Hey, writers—

Big thanks to Wendy, who sends in today’s reader question!  Wendy writes…

“I have been told a TV commercial is a good way to get some writing credits. Is this so, and how would a person go about getting into commercials? --Wendy?”

Well, Wendy, I think writing TV commercials is a great way to get some writing experience… IF YOU WANT TO BE A COMMERCIAL WRITER.

For the most part, showrunners and executives aren’t combing through ranks of commercial writers searching for the next great TV writer to join the staff of The Mentalist or My Name is Earl or Mad Men or The Colbert Report or Sons of Anarchy.  Writing TV commercials is a different craft than writing TV shows, and while execs and producers definitely want fresh voices, they also want fresh voices that can write TV shows.

Personally, I’m of the belief that if you want a certain job, you should laser-focus and go for that job.  If you wanted to be a NASCAR driver, you wouldn’t do it by first becoming a mechanic.  You would get a car, get on the track, and learn to race.  And while you’d also learn all you could about automobile mechanics, you’d dive into the specific training it takes to become what you actually want to be: a real driver.

Sometimes I hear people offer TV writers advice like, “You have a better chance of breaking in if you first become a lawyer, because there are tons of law shows, and showrunners always seem to be looking for lawyers.”  While there may be some truth in this, it’s also misleading advice.  Showrunners do like to hire lawyers—especially on law shows—but telling someone to become a lawyer first… or any other profession… is sending them down a long, risky, circuitous path.  

The truth is: showrunners and execs want talented writers who understand the medium of television and have real-world/life experience to help inform their writing.  So yes—experience as a lawyer can be helpful and attractive.  But so can experience as a fireman.  Or a marriage counselor.  Or a spy.  Or a plumber.  Or a stay-at-home mom.  The is key taking the real-world experience you have and being able to translate it into powerful stories and writing.  But I certainly would never say that certain professions—whether ad-writers, lawyers, or airline pilots—are funnels to the TV world.  If you wanna be a TV writer… go learn how to be a TV writer.

Having said that… showrunners and executives also like hiring writers with produced credits.  Produced credits suggest someone else—someone acting as a “filter”—read a writer’s work, liked it, and got it made.  They also suggest the writer has a certain level of professionalism, or at least understands some of the processes of translating words from mere thoughts to actual out-there-in-the-world products.  Produced credits suggest, in theory, a writer knows how to take notes, collaborate, rewrite to accommodate practical elements (time, money, space), etc.  And in the world of television, where time, resource, and budget constraints constantly force writers to change stories, characters, and scenes, these are important skills and experiences to have.

Produced credits could include plays, movies, published novels, articles, short stories… and yes—probably even TV commercials, especially if they were particularly creative and/or well-known.  A showrunner hiring for a sentimental melodrama (say, Seventh Heaven) may be very impressed with a writer who has written a successful series of touching Hallmark card commercials.  An executive looking for writers for a raunchy new sketch show may be impressed by someone who’s written a bunch of hilarious Bud Light commercials.  I’m not saying they actually seek out and scour these places for new writers… and I’m definitely not saying the best way to impress a producer or exec is to go out and write commercials… but I am saying that commercial-writers who have creative, successful commercials under their belt may be attractive to certain showrunners searching for specific and appropriate voices.

There have also been a few rare instances where TV ad campaigns have literally been turned into actual TV shows.  The most recent of these was last year’s ABC flop, Cavemen, which was based on a series of Geico ads created by the Martin Agency, an ad agency in Richmond, Virginia.  Joe Lawson, the ad copywriter who wrote the original spots, even got to write the script for Cavemen’s pilot episode.  Likewise, in 2002, CBS developed a TV series based on “Baby Bob,” a talking baby who had appeared in a series of freeinternet.com commercials.

However… these instances are few and far between (not to mention, they rarely work).  I don’t think it’s fair to say that a commercial writer who creates a brilliant ad campaign has any better of a chance of turning it into a TV show than someone who writes a great short film… or a terrific autobiographical memoir… or a wonderful stage musical… or anything else that catches Hollywood's eye.

So to sum up this rambling answer, Wendy… if your goal is to be a TV writer, my advice is to go be a TV writer.  Don’t waste time taking circuitous paths as an ad-writer or a janitor or a doctor or a military commander because you think it’ll somehow “backdoor” you into the industry.  GO GET A JOB IN TELEVISION.  Get as close to the action and the writing process as you can.  Become a writers assistant… or a P.A…. or a script supervisor… or a runner.  Start wherever you need to start to begin learning the process and making contacts.

BUT… if you’re not in L.A. or you can’t yet get that first job, by all means—keep writing.  Write the best pieces you can and get them out there into the world… poems, plays, skits, magazine articles, online shorts… or—if you want to—TV commercials.  Whatever best shows off your unique talent and voice.

As for actually getting into writing TV commercials, if you really want to pursue it, I would begin by researching ad agencies in your area, then contacting them about job opportunities.  Most probably won't hire you as a bona fide writer right off the bat, but you can begin as a desk assistant, or a production assistant, or even a receptionist.  This will allow you to meet the players, learn the process, interact with clients, and understand exactly how TV commercials are conceived, written, and produced. 

Do a good job, make friends with your co-workers, please the clients, and eventually you'll feel comfortable enough to ask for more responsibility and let the higher-ups know your aspirations.  Again, you probably won't leap right from assistant to writer, but perhaps your boss will let you help write a few spots... or rewrite a few lines... or pitch an idea... or something that will allow you to begin showing off your writing chops.  Eventually, you'll impress people enough that you will move up the ladder and begin writing your own spots.

Hope that helps, Wendy!... and for the rest of you who may have questions about TV, film, writing, agents, or anything else… please feel free to email me at WDScriptNotes@FWPubs.com.  Have a good weekend!

P.S.  If you haven't seen them, here's a compilation of Geico's caveman commercials...

GEICO'S CAVEMAN COMMERCIALS

Hey, TV writers and producers--

If you have any idea for the next America's Got Talent, Good Eats, The Amazing Race or Criss Angel: Mindfreak... or if you're just trying to get your foot in the reality TV door... or even if you're just a big reality fan... check out the mediabistro seminar I'm teaching next Thursday night, September 4!

Writing the Reality TV Show

Wipeout. Big Brother. Sunset Tan.  Making the Band. From the multi-million-dollar series of broadcast television to the low-budget niche shows of cable, reality programming dominates television. But are reality shows really "reality?" How much planning and production goes into unscripted storytelling? And, most importantly, how can you get in on the action?

This seminar lays the groundwork for anyone wanting to break into the lucrative world of reality TV. We'll look at various types of reality shows and what makes them tick, from docu-dramas and docu-soaps (Dog the Bounty Hunter, The Hills) to game shows and elimination-style competitions (The Biggest Loser, Survivor) to personality-driven and "aspirational" series (Tasty Travels, Extreme Makeover: Home Edition).

