Nope; not like that.
Today was more Screenwriting Expo goodness. Stuart Beattie was supposed to open the day, but was AWOL due to a scheduling glitch. I used the time to go hear Jeff Kitchen speak again. I saw his presentation on SEQUENCE, PROPOSITION AND PLOT a few years ago, the first time I came to the Expo and found it to be one of the most informative, so was curious to see if he'd updated his examples any. Luckily, he had.
His tools, also covered in his book, WRITING A GREAT MOVIE (yes, I'm aware of the bullshit meter going off), are amazingly useful to look at your story and make it stronger. Essentially, starting at the act level, you work backward through the script to identify cause/effect, to make sure you haven't introduced an action without strong supporting cause.
Then, you move through each act at the sequence level (a sequence is a collection of scenes that make the filmic version of a chapter; a grouping of sequences make up an act), to identify the same cause/effect elements at a more micro level. Once you've done that, you move through each sequence to identify the cause/effect elements at the scene level.
I'm probably not doing it justice in my description, but Jeff takes us through an example with the movie TRAINING DAY--a super-tight script that just rushes from start to finish--and the examples bring it to life masterfully. Jeff still teaches with the TRAINING DAY example, but has added some new material from an original script he's working on. While I don't agree with all his scene choices--they're not all how I would handle the material--it's nice to see an alternative to the produced film.
The downside to all this is--you guessed it--more work. But, ultimately, if you're starting with a strong story, it can make it even tighter, identifying the dross you can cut loose and the holes that need to be filled.
After Jeff's presentation, I came back to the room to prep for my pitches. As mentioned in yesterday's post, I'd signed up for a set of pitch sessions--5-minute speed dating style, where you find the prodco/agent/manager's table, plop your butt down and start selling (the dirty side of writing).
I'd signed up for pitches with MTV Films, Fangoria Films, Strike Entertainment, Fox Atomic and APA Agency. You usually get the lower-on-the-totem pole folks, since the top dogs don't want to waste their Saturday afternoon with a bunch of sweaty-handed writers pitching their story of how grandmother came over in the 30s and set up the first Jewish tailor shop in the Bronx.
My pitches went generally well--all were interested in my thriller, ROADS LESS TRAVELED moreso than my horror script, FINAL PROJECT. And when I say interested, I only mean that that's the genre they were interested in hearing the pitch for. Four of the five asked for my card so they could email me re: follow-up; a good sign, since the alternative is a blank stare and a "thanks for stopping by". The fifth was kind enough to give me more than a blank stare. She looked at me and said bluntly "Doesn't sound like it's got enough originality to it."
Ouch.
Got to have a thick skin on this stuff. Luckily, I was feeling good enough about the first four that I shrugged it off. One man's meat and all that... As I left, I wondered if my energy lag was showing, since I'd just told the same story 4 times before hitting her table and the adrenaline rush was wearing off as my mouth got drier. eh.
Now, headed off for a few minutes at a party downstairs, then off to dinner at a sushi restaurant. Tomorrow, more speakers and three more pitches to folks at ContraFilms, Station3, and Headlong Entertainment. In the AM, I'll think about how today's pitches could have been improved and hopefully do better. "Better" is always preferable to "worse". Pithy, huh?
October 27, 2007
October 26, 2007
One "Oh Shit" Too Many
Good reason why I haven't written here in the last week...
drum roll...
I've been busy.
So Tuesday night in my writing class, I turned in the first 8 pages of my HOUSE script. We'll come back to that in a later post.
When I got home later that night--it's an hour drive from my home in CT to where the class is held on W. 91st st. in the city (New York being the only place in America that earns the right to be called "the city")--it was already 11:00.
Wednesday morning, got up and packed. After work, I flew out to L.A.--another major city, but not THE city--where I'm attending the 6th annual Screenwriting Expo. It's a great opportunity to sample the gurus (the Syd Fields, the Robert McKees, the Michael Hauges, etc); hear speakers ranging from Steven Zaillian (Schindler's List, American Gangster), William Goldman (Butch Cassidy and the Sundance Kid, Marathon Man, Princess Bride), to Stuart Beattie (Collateral, 30 Days of Night).
