing something a little different to each new script they write, while staying firmly in genres where we typically identify them.
Deadline Hollywood published an article a few weeks ago titled "Pilot Season: The End of Ageism." The gist of the article was that more and more pilots are casting "older" actors (Eric Roberts, Don Johnson, Christine Lahti, and Tim Allen all are doing pilots this year and all are 55+ years of age). The article also points to the recent success of Blue Bloods and Harry's Law which both have leads that were made older (and in one case, female) when Tom Selleck and Kathy Bates were cast, respectively. The article also mentions Body of Proof which actually just premiered to very good numbers this past Tuesday. The lead on that show was supposed to be in her mid 30s-40, but they cast Dana Delany, who is 55.
Personally, I'm not sure I totally buy into the whole "end of ageism" idea. I think Hollywood is still as obsessed with youth as it ever was (Justin Bieber, American Idol, Jersey Shore). But, I do agree that there definitely seems to be a lot more "older" actors on TV, though I might suggest that this is because some really good "older" actors can't crossover to movies. Let's face it, unless you're Meryl Streep, there aren't a whole heck of a lot of roles for you if you're a lady of a certain age (the same is true for guys, though I think to a slightly lesser extent). I think because of their age/lack of availability of roles in films, lots of really good actors are available to star in their own shows (this ends up being a plus for a show who gets a bigger star, like Kathy Bates, to headline). Whatever the real reasons are, I appreciate the age shift, and I'm sure every actor who hasn't found the fountain of youth (or a really great plastic surgeon) is also grateful. It always bothered me when shows would try to sell cute young guys and gals as accomplished surgeons, lawyers, pretty much accomplished anything, so I appreciate a show that can say, this woman is a genius brain surgeon and yeah, she's 55 not 25.
Finally, on an only slightly related note...actors seem to be aging better and better all the time. Maybe they truly have found that fountain of youth. I mean...is Christine Lahti seriously turning 61? The women on Golden Girls were in their 60s...I guess 60 is the new 30 and 90 is the new 60. Speaking of, has Betty White even aged since Golden Girls? It's been 26 years since the show premiered and I think she looks almost exactly the same...it's crazy.
Happy Friday (it’s Friday, Friday, gotta get down on Friday)!
I’m in a good mood today despite the recent gloomy weather because I cut my new pilot to under 60 pages, I’m at work on my latest TV spec (which I’m psyched about), and I’m about to enjoy a piping hot bowl of noodles.
Speaking of, (TV specs, not noodles) yesterday, John August suggested on his blog that a team of baby writers who were getting attention from their spec screenplay tackle a TV spec as their next sample. This raised some eyebrows but I couldn’t agree more with his spec advice. A while back I also recommended writing TV specs (for different reasons, I admit…to practice the craft of TV writing before tackling a pilot, to use to apply for contests) nevertheless, it’s nice to see a pro promoting TV specs as good viable samples.
I must say, though, that he’s also TOTALLY giving away the secret that all us TV focused writers know already…that TV is where writer’s have it best in the industry and where the bulk of the best writing happens.
Anyway, even if you don’t listen to me, listen to John August and get cracking on a TV spec of your own…deadlines have already passed this year for certain programs (Nickelodeon) and others will be approaching soon enough.
I suppose I shouldn’t feel bad for a show like The Good Wife. It has great ratings, great reviews, and has picked up several nominations and awards in the 2 short years it has been on the air. Nevertheless, I feel like a lot of baby writers don’t give shows like The Good Wife much respect, and that’s truly a shame. I think most of them think this is a show for older audiences, not young hip people such as themselves, or they hear “lawyer show” or “legal procedural” and say: “yeah, maybe for my grandpa” (then, they go watch Mad Men and fantasize about living their grandpa's life...ironic).
I challenge you, baby writers, to watch this show and let it prove you wrong. I think the characters are all really interesting and extremely complex, sometimes they do right, sometimes they do wrong, but they never do stupid just because it's convenient for the story.I also think the writing in general and especially the dialogue is smart and sophisticated.The show doesn’t talk down to its audience or dumb itself down for viewers.Sometimes you won’t know what’s happening because of all the legalese or political jargon, and you just have to keep up.That reminds me of The West Wing, another show I really loved, back in the day.