We'll then discuss how to conceive, develop, and sell your idea. What are the critical elements of a pitch? Should you attach talent? Does your series work as a strip? We'll explore how to structure your reality pitch and get it to the right people. Who are the major players? When should you attach a senior producer? What networks are best for your concept? Whether you're a writer, producer, or host, reality television's waiting for you.

In this seminar, you will learn:

• The difference between reality shows, and how to pitch them accordingly
• The critical elements every reality show and pitch must have
• How to structure a pitch both verbally and as a written document
• How to pitch to networks, studios, and production companies
• When to attach hosts or producers to your idea, and when not to
• What to expect when you're making your pitch, and what happens when you leave
  

Click here for more information...

WHEN: Thursday, August 4, 7-10 pm
WHERE: Beverly Hills Bar Assoc., 300 S. Beverly Dr., 2nd Fl., Beverly Hills, CA 90212
COST: $65 ($50 for avantguild members)
TO SIGN UP: Call 212-547-7890 or click HERE

Hey, guys—

First off, I want to give a HUGE THANK YOU to E. Daniels and everyone else who submitted questions to Eric, our host at Reality Binge, for him to answer on his funny blog.  You can submit whenever you want, so please… keep ‘em coming!

Secondly, wanted to take a few moments to answer a great question I received the other day.
This question comes from Susan, who took my pilot writing class last week.  Susan writes...

“You recommend not writing an ‘origin pilot’ (a la Lost), but writing a pilot that could be episode 100 or episode 1.   But aren't pilots where the main character moves to Alaska (Northern Exposure) or gets hit on the head (Samantha Who?) origin pilots?  Or do you mean a literal creation of a whole new world type of thing?”

Great question, Susan!  To get to that answer, let’s take a quick step back to catch people up…

As I said last week last week, many writers often make the mistake of thinking that a pilot is simply the first episode of a TV series, and your job in writing a pilot is to write the beginnings of a story and characters that make people want to keep watching.

While this is PART of what a pilot is, it’s only partially/somewhat/occasionally accurate.

In truth, a pilot is designed to be a prototype of a typical episode or your series.  Yes, it’s introducing your audience to the world of your story (and before your show is on the air, your pilot’s “audience” consists mainly of network execs who decide whether to air your project at all), but it’s also meant to show networks how the show will work in series.  Which means your job is not only to launch a story that can sustain itself for years to come, but to illustrate how that series will generate and tell stories whether it’s at episode 10 or episode 500.

Thus, if every episode of your show is a close-ended story in which your main character, a detective, solves an art heist, your pilot needs to show that detective solving an art heist.  If every episode of your series shows a group of friends helping each other through wacky dating situations, your pilot needs to show that same group of friends helping each other through funny dating situations.

In other words, while your pilot is—in some way—unlike any other episode of your series (because it’s the beginning of your story), it must also work just like every other episode of your series.

So, now that we understand this, there tend to be two types of TV pilots: origin pilots and "traditional pilots" (to be honest, I’m not sure if non-origin pilots have a special name, so I just call them “traditional” pilots).

Traditional pilots work just like a regular episode of the series.  In fact, some—like the Everybody Loves Raymond pilot—are nearly indistinguishable from regular episodes.  They spend very little time introducing characters, setting up stories, etc.  They just throw readers/audiences right into the world and start the show.

Origin pilots begin at the VERY BEGINNING of the story.  Jericho kicked off with a nuclear attack.  Grey's Antaomy begins on the day Meredith meets the other interns and McDreamy.

Different pilots work differently.  The question is: WHICH IS MORE SELLABLE OR MORE ATTRACTIVE TO NETWORKS AND STUDIOS?

The answer, almost unequivocally, is: “traditional” pilots.  Remember, the true job of a pilot is to show audiences—including network buyers—how the episodes works on a regular basis, and traditional pilots do this MUCH BETTER than origin pilots, which have so much “pipe to lay,” or story to set up—that they frequently don’t work like subsequent episodes.

(In fact, sometimes the series’ original pilot never airs… or airs out of order… because the network simply wants to jump right into the meat of the story.  Firefly and Cavemen both aired their pilots later in the series.  Ed shot a pilot, decided not to use it, then cut it into an quick montage that opened the first episode to set up the story.)

Now, Susan, you ask about pilots like Northern Exposure and Samantha Who?, where Joel moves to Alaska or Sam gets hit on the head and goes into/awakes from her coma.

Many pilots, obviously, are indeed telling the beginning of a story, so they can’t scrap ALL the elements of an origin pilot.  After all, they still need to START THEIR STORY (by moving Joel to Alaska or putting Sam in the coma).  But they also need to show how the episodes work.  Thus, they usually set up their story as quickly as possible, but they also work hard at illustrating how future episodes will play out.

The CSI pilot, for instance, began with a new detective (Holly) joining the CSI team.  It was a new day for the CSI gang… they had a new member.  (This also allowed the storytellers to introduce the other people, places, and situations organically, since Holly was just meeting them for the first time.)  But the rest of the episode then followed the crew as they solved what would become a fairly typical CSI mystery.  (And they even killed off Holly, our entrée to the world!)

Similarly, the Grey's Anatomy pilot begins with the interns meeting each other for the first time… but it also has typical close-ended patient stories (Meredith and the girl with seizures, George and the open-heart patient, etc.).

Other pilots don’t bother setting up story at all.  The Cosby Show, like Everybody Loves Raymond, just plunged right into its basic family-life storylines.

Your job, Susan, is to decide which type of pilot works best for the story you’re telling.  I would never say: "NEVER write an origin pilot."  Some shows, like Lost, require more origin set-up than others.  Others, like The Cosby Show, can get away with diving right in.  You need to write whatever story launches your story the best.  HOWEVER...

The most important thing to keep in mind is this: a pilot isn’t designed simply to be the first step in a longer story, it’s designed to be a selling tool that shows network buyers how that series will work on a regular basis.

(Think of yourself as a door-to-door vacuum cleaner salesman.  You want to wow your potential buyers with something flashy, cool, and sexy... but you also need to show them how the vacuum works.  If they don't see how the machine will work on a regular basis, it doesn't matter how cool and attractive it is... they won't buy it.)

If you can remember that—even if you’re telling an origin story—you’re well on your way to writing (and selling!) a successful pilot.

I hope that answers your question.  And please, everyone, if you have others, don’t hesitate to shoot me an email: WDScriptNotes@FWPubs.com!

Talk to you soon…

Chad

Today's reader question comes from avid reader Chris, who has a very interesting question...

"I was thinking about using a screenplay I’d written as a pseudo-outline for a book, and even adding back in some of the scenes that I cut to make the script tighter. My question is, if by a miracle I feel that both products are really good, can I shop the screenplay and the book around at the same time?
 