The Gurus: despite having written little of note themselves, most are great instructors and well-versed in story-crafting. Honestly, there's that part of me that's skeptical about their words when I view their credentials; there's another part of me that recognizes the truths hidden in their TM'ed and (R)'ed jargon. If you don't follow it blindly, it's less likely to hurt you, and can be incredibly helpful.
More importantly, since so many execs out here shuttle through the gurus' classes so they can better understand what it is they're buying/not buying, it becomes like a self-fulfilling spiral. Studio exec sees Syd Field class; studio exec expects scripts to follow Syd Field model. Studio exec wary of scripts that don't follow that model--until they become that surprise breakaway hit. Studio exec buys scripts that follow that model. Often, they're successful enough that studio exec gets to keep his job another day.
Anyhoo, in addition to the gurus at this conference, they have great writers speak on the work. It's the only venue I know of where writers are treated like rock stars. Today, Seth Rogen and his writing partner, Evan Goldberg ended the day. Very funny. Makes me wish I had a best friend whose coattails I could latch onto.
Tomorrow, Ted Elliott & Terry Rossio, the guys responsible for PIRATES OF THE CARIBBEAN--the good one, the mediocre one and the 'what the f*** was that?' one--will be speaking. Ditto for Bill Lawrence, creator of SCRUBS, and Danny Cannon, of CSI.
I'll also be pitching two of my scripts at this speed-dating style pitch session. If anyone's reading this, I'll keep you posted. Tonight, though, I'm meeting my friend Rachel, her boyfriend, and others at THE LODGE, some super-trendy steak house. I like steak as much as this kid like amphibians:
More tomorrow: Right now, Ive got to prep for my pitches tomorrow, work on my HOUSE script and get my sleep on.
OVERHEARD: a quote from a seminar: "Every script should have five 'Oh shit!' moments and one 'Oh my God!"
drum roll...
I've been busy.
So Tuesday night in my writing class, I turned in the first 8 pages of my HOUSE script. We'll come back to that in a later post.
When I got home later that night--it's an hour drive from my home in CT to where the class is held on W. 91st st. in the city (New York being the only place in America that earns the right to be called "the city")--it was already 11:00.
Wednesday morning, got up and packed. After work, I flew out to L.A.--another major city, but not THE city--where I'm attending the 6th annual Screenwriting Expo. It's a great opportunity to sample the gurus (the Syd Fields, the Robert McKees, the Michael Hauges, etc); hear speakers ranging from Steven Zaillian (Schindler's List, American Gangster), William Goldman (Butch Cassidy and the Sundance Kid, Marathon Man, Princess Bride), to Stuart Beattie (Collateral, 30 Days of Night).
The Gurus: despite having written little of note themselves, most are great instructors and well-versed in story-crafting. Honestly, there's that part of me that's skeptical about their words when I view their credentials; there's another part of me that recognizes the truths hidden in their TM'ed and (R)'ed jargon. If you don't follow it blindly, it's less likely to hurt you, and can be incredibly helpful.
More importantly, since so many execs out here shuttle through the gurus' classes so they can better understand what it is they're buying/not buying, it becomes like a self-fulfilling spiral. Studio exec sees Syd Field class; studio exec expects scripts to follow Syd Field model. Studio exec wary of scripts that don't follow that model--until they become that surprise breakaway hit. Studio exec buys scripts that follow that model. Often, they're successful enough that studio exec gets to keep his job another day.
Anyhoo, in addition to the gurus at this conference, they have great writers speak on the work. It's the only venue I know of where writers are treated like rock stars. Today, Seth Rogen and his writing partner, Evan Goldberg ended the day. Very funny. Makes me wish I had a best friend whose coattails I could latch onto.
Tomorrow, Ted Elliott & Terry Rossio, the guys responsible for PIRATES OF THE CARIBBEAN--the good one, the mediocre one and the 'what the f*** was that?' one--will be speaking. Ditto for Bill Lawrence, creator of SCRUBS, and Danny Cannon, of CSI.
I'll also be pitching two of my scripts at this speed-dating style pitch session. If anyone's reading this, I'll keep you posted. Tonight, though, I'm meeting my friend Rachel, her boyfriend, and others at THE LODGE, some super-trendy steak house. I like steak as much as this kid like amphibians:
More tomorrow: Right now, Ive got to prep for my pitches tomorrow, work on my HOUSE script and get my sleep on.
