The Running Man

On a non-screenwriting note, last week at Thanksgiving, I tried something new. I ran in a Turkey Trot in Southport. It was unseasonably warm--in the 50s, sunny, a perfect Fall morning.

The run starts in this classic New England town center, Nearly 3,000 people gathered. Some wore turkey hats, some were dressed as pilgrims, one woman dressed as Pocahontas. I wore my t-shirt supporting the striking writers.

I met up with some folks I knew. Krista, a friend from work, was there with her whole family, along with her Father-in-law and sister-in-law. Of course, I confused her with her twin sister, Alyssa, who I talked to for several minutes before realizing it wasn't Krista I was talking to. Oops.

The run took place on roads set between the mansions lining the ocean and the shoreline. Amazing. I did okay for the first half-mile or so, then alternated between running and walking the rest of the way. Toward the end, the running intervals grew shorter.

Luckily, I'd only set two goals:
1. Finish
2. Don't come in last

I succeeded on both counts, finishing in just over 1:09. About 50 people came in behind me. And, while I was sore the next day, it was worth it. From here, I figure I'll do some training and try to cut about 20 minutes off my time for next year.

The important thing, like writing, is to avoid self-censorship and put yourself out there in the world. If you don't finish that half-written script, you're just like everyone else who wonders what could have been if you'd just taken another step...

It's About Time

No, I'm not referring to my two-week lag in posting here. At least not yet.

Instead, I'm talking about the length of my HOUSE spec and how time translates in a script.

At this point, I'm on page 39. If you say "good, you're moving on it" you're wrong. I'm moving on it, but not at the right pace, at least for the story constraints.

See, scripts have norms they need to follow. Spec film scripts are supposed to typically run in the 90-110 page range. Longer than that and you've branded yourself an amateur that ensures the readers won't give it the level of consideration you want. Plus, I hear they let Al Gore know, and you don't want to be on his bad side.

Once you've won the Oscar, you can blather on as much as you want. Steven Zaillian (SCHINDLER'S LIST) said at the Screenwriting Expo last month that his script for AMERICAN GANGSTER was around 165 pages. If you saw the movie, you're probably not surprised.

The reason page count counts is the premise that 1 page=1 minute of screen time. There are variances--supposedly the 10 minute-long car chase in BULLITT, with all its complications, reversals, etc., is written in the script as "There is a car chase." And once it leaves the writer's hands, the directors, actors and editors will use a pacing appropriate to their interpretation of the material. In general, though, 90 pages=90 minutes.

With TV, you have different constraints. Part of that is a function of the medium; advertising pays the bills. Assuming ratings don't suffer, networks want to maximize revenue by cramming as many ads in as possible. So a 30-minute sitcom is actually a 22-minute program. A 1-hour drama is actually a 44 minute program.

So my 1-hour HOUSE spec should run about 45 pages. Maybe I could justify a few pages more, since the characters talk so quickly. In looking at David Shore's script for the Occam's Razor episode from Season 1 (you can get it here), it runs 66 pages. But there are two major reasons he can get away with this:

1. It's his show for christ's sake--he knows the pacing.
2. His script I'm reading is a shooting script. It's got partially blank pages and other information that wouldn't go in a typical spec script.

So, my lengthy setup here is identical to my problem with the 39 pages I've done so far. Based on my allotted page length, I should be into the final act and working to wrap things up. Instead, I've still got another scene, plus the final act. At the rate I'm going, my first draft will likely come in around 50-55 pages.

So I've got to finish in the next week, then work to trim about 10 pages.

As I said at the top, it's about time.

Staples and Paper Cuts

This week in my TV writing class we learned about "staple scenes". They're those scenes you know in your favorite show that you can count on--a familiar location, a familiar moment. Examples include:

HOUSE--the scenes at the whiteboard, where they rattle off symptoms that move us to the (usually incorrect) treatment for some multi-syllabic illness. Or the scene in most episodes where we go inside the patient via CGI.

BOSTON LEGAL--the scenes at the end of each episode where Alan and Denny sit on the patio having a cocktail and flirting. Honest to god, gayer moments than any WILL & GRACE.

24--Jack Bauer suffers a setback and has a hissy fit, yelling "NOOOOOOOOOOOO". We take bets around my house on when this is going to happen. I've never lost.

In sitcoms, the teacher suggested that most scenes are staple scenes, as the format dictates that the majority of the action takes place in a familiar location with our core characters.

MY NAME IS EARL--The scene in each episode where Earl realizes he needs to cross someone off his list. Haven't watched in a while, so not sure if they still do that, but it was very formulaic in the first couple of seasons.

UGLY BETTY--The scene in each episode where Amanda and Mark say something snarky about Betty's weight, status or appearance.