The show also doesn’t shy away from controversial subjects or taking on the not so heroic side of law (it's not all catching the bad guy/helping the innocent guy stuff, there’s lots of moral ambiguity, money making, and juicy back room deals going on).
Anyway, The Good Wife is really good, if you haven’t already, give it a chance (and if you’re looking for a hot new drama to spec this year, I think this is an excellent choice).
Happy Friday! It’s been a pretty productive week. I would have liked to get more work done on my newest spec, but I couldn’t resist going back to my pilot for a few tweaks I had on my mind, as well as picking up a few long suffering projects. It was also a productive week of watching American Idol…I think I’m into the new season for now, the talent level seems higher than it has been in recent years, although the judges are all way too nice…seriously, is Randy going to be the mean judge now?
Anyway, every time I watch Idol I can’t help but flash back to my own experience as a finalist for one of the TV writing programs and think that their selection process (and the selection process of many fellowships/script programs/contests) is a lot like Idol. Think about it, lots of people who want a shot at turning their passion/hobby into a professional career sing a song/submit a script and hope their work is good enough to get noticed. Then, if they make it past the first round they get to sing again/submit other scripts until they get to actually do their thing at an interview/on the live shows until finally…well, you get the idea.
I think one good thing about thinking about writing programs/contests that way is that it shows the importance of having multiple scripts (having more than one song). Like that Scotty kid this year. He sang that one song GREAT, but it was the only song he sang for a LONG time and people (me) as well as the judges started to wonder if it was the ONLY thing he could sing and that was a concern…one song does not an Idol make. The same goes for scripts…if you only have one great sample, you’re like Scotty, singing the same song, over and over and over again…and one script does not a writer make.
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!
I'll probably post in more detail on this in the next few months as more baby writers plan their specs for the upcoming TV writing program/contest season, but for now, a (fairly) short post.
As I mentioned before, while pilots are the hot thing to have, new specs are still important to baby writers (until all the contests change their rules to allow pilots).So, what should you spec this year? There are lots of opinions and "rules" out there for specs that sometimes conflict:
Spec something popular so readers will recognize it/DON'T spec something popular since you'll have too much competition.
Spec a show that's well established/DON'T spec a show that's been around too long and is overdone.
Spec a show in its first season if it's a big hit/NEVER spec a show in its first season.
Rules, rules, rules. I think the most important thing to remember is that whatever you write it MUST BE GREAT. I think people worry about "rules" a little too much sometimes. Yes, it's smart to not pick the most overdone shows to spec because you'll have lots of competition, but if you have an AMAZING idea for a popular show, who cares? Anyway, like I said, I'll offer more unsolicited advice later, but for now, a link to get your brain started...
While all the "rules" out there aren't set in stone there is ONE RULE that is fairly stern, and that's that you can't submit a spec for a show that has been cancelled or has ended (well, I mean, I GUESS technically a lot of these competitions say you can submit a show that aired new episodes this year, but seriously, why would you spec a show that was canned?). Note, this is just a list of network shows, there are many cable shows out there as well. Also note, I actually think this list is a tad optimistic for some of the lower rated "looking good" shows...keep your eyes peeled for more news on new renewals...and pray hard if you wanted to spec "Chuck" this year.
I’m almost done with my pilot!!! Sigh…that was supposed to read: I FINISHED MY PILOT!!! But, I’ve got to write this post before tomorrow, and at this moment I’ve still got 2 key scenes I’ve outlined that I’ve yet to write. When those are done, I will do a little happy dance, then put the script away for a week…and then I’ll pick it up again and rip it apart. I’m good on page count now, I had some problems with length early on, but now I’m at 57 pages with only the 2 scenes left to flesh out, so I think when I'm done editing I’m going to be close to my goal of 60 pages/a little less than 60 pages. My only problem is that I think my first act still feels too long while a couple of the other acts feel too short…but fixing that will come LATER.
I know I need to get faster with my writing (the turnaround when you’re writing on an actual show is FAST…shows gotta get made) but since this is my pilot/baby and will probably only ever be a writing sample, I’m willing to massage and nurture it for a nice long time.