OVERHEARD: a quote from a seminar: "Every script should have five 'Oh shit!' moments and one 'Oh my God!"
October 18, 2007
Breaking the HOUSE
So part of writing a TV spec script is to break down the show.
This past weekend, I spent the better part of a day watching 3 episodes from Season 3 of HOUSE and creating a list of all the scenes in each, along with associated timing for each scene, and how that scene moved the story forward. A little anal, maybe, but everything I've read suggests that to write a show, you need to know the show.
In addition to getting a deeper sense of timing and movement, part of what I was watching for was how each act ended. See, TV shows have acts like plays or movies. A 1-hr. drama has typically had 4 acts and the teaser at the front (HOUSE has that number); other shows like UGLY BETTY or DESPERATE HOUSEWIVES have 5 or 6.
So every episode of HOUSE has the teaser, in which we meet that week's hapless victim, about to have their world rocked. That sets off the "A" story. Then, coming out of the commercials that pay for the fun, we usually see the "B" story. During the episode, there's often a "C" story. The most fun are when the three storylines converge like a P.G. Wodehouse novel. More often, only two of the lines converge, leaving the third out there orphaned, but tangentially related.
Back to the track: At the end of each Act, we head to commercials on an "up" note. That's usually that big twist that keeps you tuned in through the commercials. Note: if you have a DVR, recent studies show that's OK too:
http://tvdecoder.blogs.nytimes.com/2007/10/16/people-do-watch-commercials/?hp
On the three episodes I broke down, up notes included:
1. A girl with CIPA, suffering from paranoid delusions, has her legs go paralyzed and falls from the 2nd floor railing to the lobby floor below.
2. A boy who thinks aliens are abducting him is found in the front yard, his PJs stained from rectal bleeding, suggesting his fantasies are real.
3. A woman undergoing treatment, suddenly gets worse and goea into a coma.
This last is most common on HOUSE. I'm surprised anyone who watches this show trusts their doctors about anything.
Anyhoo, enough writing here; back to the hard stuff.
Heard in class:
"I've got a quick question"
(thinks for a second)
"Actually, it's not that quick."
This past weekend, I spent the better part of a day watching 3 episodes from Season 3 of HOUSE and creating a list of all the scenes in each, along with associated timing for each scene, and how that scene moved the story forward. A little anal, maybe, but everything I've read suggests that to write a show, you need to know the show.
In addition to getting a deeper sense of timing and movement, part of what I was watching for was how each act ended. See, TV shows have acts like plays or movies. A 1-hr. drama has typically had 4 acts and the teaser at the front (HOUSE has that number); other shows like UGLY BETTY or DESPERATE HOUSEWIVES have 5 or 6.
So every episode of HOUSE has the teaser, in which we meet that week's hapless victim, about to have their world rocked. That sets off the "A" story. Then, coming out of the commercials that pay for the fun, we usually see the "B" story. During the episode, there's often a "C" story. The most fun are when the three storylines converge like a P.G. Wodehouse novel. More often, only two of the lines converge, leaving the third out there orphaned, but tangentially related.
Back to the track: At the end of each Act, we head to commercials on an "up" note. That's usually that big twist that keeps you tuned in through the commercials. Note: if you have a DVR, recent studies show that's OK too:
http://tvdecoder.blogs.nytimes.com/2007/10/16/people-do-watch-commercials/?hp
On the three episodes I broke down, up notes included:
1. A girl with CIPA, suffering from paranoid delusions, has her legs go paralyzed and falls from the 2nd floor railing to the lobby floor below.
2. A boy who thinks aliens are abducting him is found in the front yard, his PJs stained from rectal bleeding, suggesting his fantasies are real.
3. A woman undergoing treatment, suddenly gets worse and goea into a coma.
This last is most common on HOUSE. I'm surprised anyone who watches this show trusts their doctors about anything.
Anyhoo, enough writing here; back to the hard stuff.
Heard in class:
"I've got a quick question"
(thinks for a second)
"Actually, it's not that quick."
October 12, 2007
Now What?
The next step in writing my spec script is laying the groundwork. This includes:
1. Watching old episodes of the show to crack the code--the way the story is told each week. I love to watch TV, so this *should* be easy.