Some shows are harder to peg. For instance, I'm loving JOURNEYMAN, and find it already has a formula (Jack is in the middle of taking out the trash when he's pulled back through time) but don't know if I could call that a staple scene yet. Or take, THE SHIELD. There are familiar places, but the always-on-edge vibe has made it hard to pick that formulaic moment like Doogie Howser wrapping each episode by writing in his blog.

If you think hard about your favorite program, I'm sure you'll come up with more.

Meanwhile, we read another 10 pages of my House script in class. Overall positive feedback, though my teacher correctly called me out on taking my time in the first act.

I'm at page 20 and still have to finish the "up" note cliffhanger going into commercials. I'm torn about whether to cut or push forward, but believe I need to get the story finished before going back to edit. Otherwise, I'll be one of those guys with a perfect 20 pages of a never-finished script. So I send the perfectionist inside me to sit quietly while he screams to go back and do it right.

Meh.

Do-Over

In golf it's called a mulligan. I'm calling a do-over on a pivotal scene in my HOUSE spec.

Yes, I'm still deeply engrossed in the WGA strike to ensure writers continue to get properly compensated for their work in the online media. But, I originally started blogging again to share what I'm learning in my TV writing class. There are better sites out there for strike news:
> United Hollywood
> Deadline Hollywood Daily
> The Artful Writer (Craig Mazin's blog): funny side note--I've never seen any of his movies, but love to read his take on things. Also, he's got a fair amount of dissent, since he allows it.
> or any of my favorites like Jane Espenson or John August.

In class this last week, we read the first 7 pages I'd written of BROTHERS IN ARMS, my HOUSE spec. It was helpful to hear the words out loud. While some folks stumbled over the words because they're sub-optimal (lousy) readers, I was able to hear where my words fell flat overall.

The teacher's critique was really helpful, as he told me to cut to the chase more quickly in some of my scenes. While he felt the scenes were well written and captured the characters well, I was taking too long in my B story, leaving a longish gap between the cold open and picking up the A story again.

I've done some editing this weekend, when I identified a way to move the A story AND B story along well in a couple of new scenes. So I scrapped much of pages 8-14 and rewrote. Added bonus: I'm able to work in more fun with the full cast. Now, though, I've got to get another 6 pages written to stay on path with my weekly goals.

We'll cover those next 8 pages Tuesday night in class.

On another note, Lynn and I saw AMERICAN GANGSTER last night. Zaillian did a great job in making us feel more for the gangster (Denzel Washington in an amazing performance as Frank Lucas) than the cop (Russell Crowe as Richie somebody or other). Interesting that the protagonist/antagonist roles were reversed, though, of course, we're aware of all the misery Frank Lucas caused...

Larry David rocks the picket line!

P1010979
Originally uploaded by tvbarn

Of course, seeing the $500 million man on the picket lines with everyone else amuses me to no end. That $500 million he's allegedly worth isn't allegedly for writing--it's for producing, so he doesn't *need* to be there. yet there he is anyway, supporting his fellow writers. I love this guy.

Why the Writers Strike (and why you should support them)

There have been a lot of great images and videos this week that highlight the reason for the writer's strike.

The writers of THE OFFICE tell their reasons: jesus christ--even their protests are funny.


And this gent--Howard Michael Gould--whose speech I found on theartfulwriter.com, Craig Mazin's website.


Similar to Howard's speech at that panel, is United Hollywood's video. United Hollywood is the organization of top showrunners--Shonda Rhimes (GREY'S ANATOMY, PRIVATE PRACTICE), Marc Cherry (DESPERATE HOUSEWIVES), J.J. Abrams (LOST); top actors from your favorite shows and more--all gathered together because they know if the corporations f*** the writers, they'll f*** them next.


And Damon Lindelof and Marc Cherry have their great telling of the story--funny stuff. God bless them and all the guys doing their part to explain why they're looking for a fair negotiation.

Why So Happy?

Was just checking email via my AOL account (yes, I still have one; try giving up something you've been using since 1994).

Just noticed how excited that little AOL running guy gets when you successfully forward an email. Doesn't seem normal. It's almost as though he's achieved a great victory. Makes you wonder what he thought might happen and how often he fails...

Support Your Local Writers' Strike

Today's a two-fer, since I'm fired up about the pending strike.

While I've rarely been a fan of unions, I support the WGA decision to strike starting Monday, November 5, 2007.

See, I always felt like the unions killed America's ability to be competitive with world markets. While I saw a reason for the creation of unions 100 years ago--people working for pennies, in some cases dying in sweatshops--I saw how they'd been transformed in more recent years; more focused on short-term gains vs. long-term needs of their employers.

But, in the case of the TV and Film writers involved in the current dispute, it's clear who's in the right.

All modern entertainment begins with the storyteller. From TV to novels to comic books to news to web content to films.

Producers risk money to develop projects, but ONLY once there's a story worth telling (or making money from). In 1988, the last time the writers went on strike, it was for residuals on DVDs, a new technology to deliver the stories. At that time, the writers caved for a .3 percent residual on DVDs sold. It didn't seem like they were giving up much then. Since then, DVDs have become a larger piece of revenue earned for many films than the actual theatrical release. Oops.