Thanks, Chris"

Hey, Chris—

As I said, this is a really intriguing question… in fact, I have a story idea I’ve wanted to write for a few months (okay, who am I kidding?  It’s been a few years, to be honest…), and I’ve tried it as both a movie and a novel, but I haven’t been able to crack it in either form.  Which is neither here nor there in regards to your question, I’m just saying—I’ve been (kind of) in your shoes.

But in terms of shopping your two versions, here’s the thing…

I see no reason why you can’t shop them both around at the same time.  HOWEVER…

The two versions don’t necessarily “help” each other; in other words, having a novel version of your story doesn’t make your screenplay more sellable, and having a screenplay version doesn’t make your novel more sellable.

Basically, because both pieces are written on spec, neither has any real value to buyers, outside of its own quality.

Now, if one of them were to sell, the other MIGHT suddenly become more valuable.  I.e., if a publisher snatches up your novel, especially if it’s a high-profile publisher or a big sale, film companies or studios may suddenly be interested in the movie rights.  This doesn’t necessarily mean they’ll care at all about the script you’ve written—they might not even want to read it—but their interest may at least be a bit more piqued.  (And if they DO want to make a movie, they’ll probably want to develop it from scratch, with their own input and guidance, rather than use your pre-written script.)  A few years ago, for instance, first-time novelist Michael Reisman sold his children’s sci-fi novel, SIMON BLOOM, THE GRAVITY KEEPER, to Penguin.  The book wasn’t scheduled to be published till 2007, but his manager slipped a copy of the manuscript to director Gary Ross, who loved it so much he acquired the film rights months before the book actually came out.  Although the manuscript had to be good enough to stand up on its own, the fact that it had already been vetted and accepted by another buyer gave it added value.

Of course, simply selling one of the pieces does not, in any way, guarantee buyers will want the other version.  In fact, for unpublished authors, a sale itself rarely does much to raise the cachet of its project or author.  Michael Weisman’s story—while inspirational—is a definite anomaly.  Whether writing in film or print, you probably need your project to actually get made or published and then turn into a bona fide HIT.  Once the story is a genuine success in one medium, buyers will be more likely to see its potential in another.  Movie producer Scott Rudin, for example, bought the movie rights to Marisha Pessi’s first novel, Special Topics in Calamity Physics… but only after it had been published and received stellar reviews.

Anyway, Chris—all of this is to say that I don’t think it can hurt you to shop both your book version and your screenplay version… but it also doesn’t really help you.  So if you want to put in the time and energy to write both versions… go for it.  

Personally, I think your time and energy are probably better spent writing two original pieces, regardless of the medium.  Like an athlete exercising different muscles, writing new/different pieces will not only help you get stronger as a writer, it’ll illuminate different sides of your skills.

Either way, I can’t wait to read your book AND see the movie… whichever comes first!

Good luck… hope this helps!

Chad

Today's question(s) comed from Corey Nolter, a 9th grader who's an aspiring screenwriter working on a research paper about his future career.  Corey asks a ton of questions, so I'm just gonna dive in.  Corey-- I hope these answers help... lemme know how the paper turns out... and I expect a thank you in your Oscar speech!  Here ya go...

Hi, my name is Corey Nolter and i am a 9th grade student trying to finsih a research paper for school. The research paper is about the feature career I want for my future. I would like to be just what you are a Screen Writer or someone who works in that area, However i was just wondering if you could answer these questions.

1. Do you enjoy your career? Do you ever think you have chosen the wrong path? Explain.

I love my career… and EVERY DAY I wonder if I’ve chosen the wrong path.  I know this sounds crazy… so I’ll explain.  First of all, I never question that I was born to write.  I love writing, and I’ve wanted to be a professional writer for as long as I can remember.  But this is a hard—and by “hard,” I mean “nearly impossible”—profession to have any kind of real stability in.

In almost every profession in the world, you have a salaried position that gives you a regular paycheck… and, hopefully, benefits, vacation time, etc.  For screenwriters and TV writers, that almost never happens.  And by “almost never,” I mean “never.”

Screenwriters and TV writers are freelance employees.  Whether you’re the lowliest staff writer on a TV show or the highest-paid screenwriter in Hollywood, YOU’RE A FREELANCER.  Which means you’re never ENTIRELY sure where your next paycheck will come from, and you almost never have a job that gives you benefits, retirement packages, or vacation time.  (Most professional screenwriters get benefits through the Writers Guild, the labor union representing professional TV and film writers.  As for vacation time, well… you go on vacation between jobs.)

Now, there ARE certain jobs that provide a semblance of stability.  TV shows, for instance, are written by staffs of writers, and each person on that staff is hired for a certain amount of time.  You might be hired for 10 weeks… or 6 months… or even just one episode.  It varies from show to show (not to get too technical, but the amount of time you’re hired for usually depends on how many episodes the show expects you to work on).

But even these TV jobs are temporary.  You may get contracted to write for 10 weeks… and then not be asked back at the end.  Or you may get contracted for 10 weeks… and the show gets canceled after only two weeks.

So whether you’re a lowly staff writer on a TV show or Hollywood’s highest paid screenwriter, the life of a writer is one of agonizing uncertainty… especially if you have a spouse, kids, your own home.  After all, it’s hard to support people who are depending on you when your future is always murky.  

Of course, the more successful you are, the more work you are able to get… but that doesn’t necessarily make your job more stable.  Marc Cherry, a veteran TV writer, spent years as a highly-paid TV writer, writing on shows like The Golden Girls, before suddenly hitting a dry spell and not being able to get a job for several years.  Then, in 2003, he created Desperate Housewives and became one of television’s hottest writers.  But for many years before that, he couldn’t get a job.

I have a friend who’s a producer on Lost, and he always tells aspiring film and TV writers: “If there’s anything else in the world you want to do… anything else that interests you… go do it.  Unless this is the ONLY thing you care about… DON’T DO THIS.”

I think that’s a good thought—not just as a gauge of how hard this industry, but of what it takes, mentally and emotionally, to survive within it.  The odds against success are incredibly high… and even when you find success, you can’t take it for granted.

So, Corey, in answer to your question: I do enjoy my career… because I love TV, movies, storytelling, and the written word.  But very few days go by that I don’t wonder if life would be better if I was an insurance agent or a fireman or a librarian or a professor.  If I didn’t have to fall asleep sweating every night because I have no idea if I’d be making any money in a week, or a month, or a year.  If I knew I could give my wife everything she wants.  

The problem is this: I don’t think I’d be very good at any of those things.  Sure… I guess I could LEARN to be a librarian or an insurance agent or a professor (although trust me—I’m the LAST person you want to be a fireman)… but I think I’d be pretty poor at most of those jobs.  So… for better or worse, I’m here in.  Writing TV and articles and books and this blog… and praying—literally praying—that I can do this long enough to actually say I made a life at it.


2.How many years of education does it take for you to become a writer?