Next week while I'm letting the pilot rest, I’ll probably starta new spec for this year’s round of TV writingprogram applications (depending on what I decide to spec).I’m trying not to start too soon since the fate of certain shows I’m interested in isn’t so certain right now, and I don’t want to get a ton of work done on a show that gets cancelled...so we'll see.
Anyway, that's all for now...gotta get back to work...BUT, as a side note, I will leave you with my random thought of the day and that is...what is up with that Adrien Brody Stella Artois commercial?
"STELLAAAAAAA!" (said in Marlon Brando voice)
I find it SO…I don’t know…it’s kind of sexy, kind of nuts, kind of hilarious since he’s serenading a beer…at least it’s memorable. Hey, side note to my original side note, did you know that Stella is like Bud in Europe (they’re actually both owned by Anheuser-Busch)? My friend who has traveled a bit says that Europeans make fun of American hipsters who go on and on about how much they LOVE Stella because it’s like going on and on about how much you love Bud Light. Okay, side note over, back to work!
Since I touched on this last Friday, I figured I’d do an actual post on it. What should you write...pilots or specs? I think the answer is…BOTH! but I get that’s kind of a cop out so I’ll elaborate by saying specs THEN pilots.
I guess specs are becoming kind of worthless to pro TV writers, but they still have a lot of value to baby TV writers. For starters, writing specs is a great way to learn and get your feet wet. More importantly, specs are still used for all the major TV writing fellowships and programs (i.e. many of the programs listed under the "CONTESTS AND STUFF" section on the right, that you should be entering). So, if you want to be a TV writer I would suggest starting out with a spec, better yet 2 specs before you write a pilot…in fact don’t bother entering ANY of the major TV writing program/contests if you haven’t written AT LEAST 2 specs, because if you make it far enough, you WILL have to give a 2nd sample (as I’ve mentioned a few times, I was once a finalist for one of these programs, and after I made the 1st cut, I had to give a 2nd sample). Once you have at least 2 specs you’re really proud of, I think you can write a pilot, and your pilot will be better for waiting and learning.
My only other piece of advice to fellow baby TV writers plugging away on specs would be to try to streamline yourself and think about who you are as a writer when you pick the shows you want to spec. Pick shows you like and shows with a similar tone/genre to the pilot(s) you want to write and remember that most TV fellowships/programs are divided along the lines of 1/2 hour = comedy and 1 hour = drama…this isn’t the Golden Globes, a show like Glee is always considered a drama because it’s an hour long, so don’t write a Glee thinking it’s a great comedy sample…better yet, don’t write a Glee at all. Moreover, while I think it’s fine to show range and variety with your samples, don’t go all over the place. If you want to write drama, stick to 1 hour samples, if you want to write comedy, stick to 1/2 hour samples and don’t write a Mad Men then a Hellcats…or a The Walking Dead then a Gossip Girl…or a Fringe then a Desperate Housewives. I know everyone has varied tastes and you might love all these shows, but that’s way too many niches and genres and I don’t think a reader for one of the programs would know what kind of writer you were if any of those combos were your 2 samples.
Finally, if you haven’t yet, you should read every single post about specs on Jane Espenson’s blog (link under the "YOU MUST READ" section on the right…seriously, don’t write a word until you’ve done that).
Learn the basics before composing your original masterpiece.
I’m actually out of town today/the rest of the weekend and am writing this on Thursday – okay, I always write the day(s) before my posts go up, but this one feels like funny time travel since I'm away from my office.
Today, I’m someplace that should be warm but isn’t because of the residual effects of all the crazy weather our country has been having. Seriously, I hear it’s like The Day After Tomorrow in all those “flyover” states where most of my family lives. But hey, if you’re stuck inside, what better time to buckle down and get some writing done?
Speaking of writing, I’m feeling better about my pilot now on several levels. Probably mostly importantly, I was talking to a TV writer friend who recently made the jump from baby writer to pro, and they stressed the importance of having lots of samples, in particular original samples (i.e. pilots over specs). I guess this shift from pilots to specs has been happening for some time now, but it feels good to be on the right path. I mean, my friend basically said that agents don’t even want to look at you if you don’t have a pilot…or alternatively that they know several pro writers who made their mark with one really excellent pilot. So, pilots away, keep warm, keep writing, and have a lovely weekend everyone!
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?).
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.
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.