Now, they're looking for residuals on content delivered via the web, including things like iTunes downloads, Amazon Unbox sales and Wal-Mart's download sales. Further, the major networks now run advertiser-supported programming on their corporate sites. Almost as good as the DVR, if you miss a show on TV.

Unless you're a writer, in which case you get bupkus.

There may be cases where writers like Ted Elliott & Terry Rossio (Zorro, Pirates of the Caribbean, Shrek) get a better negotiated deal, but for the larger masses of writers, they get nothing.

Given that Disney had already sold over 23 million TV downloads and 2 million movie downloads via iTunes by May this year, that number will only continue to grow. And it all begins with the story.

So.

The writers seem justified in asking for a few pennies per download (2.5% of $1.99=$.05). The producers seem greedy to fight it.

Further, one of the producers' 'rollback' demands seems foolish: to not have to incude the writer's name in the promotional materials/movie posters. That goes from appearing greedy to appearing contemptuous.

Seriously.

Notes from the Screenwriting Expo: 1

At the Expo last week I took a bunch of notes, which I'll share over the next few days.

10/25: Syd Field on Writing the Action Sequence:
As noted here previously, a sequence is a collection of scenes--sort of a mini-story with a defined beginning, middle and end.

In writing a sequence, consider:
1. Where is the character coming from?
2. Where does the character want to go?
3. What are the different conflicts within the action sequence? Doesn't have to be a physical conflict--could be emotional--but we *are* talking action here.
4. What are the complications of the sequence? For instance (my own example), in the scene from THE UNTOUCHABLES where Ness faces down the gang in the train station, his goal is complicated by a need to stop the baby carriage careening down the steps. In Syd Field's examples, he showed a scene from BULLITT, in which Bullitt has to dodge a motorcycle rider while chasing two killers.
5. What is the purpose of the sequence?
--To move the story forward?
--To reveal character info?
--To save someone?
--To beat the clock?
--To escape?
--To bring someone to justice?
6. Where does the sequence take place?
7. Where does the sequence begin?
8. How does it begin?
9. What happens during the sequence?
10. What elements do you have to work with?

In addition to Bullitt, Mr. Field used good examples from THE FRENCH CONNECTION--the sequence where Popeye Doyle races under the elevated train in the Bronx trying to catch a sniper; and from PIRATES OF THE CARIBBEAN--the sequence where Sparrow escapes from the British, but is forced to lock swords with Will, and is eventually recaptured. The last reveals character about both of them, has multiple complications, uses the environment well AND moves the story forward nicely.

Overheard (different lecture): "On a scale of 1 to 10, what's the minimum amount of gloating an antagonist should have?"

Clever Marketing Doesn't Offset Poor Execution

Sunday night I flew home from L.A. via Virgin America. I was really excited about flying First Class for the first time. They advertise plugs at every seat, including USB ports, massage chairs and many other amenities. Of course, none of the fun things matter if the plane never shows up.

I got to the airport about 7:30 for a 9:15 flight, zipped into the First Class line, where I stood cooling my heels for 10 minutes as they scurried around taking care of the coach passengers. While I found this frustrating (I've always envied the short, zippy first-class line while I stood in the coach line), I eventually learned that it was because our flight had been canceled. Virgin's so new, they're still waiting for all their planes to be outfitted.

That sound you hear? A ball being dropped from 30,000 feet. Stick around; it gets better.

So I wait around for nearly 45 minutes more for them to get back to us with a plan. They had NO plan. Meanwhile, they're working to shift the coach passengers to a later flight, routing through San Francisco. When they come back with a plan, they tell use they're working to get us on an 11:15 flight on United, flying business class. But first, they have to get clearance to write a check to United for the seats, since they don't have an inter-airline agreement to handle situations like this. They ask that we stick around the counter, since they don't know when they'll get that approval. Just as well, since any food options are on the other side of security, which you can't get past without a boarding pass. Luckily, I had part of a bag of almonds to eat for dinner.

Around 9:30, they go by with a check and get us those seats. Around 10:15, we've got boarding passes. I get to security and am stopped by one of the TSA workers. "You've been selected by the airline for additional screening." I look around and, though I know I haven't done anything wrong, feel the stares of dozens of people streaming past. I know the look because I've given it dozens of times since 9-11. When I finally get the go-ahead, I get to the one remaining restaurant as they're closing. I wolf down a salad and get to the plane just as they're boarding.

I slept badly, still stressed by standing around for two hours waiting to find out how I was going to get home. Ironically, the board never changed, still showing the 9:15 flight as "ON TIME".

When I went to their website to complain about the incident, it wouldn't accept my complaint without me setting up an account. Of course, it wouldn't let me set up an account because someone was already using that email address: me.

They need to get their shit together in a big way.