I guess the blunt answer to this is: NONE.  That’s not to say writers aren’t highly educated, intelligent people… or that there aren’t some top-notch colleges, conservatories, and grad schools out there.  I got my MFA from UCLA.  But to be honest… I don’t think any education prepares you for being a writer better than just LIVING.  

Now, this does NOT mean you can just drift along and expect to get writing jobs.  Writing is hard work that takes years and years of practice, growing, trial and error—both in and out of school.

What it DOES mean, however, is that writers—first and foremost—write about people.  And life.  And the world around them.  So your first job, as a budding author, is to get out in the world and study it.  Read everything you can: books, screenplays, biographies, graphic novels, song lyrics, magazine articles, poems.  Observe people around you… study relationships in your own life and how people connect to and communicate with each other.  Keep a journal.  Travel.  Take interesting jobs.  Talk to strangers.

I know this sounds like hokey motivational-speaker stuff, but it’s not.  As a writer, your job is to tell stories or create images that reflect the world and its people.  So the more you ABSORB the world and its people, the better writer you become.  Look at the world’s great wordsmiths and storytellers… Ernest Hemingway, Woody Allen, Aimee Mann, Carl Sandburg, H.P. Lovecraft, Kurt Cobain, Virginia Woolf… whatever genre or medium they work in, they move us because we read their words and say, “Wow… I’ve felt like that.”  Or, “Yeah, I’ve felt like the people in this story.”  Or—when it’s REALLY magical—“Oh my God… this writer ‘GETS’ me!”

So the short answer to your question, Corey, is: yes, a writer needs a lot of real education: both book-learnin’ and life experience.  But where you GET that education depends on how you learn best.  Maybe you learn best in the structured curriculum of a top-notch school or university.  Perhaps you learn best hopping trains and seeing the world.  Maybe you learn best by getting a real job, living in the real world, and spending your nights reading books and writing your own stuff.  Everyone’s different… but the tools and skills needed for being a writer aren’t.


3. After College is it tough to get noticed in your area of work?

Extremely.  Competition is incredibly, ridiculously high in the field of film and TV writing.  After all, there aren’t that many movies or TV shows each year, but there are MILLIONS of people (in L.A. alone, not to mention scattered about the country) vying to sell a film script or get a job on a television show’s writing staff.

To make things even harder, jobs aren’t always given out simply on the basis of talent.  Landing a job is a combination of being skilled enough to get the job, having experience working in the industry, and knowing the right people (most jobs are gotten by knowing friends or associates doing the hiring).

This doesn’t mean it’s impossible… or that there are thousands of hugely talented writers walking around looking for work.

Personally, I’m a big believer that cream rises to the top and most truly talented, focused writers get where they want to go.  Although to be honest, I don't know if there's any real truth in that... or if I just convince myself of it because-- well-- if you don't believe that, it's hard to remind yourself why you keep trying.  Either way, I guess what I DON'T believe is that the world (or even Hollywood) is full of incredibly talented writers who just can’t get their break.  Most people who aren’t working aren’t working for a reason.  Maybe they’re not good enough yet.  Maybe they haven’t networked enough.  Maybe they don’t understand the business well enough.  Maybe they don’t live in L.A. (like it or not, it’s almost impossible to be a working film or television writer anywhere but Los Angeles).

Having said that, I DO think that there are many ways of making a living as a professional writer and storyteller.  Write plays and stage them yourself.  Write amazing profiles or features for magazines and newspapers.  Publish a blog.  Do stand-up comedy.

I say all this not to discourage anyone from pursuing screenwriting or TV writing, but to say that "getting noticed" is often something out of your control... and there are many ways to scratch your writing/storytelling itch besides making TV shows and movies.  Not to mention... if you write a great stage play or a powerful short story/article, you may grab the attention of Hollywood anyway.  And it often seems that people only "get noticed" once they stop worrying about "getting noticed."

I guess the ultimate truth is: while OBVIOUSLY your goal is to be a working screenwriter, able to use your writing to support yourself, your lifestyle, and your family, you need to be pursuing screenwriting because you LOVE writing, and you LOVE storytelling, and you LOVE pairing together words and images and actions... not because you're dazzled by the lights of Hollywood or visions of dates with starlets or hopes of hanging out with Brad Pitt.  Which, sadly, is why many people come out here-- writers, actors, directors, you name it.  Yet at the end of the day, those that succeed in getting noticed are the writers and artists who work and sweat themselves to the bone... spending every waking minute perfecting their craft, immersing themselves in the industry, making and nurturing business relationships, etc.  ...so when they finally DO get their break, they're prepared-- creatively, mentally, emotionally, professionally-- to seize the opportunity and make the most of it.

Of course, there ARE certain things that almost definitely need to happen-- certain stars that do need to align-- in order to have a shot at getting noticed as a screenwriter:

•  You need to be living in L.A.

•  You need to have strong writing samples that prove you're a talented writer

•  You need to have a good network of professional contacts (which usually means living in L.A. for many months or years)

•  You need to have experience writing so an employer knows what you’re capable of

•  You have to be the right writer for the right project at the right time… or have the right project/script/pitch to sell at the right time (i.e., you may be the world’s greatest romantic comedy writer, but if an employer is looking for an action writer, they’re not going to hire you—no matter how good you are)

•  You need to be in the right place at the right time when someone is hiring (i.e. it’s easy to lose out on a job to someone else simply because… frankly… they happened to be there when the space needed to be filled)


4. After getting noticed is your work environment tough or enjoyable? Like hows the staff,crew,project,ect.

Like all jobs, I find this TOTALLY depends on the people you’re working with.  You might get a job on your favorite television show ever… but if you dislike the people you’re working with, you’ll be miserable every day of your life.  On the other hand, you could take a job on a film, series, or project that seems horrible… but if you connect with and love the people around you, it’ll be a blast.


5.Is their any on the job training involved?

TONS.  In fact—kind of going back to your education question—I’d say the best (maybe ONLY) way to learn how to live, work, and survive in Hollywood is simply to dive in and start DOING IT.  Hollywood has a very different work culture than almost any other industry, and no matter how many classes you take or books you read, you won’t understand it till you’re in it.

Understanding Hollywood’s culture—and how to navigate it—is especially important for writers… because unlike costume designers or propmakers or makeup artists, we don’t produce something “physical.”  Sure, there’s a script, but we’re basically sellers of storied and ideas, which are ephemeral, emotional, even psychological.  So while half of our job is being able write, to put words down on paper and move people, the other half is being able to socialize… to pitch ideas, collaborate, take criticism, offer criticism, etc.  

And while it sounds like much of this is simply innate and understanding how to be a nice, polite person (which is true), it also involves immersing yourself in Hollywood to learn the industry’s vocabulary and communication techniques.  I.e., how do you break a baby?  When should you beat a joke?  Who’s the second second?  How do you take the note behind the note?  