2. Writing bios for all the major and supporting characters. That's House, Chase, Cameron, Foreman, Cuddy, and Wilson, plus whoever I think is going to make the cut for the new crew (TBD).
3. Writing an outline for my episode with the major story beats.
4. Writing a logline for my episode--the sort of TV Guide one-line summary.
In addition, as noted before, I've got to come up with a disease that's lethal, easy to misdiagnose (e.g. its symptoms could lead an intelligent doctor in the wrong direction) and the path to detection. I've never written a mystery, but it makes sense that I cull down a list of possibilities, then when I find the one that seems HOUSE-worthy that hasn't already been done, I work backward from the end (cure).
All this thinking makes me see why most people opt for George Lopez specs: A bunch of lame zingers and a "very special" lesson without any grounding in reality.
Right now I think I want dinner and that TV-watching part of the gig.
1. Watching old episodes of the show to crack the code--the way the story is told each week. I love to watch TV, so this *should* be easy.
2. Writing bios for all the major and supporting characters. That's House, Chase, Cameron, Foreman, Cuddy, and Wilson, plus whoever I think is going to make the cut for the new crew (TBD).
3. Writing an outline for my episode with the major story beats.
4. Writing a logline for my episode--the sort of TV Guide one-line summary.
In addition, as noted before, I've got to come up with a disease that's lethal, easy to misdiagnose (e.g. its symptoms could lead an intelligent doctor in the wrong direction) and the path to detection. I've never written a mystery, but it makes sense that I cull down a list of possibilities, then when I find the one that seems HOUSE-worthy that hasn't already been done, I work backward from the end (cure).
All this thinking makes me see why most people opt for George Lopez specs: A bunch of lame zingers and a "very special" lesson without any grounding in reality.
Right now I think I want dinner and that TV-watching part of the gig.
October 11, 2007
HOUSE Warming
I just started a writing class, learning the finer points of screenwriting as it applies to TV--the smaller screen. As our first assignment, the teacher has asked us to pick a show we want to write a 'spec' for. A spec is a script you write on speculation that someone will want.
In film, a spec script can be sold and made into a movie. In TV, however, a spec script will NEVER be made into a show; instead it's used as a sample to show you know how to tell a story for the medium. Rule of thumb, I'm told is to have 3 specs for shows currently in production, in the genre you want to write for: sitcoms, dramas, police procedurals, etc.
I'd originally decided to write a CURB YOUR ENTHUSIASM spec, since I love the show and have an idea that would make a great episode. However, the show is notorious for being improvised, so doesn't actually use a script (ding 1 pt). Additionally, it's considered less formulaic and, while funny, more shows follow formula like a TWO AND A HALF MEN (meh) or GEORGE LOPEZ (double meh).
That's led me to consider writing a HOUSE script. Strong characters to work with, good challenging ethical dilemmas/questions raised each week, suspense and a good dose of humor. I'm all excited at the thought until I woke up this morning and realized: I know nothing about medicine. OK, I know not to mix percocet and Jack Daniels, but otherwise...
I'm going to have to learn me some doctoring stuff.
In film, a spec script can be sold and made into a movie. In TV, however, a spec script will NEVER be made into a show; instead it's used as a sample to show you know how to tell a story for the medium. Rule of thumb, I'm told is to have 3 specs for shows currently in production, in the genre you want to write for: sitcoms, dramas, police procedurals, etc.
I'd originally decided to write a CURB YOUR ENTHUSIASM spec, since I love the show and have an idea that would make a great episode. However, the show is notorious for being improvised, so doesn't actually use a script (ding 1 pt). Additionally, it's considered less formulaic and, while funny, more shows follow formula like a TWO AND A HALF MEN (meh) or GEORGE LOPEZ (double meh).
That's led me to consider writing a HOUSE script. Strong characters to work with, good challenging ethical dilemmas/questions raised each week, suspense and a good dose of humor. I'm all excited at the thought until I woke up this morning and realized: I know nothing about medicine. OK, I know not to mix percocet and Jack Daniels, but otherwise...
I'm going to have to learn me some doctoring stuff.
October 10, 2007
The Wedding Poster
Went to my friend Krista's wedding this weekend. It was a great affair.