On one hand, this is all industry jargon that’s easy to pick up; on the other hand, these are all skills or bits of knowledge that aren’t really available until you’re on the job.  Which is why I always recommend people begin their Hollywood career at the bottom, working as a production assistant, doing grunt work on the set of a film or TV show where they can observe the processes and practices around them.

You can click here to check out an earlier post about getting a job as a P.A. (production assistant).


6. When writing does your company or advisor, give you any special equipment?

Not really—primarily because, as writers, our number one piece of equipment is in our heads!  If you’re working on a TV show, your company will often give you an office, desk, and computer… although most writers I know use their own computers.  Also on a TV show, the writers will all work together in one room called the “Writers Room,” which is equipped with a large table, chairs, and several dry-erase boards on which to write ideas and stories.



7. How long is a usual shift? and is their overtime?

This depends on the job.  In movies, most writers don’t go into an office… ever.  They write from home, or their own office, so they set their own schedules.

On a TV show, however, there IS an office.  Most writers start their days around 10 a.m., but the end of the day is different for each show.  Most TV writing staffs wrap up around 6:00 or 7:00.  A small handful have been known to have solid eight-hour days (Everybody Loves Raymond was famous for this.)  But many TV writing staffs work incredibly long hours, sometimes until midnight or later.  Many sitcoms, for instance, shoot an entire episode in one night… beginning around 5 p.m. and ending anywhere between 10 p.m. and 3 a.m.

And unfortunately, no—there’s usually no overtime.  TV writers are contracted to write a certain number of episodes.  If they finish those episodes ahead of their deadlines, great (although this never happens); if they need more time, fine… but they don’t get paid extra.

Movie writers are paid per project; they get paid when their script is delivered to the employer on deadline, regardless of how many actual hours they pour into it.


8. Do you and others follow by any schedual or routine to get the writing done in time?

Well, as I said above, movie writers are on their own to get their work done… although their employer may build certain “touchstones” into a project’s schedule.  In other words, if you get hired to write a horror movie that is due on July 1st, the company that hires you may want character descriptions by April 25th, a sketchy outline by May 1, a more detailed outline by May 7, a first draft of the script by June 1, a second draft by June 20, and a final draft by July 1 (that’s a SUPER tight schedule… but as an example, you get it).

How the writer budgets his or her time in there is up to them, but I think most writers like to have their own specific routine, whether it’s writing late at night or getting up early, running 5 miles, eating breakfast, and then writing at Starbucks.  But most writers find that having a specific routine helps train their writing muscles to work.

In television, however, where writers come in to an actual office, work together, and have tighter deadlines (because they need to shoot an episode each week), it’s a much more structured process.  As a team, writing staffs work begin thinking about what “larger” stories and themes their TV show wants to tell… stories that span many episodes and weeks.  I.e. on The Office, the Jim and Pam saga has spanned years.  Desperate Housewives tells a new mystery each season, and that mystery plays out over several months.  

The writing staff then brainstorms what individual story events, or “beats,” need to happen in order to bring these larger stories to life.  (I.e., if your TV show is telling a season long story, or “arc,” about a girl named JESSIE deciding to leave her fiance, we need to see several things: Jessie and her fiance together, Jessie being unhappy with her fiance, Jessie deciding to leave her fiance, Jessie deciding how to break up with her fiance, Jessie preparing for the break-up, Jessie actually breaking up with her fiance, Jessie in the aftermath of the break-up, etc.)

The writing staff then spreads these events over the course of a season, where each becomes the basis for—or even just a part of—its own episode.  Each episode is then outlined by the staff, then assigned to an individual writer to write.  Once the script is written, the writing staff often rewrites the script together, in the Writers Room, all at the same time.

Because TV shows must get an episode on the air each week, they are often under very strict deadlines to have outlines, scripts, and “shooting drafts” finished by specific deadlines.  So if the writing staff’s process is too slow, they’ll quickly feel the heat and pressure of being off schedule… and that slows down everyone else from the costume designers to the directors to the set-builders.


9. Is it nice to see a piece of your work transfer into televison, books, or magazines?

Yes!!  It’s awesome!!  I am by no means Hollywood’s most successful writer or producer, but I’m proud of the work I’ve done… and even though I’ve written articles and produced TV episodes, it’s still a thrill to see my name on screen or my byline in print.  It’s a little bit of validation telling you that this thing you love, this thing you set out to do, this dream you cling to because you’re afraid there’s NOTHING ELSE IN THE WORLD you’re capable of doing… isn’t just a hoax.  And believe me… most of the time, you’re pretty sure it’s just a hoax.  So seeing your name in print or on-screen is an INCREDIBLE feeling!


10.What is the average salary range for this position?

Salaries vary from job to job, and a writer’s salary on one job may be different from his or her salary on the next job.  It’s the writer’s job (or his agent or lawyer’s job) to negotiate his payment each time he gets hired… and, hopefully, to get an increase from the last job.  An entry-level writer probably gets paid only the minimum payment and may make $60,000-$70,000 per year.  Mid-level writers can make $200,000 per year.  And experienced showrunners, or head writers, can make well over a million dollars a year.  But it's hard to give a specific average salary because so much depends on the show, the network, the level, and the experience of each particular writer.

The Writers Guild, however, does mandate certain minimum payments.  The minimum for writing a single one-hour drama episode of television (like CSI or Law & Order), for instance, is $31,748.  For a half-hour (My Name Is Earl, Two and a Half Men), it’s $21,585.  Movies have a similar structure.  You can download the Writers Guild’s “Schedule of Minimums,” which details minimum payments for many kinds of film and TV writing HERE.


Anyway, I hope all this helps, Corey!  Good luck with the paper… and definitely write back and lemme know how it goes!

Chad

Hey, screenwriters--

Sorry I've been awol for a few days.  The site has gone through a technical revamp, but now it's back on it's feet!

Today’s question comes from Max, a Writers Digest subscriber interested in sketch comedy.  Max writes…

“We have come up with a tremendously funny comedy sketch character and we are having a little bit of trouble getting it off the ground to be represented or published by an agent or publishing house. We know your contributors are all experts in this field and would appreciate any suggestions, step by step on the process we need to pursue. We are not concerned about the possible upfront costs.”

Congratulations on creating a great character, Max!  Brilliant sketch comedy is a difficult art, and as anyone from Saturday Night Live or The Human Giant will tell you, creating a character who truly pops and resonates with audiences is a Herculean task.  So kudos… you’ve passed the first step.  Which doesn’t mean, unfortunately, that getting your character out there is any easier…

First of all, sketch characters are not “represented” or “published.”  I’m not entirely sure what you mean when you say you want to get your character represented and published, but I’ll address those two terms directly.  

As for “publishing” your character, sketch characters are usually performed live as part of a sketch comedy show (a la Molly Shannon’s “Mary Katherine Gallagher” from SNL or Matt Sloan & Aaron Yonda’s Chad Vader from Channel 101 and YouTube fame), so it’s virtually impossible to “publish” a character.  Sure, some sketch characters have appeared in books, like The Ninja Handbook: This Book Looks Forward to Killing You Soon, based on Douglas Sarine and Kent Nichols’ Ask a Ninja internet sketches, but they’re only produced as ancillary products for an already successful sketch or character.  So “publishing” your sketch character probably isn’t a viable option.

As for getting your character “represented,” this too is a bit unconventional and confusing.  Agents, managers, publicist, or lawyers don’t usually represent sketch characters; they represent the performers or producers who produce those characters.  In other words, let’s say you’ve created a character called “Wally Funnyman,” who you’ve spent months refining and perfecting until he is as hilarious and brilliant as he can possibly be.  You want agents to come see the show in hopes of taking Wally to the next stage, whether that’s turning him into a feature film or a Robot Chicken sketch.  The truth is: no agent is going to come to see Wally.  They’re coming to see you… to evaluate you as a performer, writer, producer, creator.  They’ll then try to get you work—as a performer, stand-up, actor, writer (whatever your goal is)—using Wally as a sample of your talent.  For instance, perhaps the agent lands you an audition at Saturday Night Live… and you use Wally as an audition piece.  SNL may hire you as a regular performer and/or writer and turn Wally into an official sketch… or they may never have any desire to use him at all.  The point is: it’s very hard to place a lot of value in just one character himself; the true value lies in your skill as a writer, performer, or producer… and your character is simply an example of that.

Having said all this—and having absolutely no clue as to what your character is—there are instances where someone has created a character, or a concept, that takes off… like Ask a Ninja.  But Sarine and Nichols didn’t create the ninja, then find an agent, then put the sketches online.  They created the sketches first, posting them online on their own, and only when the “show” went viral and became wildly successful did agents come calling.  Then Sarine and Nichols were able to get their ninja onto other platforms like Comedy Central’s The Showbiz Show and Discovery’s Mythbusters.  Now Ask a Ninja has become its own successful mini-business with books, DVD’s, and live appearances.

So the short, brutal answer to the question of finding representation for or publishing your sketch character is: you don’t.  Or, rather, that’s the wrong question.  The real question is: how do you get this character in front of as many people as you possibly can?

Fortunately, today’s sketch creators have the Internet at their fingertips, and if there’s one genre of entertainment that’s exploding online, it’s sketch comedy.  In fact, there may have never been as perfect a time for aspiring sketch artists… the Internet is full of them, from Barats & Bereta and Rhett & Link to Obama Girl and Honor Student.

So if your character is filmable, Max, the best thing you can do is shoot some great-quality sketches and get them online… everywhere you can.  Don’t limit yourself to YouTube; get your work on FunnyorDie, Bebo, Vimeo, MySpace, Revver, Facebook, anywhere you can.

The other wonderful thing about the Internet is you’ll know fairly quickly how good your work truly is.  You can solicit feedback from viewers to learn what’s working, what’s not, what’s hilarious, what’s dull.  You can then go back, rewrite, reshoot, and try again.  With each video, your character and your comedy will get better.  Eventually, as your work gets stronger and your online audience builds (and it will build… when people find something they like, they bookmark it, Digg it, and pass it along… which is exactly how things go viral), agents, producers, studios, or publishing houses will come calling.  You can also facilitate that by reaching out to buyers, although most won’t be interested until your work has a sizable online audience.

If your sketch characters is not film-able, then you need to get him/her on stage as much as possible.  Go up in comedy clubs.  Join sketch groups.  Perform live on the street.  Do whatever you need to build a fan base that says to agents, producers, and buyers: “this character has value; it’s already commercial.”

Anyway, Max, I hope this helps.  The good news is: you’ve already created an outstanding character.  And the even better news is: you couldn’t have done it at a better time, because—as I said—the Internet is giving sketch comedy artists like yourself an infinite number of new opportunities.

Good luck… and if you—or anyone else—has further questions, please don’t hesitate to post them in the comments section below or email me at WDScriptNotes@FWPUbs.com.

In the mean time, here are examples of some of sketch comedy available on today's Internet…

CHASING DONOVAN: "Creative Writing," by Honor Student



"The Mysterious Ticking Noise," from The Potter Puppet Pals



"Will Arnett-Human Giant Sex Tape," from The Human Giant

Hey, guys-- happy President's Day... I'm not quite sure how we're supposed to celebrate, but hey-- day off, can't complain.  Especially because I'm sitting at home, nursing a mild hangover from being at the Magic Castle all night.  And I don't care what anyone says: the Magic Castle is the COOLEST PLACE ON EARTH.  Saying that, of course, may make me a complete dork, but I don't care-- it's true (the Castle part, not the dork part, which is also probably true).  And anyone who denies it hasn't been there or is lying.

ANYWAY... after Friday's post about the Scriptapalooza screenwriting contest, I received a couple emails asking if there were any good TV writing contests, so I thought I'd take a minute to give you my thoughts on that.

First of all, are there TV writing contests?  Yes.

Are there any good TV writing contests?  That depends on your definition of good.

If your definition of a "good" TV writing contest is a contest that rewards its winner with bragging rights, maybe some cash, and hopefully a chance to get their work read or seen by agents, execs, showrunners, etc.-- then YES: there is a tiny handful of TV writing contests (which we'll get to in a second).

If your definition of a "good" TV writing contest is a contest that rewards its winner by landing them a staff job or getting their pilot made at a network or studio, then NO: there are no good TV writing contests.  And here's why...

Movies (and, therefore, movie scripts) are finite pieces of work.  A movie lasts two hours, it's over, done.  The story will never continue, go on, or repeat itself.  (Sure, there are sequels, but most movies aren't written with a sequel already in mind... sequels are created as follow-ups to a proven successful property.)  Most movies, by design, are intended to be close-ended experiences.  This makes it very easy for producers, studios, or production companies to buy a script from a writer, say "thank you very much," and dispose of the writer.  And I'm not saying "dispose of the writer" as a judgement call-- like when we all hear screenwriters complain about how they're treated like crap by the studios (which is often true, but a separate issue).  I'm simply saying that once a screenwriter has finished a movie script, his work is done.  The script does not go on.  (This is one of the reasons we say film is a director-driven medium; while the story begins with the writer, it's really the director who brings it to life and puts his creative stamp on the movie.  The director has much more control over the film's vision than the writer.)

But this doesn't happen in television.  Television shows make mini-movies every week, so they need their writers to stick around.  When one script is finished, another must be written.  Immediately.  Thus, TV is a writer-driven medium... it's the writer or showrunner's vision which drives the show every week.  This affects TV in two big ways...