The last time I was at that church was when another friend got married about 10 years ago. Of course, that one ended within a year. Two clues that it wasn't going to last:
1. The groom squealed louder than this guy:
2. The best man had two big hoop earrings.
You can do the (groom was gay) math.
This one felt rock solid, though. These kids will be together forever.
The reception was held under a tent at her grandparent's home. The whole night I kept thinking of THE WEDDING CRASHERS. However, with my wife there, I didn't have much opportunity to hit on the bridesmaids. Well, that and the fact that they're half my age, so made me feel old.
Either way, I had an amazing time. Weddings bring out the silly in me. And alcohol. That brings out the silly too.
The last time I was at that church was when another friend got married about 10 years ago. Of course, that one ended within a year. Two clues that it wasn't going to last:
1. The groom squealed louder than this guy:
2. The best man had two big hoop earrings.
You can do the (groom was gay) math.
This one felt rock solid, though. These kids will be together forever.
The reception was held under a tent at her grandparent's home. The whole night I kept thinking of THE WEDDING CRASHERS. However, with my wife there, I didn't have much opportunity to hit on the bridesmaids. Well, that and the fact that they're half my age, so made me feel old.Either way, I had an amazing time. Weddings bring out the silly in me. And alcohol. That brings out the silly too.
October 07, 2007
Overextended
With all the media in my life, I often find myself overexteded.
As example, I subscribed to DISCOVER full of good intentions after reading an issue at Christmas. Figured I'd get some ideas to spur my fiction writing and maybe make myself a little smarter--get some tidbits to throw around Cliff Clavin-like at cocktail parties (yes, I know this assumes fictitious invitations to cocktail parties, but it sounds good; let's go with it).
The first issue came in February. I brought it to the gym with me, read one article, then skimmed the issue, saving it until later. At some point, I realized it was under a mound of cleaned-out car debris in my trunk. Since then, new issues come and get piled up next to the bills each month.
What am I doing that keeps me too busy? Netflix queue has over 400 DVDs waiting for me to watch. CINDERELLA MAN has been on my DVR since June, 2006, also waiting for its moment to make synapses fire (DISCOVER callback! subtle). I have over 100 books stacked up--from BANKER FOR THE POOR to WRITING MOVIES to a collection of Flanner O' Connor stories. Then there's the collection of DVDs waiting to be watched that I've bought--THE ROCKFORD FILES Season 2, THE SHIELD Season 4. There's all the web 2.0 connecting--LinkedIn, Facebook, MySpace (OK, I don't actually go to MySpace, since the free-form design makes my head hurt), the literary journals, the websites, the Sunday New York Times, Opie & Anthony, Ron & Fez, iTunes, the trade journals for work, the 60-hour workweek, the gym, the classes, the blogs I read.
""
Every so often I take stock and figure out where to trim. Today seems like one of those days.
As example, I subscribed to DISCOVER full of good intentions after reading an issue at Christmas. Figured I'd get some ideas to spur my fiction writing and maybe make myself a little smarter--get some tidbits to throw around Cliff Clavin-like at cocktail parties (yes, I know this assumes fictitious invitations to cocktail parties, but it sounds good; let's go with it).
The first issue came in February. I brought it to the gym with me, read one article, then skimmed the issue, saving it until later. At some point, I realized it was under a mound of cleaned-out car debris in my trunk. Since then, new issues come and get piled up next to the bills each month.
What am I doing that keeps me too busy? Netflix queue has over 400 DVDs waiting for me to watch. CINDERELLA MAN has been on my DVR since June, 2006, also waiting for its moment to make synapses fire (DISCOVER callback! subtle). I have over 100 books stacked up--from BANKER FOR THE POOR to WRITING MOVIES to a collection of Flanner O' Connor stories. Then there's the collection of DVDs waiting to be watched that I've bought--THE ROCKFORD FILES Season 2, THE SHIELD Season 4. There's all the web 2.0 connecting--LinkedIn, Facebook, MySpace (OK, I don't actually go to MySpace, since the free-form design makes my head hurt), the literary journals, the websites, the Sunday New York Times, Opie & Anthony, Ron & Fez, iTunes, the trade journals for work, the 60-hour workweek, the gym, the classes, the blogs I read.
"
Every so often I take stock and figure out where to trim. Today seems like one of those days.
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