1)  It's why TV shows have staffs.  One writer couldn't write twenty-two scripts back to back and have them be very good.  (I know we read about Aaron Sorkin and David Kelley doing it, but they were clearly subjects in some bizarre genetic experiment that gave them amazing literary superpowers.)  (I'm kidding.  To be fair, no one knows how those guys do it.  Centuries from now, archaeologists will look back and wonder who made Stonehenge, who erected Easter Island, and how the fuck Aaron Sorkin and David Kelley wrote so many scripts.)  So writing staffs sit in a room together, for 8-15 hours a day, and write their episodes as a group.

2)  It's why studios and networks rarely (and I mean rarely) buy shows and pilots from inexperienced TV writers.  Designing a TV show-- and running it successfully-- often takes years of experience, so buyers tend to buy projects only from writers who have proven they can be sucessful TV writers and producers.

And neither of these two points is very conducive to winning a contest. 

Winning a contest might get your script in front of people who could help you get a job-- showrunners, execs, agents, etc.-- but getting hired on a TV staff is about much more than just writing a good script.  Being a TV writer is 50% writing talent and 50% personality (and, in the cases of some writers, more like 10%-90%).  Thus, most showrunners hire people they already know: writers they've worked with, their own writers assitant, etc.  And when they do hire a stranger, they definitely meet with that person-- at least once-- and usually try to recommendations from other people who have worked with them.

And winning a contest definitely won't get your pilot picked up or produced as a series.  (Of course, never say "definitely," because now that I've said it, it'll happen... but for the most part, I stand by my "definitely").  In fact, the very notion of winning a contest is antithetical to what it takes to develop and run a series.  To be totally honest, if you see a contest purporting to give winners their own pilot or TV show: run-- it's probably not legit.  Any contest claiming it can give winners their own TV show clearly doesn't have a firm understanding how TV shows are bought and sold.

HAVING SAID ALL THIS... should you still apply to TV-writing contests?

Sure, why not?  What they will give you is...

•  Something cool to put on your writing resume
•  A possible open door to execs, agents, and showrunners
•  Hopefully, a bit of cash
•  Maybe some constructive feedback
•  A giant warm fuzzy
•  Experience writing
•  Experience getting rejected (which is going to happen to you way more than getting accepted, no matter what level you're at.  Even David Kelley and Aaron Sorkin's shows get canceled.)

So, here's a short list of TV writing contests that are-- at the very list-- legit.  There may be more that I'm missing... if they are, please let me-- and everyone else--  know about them in the comments section below.

As for these, I know nothing about the talent pool that applies to them or how successful they are at getting winners through important doors, but they at least aren't criminal fronts:

•  Writers Digest Screenplay and TV Writing Contest
•  Austin Film Festival Screenplay & Teleplay Competition
•  Scriptapalooza International TV Writing Competition
•  Larry Brody's Spec Scriptacular at TVWriter.com

Well, screenwriters-- here we are... the final day of the WGA writers strike.  As I write this, writers in New York and L.A. are casting their votes to end the last three months' work stoppage.  And the end of a work stoppage means only one thing...

It's time to get back to work.

TV networks have already announced which shows would be returning this spring, and ABC even gave 2008-2009 pickups to nine returning series, including Grey's Anatomy, Desperate Housewives, Dirty Sexy Money, and Pushing Daisies.  Numerous pilots have also been greenlit, and NBC is even greenlighting some projects-- like Kath and Kim and Robinson Crusoe-- right to series.  Which means we're looking at a pretty unconventional staffing season this year.

Some shows may begin hiring writers immediately.  Others will probably hire in late May, as usual.  And still others may hire throughout the summer.  The point is this...

It's to get your writing samples in shape.

Dust off that original material and finish that TV spec you've been procrastinating on.  The urge to hire writers is definitely in the air, and I've had several email conversations today with writers and agents alike on what TV specs may be hot this staffing season.

There weren't any huge breakout hits last fall... or even the previous year... so it's difficult to pinpoint exactly what specs people will be reading.  But here are my lists of what seem to be shaping up to be this year's spec-able shows...


COMEDY
30 Rock - Possibly the hottest comedy spec out there right now (which means people will probably be sick of reading it soon)
The Office - There was a massive glut of these last year, and people were pretty tired of them, but it's still a well-respected show... so if you got a hankering to write an Office spec-- go for it)
Weeds - Not the most-watched show, but it's well-respected and has a unique, edgy sensibility; paired with the right originals, this could be a very effective spec
Samantha Who? - I'm gonna be honest: write this at your risk.  It's a new show... and it was the closest thing TV had last year to a new hit comedy.  It's coming back next fall, and who knows how it'll do.  But if there's gonna be a new spec-able comedy on the market, it's probably gonna be this one.


DRAMA
Dexter - A widely respected show, with a dark, ascerbic sensibility.  This could be a huge spec this year (especially if it does well when it moves to CBS).
Mad Men - It may be just a tad too early to officialy declare this show as spec-able, but if I were a betting man (which I'm not), I'd say this could be a hot spec very soon.
Rescue Me - I would've thought this show was pretty tired as a spec, but I've talked agents who definitely like reading it still.
Californication - I say spec at your own risk, although there are definitely agents and execs out there who will read it.  Not a lot, but enough.
Grey's Anatomy - Yeah, this show's old news, but people still love it, and that includes execs, agents, and other writers.  I don't know if it'd be the number one show I'd tell you to spec, but if you love it and have a great idea for your story... go for it.
Criminal Minds - This show never seems to get a lot of buzz in industry circles, but it's a hit nonetheless, and there haven't been any size-able new procedurals for a while.  So again: maybe not the first thing I'd recommend, but probably spec-able.


SHOWS TO KEEP AN EYE ON
There are several series out there which may not be spec-able yet... but could be soon.  So keep an eye on them.  Also, if you're dying to spec one of them know, take a shot... if they become hot specs a few weeks or months down the road, you'll be the first one on the market.  If not... well... consider it an exercise that made you a better writer...

Pushing Daisies
Chuck
Terminator: The Sarah Connor Chronicles
In Treatment
Breaking Bad

Hey, screenwriters--

I'm pleased to introduce a special guest today... TV executive and producer Jennifer Grisanti. 

As a Current Exec at Spelling Television for over ten years, Jen has worked with some of the best writers, showrunners, producers and execs in Hollywood... people like Medium creator Glen Gordon Caron, NCIS producer Steve Binder, Numbers producer Ken Sanzel, and countless more writers and execs at every network and studio in Hollywood.  She's also helped maintain numerous hit shows such as Beverly Hills 90210, Melrose Place, Charmed, Medium, Numbers, NCIS, The 4400 and Girlfriends.  In addition, she has served as a mentor in the CBS Diversity Program, which seeks out and nurtures young writers and directors.

Jen has a reputation as being one of the smartest execs in town.  In fact-- and Jen probably doesn't even remember this-- Jen was in one of the first big meetings I ever had.  I was a baby writer interviewing to write on the final season of Beverly Hills 90210, and I met with Jen and showrunner John Eisendrath.  Unfortunately, they didn't hire me.  (The show probably would've lasted longer if they had.  KIDDING, JEN!)  But it was the beginning of a relationship that allows me to introduce her to all of you today.

And there's even better news: Jen has recently launched Jen Grisanti Consultancy, a consulting firm designed to help talented young writers, producers, and directors break into the industry (www.jengrisanticonsultancy.com).  Jen works with writers of all levels, helping to shape their material, hone their pitches, and focus their careers.  In other words... she's like having your own personal TV exec.

Today, Jen's here to talk about how she works with writers as an executive... as well as her new company and what it can do for you...


Jen... as a long-time TV executive, a huge part of your job was finding, acquiring, and shepherding new shows and show ideas.  In television, unlike in movies, most new shows are bought as pitches and concepts, not fully-written scripts.  When you’re in a pitch meeting, listening to a pitch for a new project, what do you—as an executive—need to hear to make you want to buy that show?  What do you need to hear in the architecture of the show itself, and what does the writer need to bring to the project?

JEN: As a Current Programs Executive, my feeling is that in the pitch meeting what needs to be heard is something unique and different.    Television has gotten to such a strong place in the past few years.  The audience has higher expectations because of shows like Mad Men, Damages, Dexter, etc.  It is about coming in with something that has an edge and something that it is easy to see where the future stories will come from.  


What are the biggest mistakes you tend to see from first-time pilot-writers?  In other words, for all the writers out there who may be taking a stab at writing their first pilot, what should they be extra-vigilant about making sure they don’t do?

As a Current Programs Executive, I’d say that the biggest mistake first-time pilot writers make is not having the pilot fully convey what the series will be.  It is so important that at the end of that first hour, the viewer wants to come back and knows what they’re coming back to see.  My feeling is that character is so important in the pilot phase.  Your characters add so much to why the audience will return.  Another mistake I think first time pilot writers make is trying to put too much into the pilot.  


One of the things that make new TV shows and pilot truly distinct is the “voice,” or point of view, of the writer.  And the shows we like best seem to have their own incredibly strong, unique voices… like Desperate Housewives, Weeds, or Everybody Loves Raymond.  Yet while we all seem to know what “voice” is… it’s often one of the toughest things for a writer to find and develop within himself.  What advice would you give an aspiring TV writer to help him find his own voice?  Any tips or exercises?

I would suggest that the writer go out to a coffee place/restaurant and sit and listen to the conversations of the people around them.  They should write down what they hear to get a stronger sense of how people talk and what sounds natural.  

As far as a “voice” it is about not being afraid to use your own life experiences.  I tell writers that when they are going through extremely painful circumstances or humiliating circumstances or joyful circumstances, they need to write it down.  Often what they are experiencing in that moment is a universal feeling that others will connect with.  Another exercise with regards to “voice” could be to think of all their friends, what differentiates them from their other friends, what characteristics make them unique, etc.  I also ask writers to think of a life identifying moment that happened and made them feel like they have something to say.  It could be their parents divorce, a time when they were abandoned in some way as a child, an awakening, a death of a family member, etc.  It is usually something that happens that gives them something to draw from in their writing.  It helps them to become more familiar with what their own “voice” is.


Developing a hit show takes huge amounts of trust, respect, and collaboration from writers, producers, and executives.  As a current exec, you gave notes to writers and producers working on shows already on the air.  But sometimes writers and execs disagree on a note.  How do you navigate situations where you and a writer disagree on something in a script or project?  What advice would you give budding writers on how to deal with notes they disagree with?

My approach towards giving notes is to have a discussion about the note.  My advice to writers with regards to notes is to hear the note first.  Often writers when they are new to the note giving process they are too busy defending the note that they don’t hear it.  If they take the time to listen, it helps the process.  With regards to disagreeing on a note, I think with conversation this can be solved.  I am not the type of executive who insisted that my writers take my notes.  I simply say I am offering a suggestion from my years of experience of how I view it from reading it and I tell them if you understand what I am saying and you can see a way to solve it, take the note.  Since I did take this approach, my notes were often made.  I trust the writer to know what is best for the script.   The writer should know that executives are not out to change their voice or put their mark on the writer’s material, they are there to make sure that the vision of the writer is clearly communicated on the page or to help guide them to a solution that might help their story to transfer better to the audience.


When it comes to writing pilots, one of the biggest controversies is whether or not baby writers—writers who haven’t yet been staffed—should write spec pilots, pilots that haven’t first been pitched and sold to a studio or network.  Some people say studios and networks rarely buy spec pilots, especially from babies, and writing a spec pilot is a waste of time… and a stamp of naiveté.  Others say networks and studios have opened up to buying spec pilots, and it’s now totally viable for a newbie to write and sell a pilot.  What do you think?  Should an aspiring TV writer try their hand at writing and selling their own pilot?

It is much harder for a baby writer to get a pilot sold.  However, it is possible.  I don’t think it’s wrong for a baby writer to write an original hour.  I think it is wise for a new writer to have a spec pilot.  So, if the pilot doesn’t sell, the writer still has an original script to send out.  Some showrunners will only ready original material.  As far as developing a pilot at the baby level, a writer should know that if they do choose to develop at this level, someone will be brought in to run the show and often their vision of the show will be taken over by this new person.  If they staff and wait until they are a Producer/Supervising Producer level, then they have a greater chance of developing a pilot in which they could run it and have a greater chance of the finished product being their own.  So, it’s all a choice.  If the baby writer has a very strong idea and doesn’t matter handing it over, it is a great experience to go through as far as growing as a writer.


The WGA strike is about to enter its fourth—and, hopefully, final—month.  Every day, there’s new speculation about how the strike will revamp the TV landscape and development process.  Whether it does or not—and to what extent—remains to be seen.  As someone who’s been working in TV for many years, how do you think the strike—and its fallout—will change the paths and opportunities for aspiring TV writers trying to break in?

I believe that the strike will have a major impact on television and the way that business is being done and on the number of opportunities that will be available for new writers.  I think because the studios have had a chance to see how well reality shows which cost a lot less can perform that there will be fewer pilots picked up and fewer jobs available.  Personally, I think for aspiring writers that the key is to have a wide range of material.  I also think that writers should be educating themselves with new media opportunities.  Since many feel that the business is changing so rapidly, it is important that the writer be open to change and be aware of what material is the best to have to get them work.


Talk to me about Jen Grisanti Consultancy.  What do you do, how do you do it, and who are you aiming to help?

I help develop the careers of writers and directors.  I utilize my 11 years of experience as a television executive at top studios with incredible mentors and I bring my knowledge to writers and directors to help them get their material where it needs to be to get them work, representation, etc.  This includes script consultation, writer coaching sessions, career consultation, representation consultation, etc.  My aim is to elevate their scripts and reels so that the writer and director will have confidence going in to meetings knowing that their material is in the best shape possible.