Script Notes by Chad Gervich

Open WGA Meeting This Week: Reality & Game Show Writers Unite!

2008-11-19T17:20:09.4240000-05:00

Hey, everyone--

As you know, I've been a vocal supporter and cheerleader of the Writers Guild's efforts to organize reality and unscripted (ha!) TV. This isn't a cause that concerns only reality writers... it's a fight for the rights of writers in all mediums. SO...

Tomorrow night, the WGA is holding an open introductory meeting for new members and anyone interested in joining the fight. If you're in LA and would like to come, the WGA is providing dinner... (and free parking!)...

Here's all the info... hope you can make it!

WHEN: Thursday, November 20, 8:00 p.m.
WHERE: Writers Guild, west - 7000 West Third Street, Los Angeles, CA 90048
RSVP (or questions): talbert@wga.org

ALFRE WOODARD SPEAKS AT WGA RALLY AT FREMANTLE MEDIA

READER QUESTION: What are the Chronological "Goalposts" for Becoming a TV Writer?

2008-11-18T13:35:49.9924957-05:00

Hey, folks—

Today’s reader question comes from E. Daniels, who addresses an issue which, I think, plagues almost every writer in Hollywood, myself included. E Daniels, take it away…

"There are certainly a number of factors involved in getting discovered or 'making it' (fate, talent, luck, hard work, etc.) How long does the average writer take to get staffed? Already that sounds like a question without any one answer.

"But I'm trying to be realistic about my life, and I just thought if I don't see real progress in three years I would have to re-evaluate what I am doing in Los Angeles. But then I realized I don't even know what 'real progress' would look like. I certainly don't expect to be staffed on a show in just three years. And really it seems that two years or twenty, you don't really get closer to getting staffed, you are either staffed or not. Kind of like being pregnant - there is no halfway.

"But then I think, well there is no halfway to being pregnant, but your chances go up by having sex, right? So, metaphorically speaking, what is 'having sex' to a writer? Is it networking and being a great assistant? Is it improving your craft to the point that someone has to take notice? And obviously the question 'when do you give up on a dream?' is loaded and different for each person. (I mean, no one wants to give up on a dream, but you can have other dreams, too - like a steady job and health insurance in a city you like, for instance.)

"Okay, I'll stop with the rambling and boil it down to this: in the interest of making an informed decision (and part of being informed is knowing that it is so wildly different for everyone) what are common goalposts of progress for a writer and how longish might it take to get paid to write for TV?"

Well, first of all, E. Daniels—I think you’re right… the answer is different for everyone. I have friends who got staffed after being an assistant for only a couple years. I also have a friend who spent—literally—NINE YEARS slaving away as a writers assistant and P.A. before finally getting staffed… and this summer—only two years after his first staff job—he sold his first pilot! Then, of course, there’s the story of Caroline Williams, a UCLA grad student who wrote a spec pilot with the sole dream of getting staffed on NBC's The Office… and she not only immediately staffed on The Office, she sold the pilot to ABC, got it made (Miss Guided, which premiered—and was canceled—earlier this year), and just sold ABC another project, Made Over, with a put pilot commitment.

I also have friends who followed the right path and staffed on a TV show… but that show was then canceled, or they were fired, and they never worked again. Some were even high-level writers: producers, co-EP’s, etc. The fact they didn’t work again doesn’t necessarily mean they were bad writers, it just means the road is NEVER easy. Sure, once you get that first staff job (or more accurately, the second), you’re “in,” but you still have to fight and claw to keep working and moving up the ladder. Desperate Housewives creator Marc Cherry, for instance, had had a fairly successful career in TV (writing and producing shows like The Golden Girls and Five Mrs. Buchanans), but had been out of work for over three years when he finally wrote Desperate Housewives.

(Also, for what it’s worth—some of those friends who never staffed again went on to write other things: video games, screenplays, grants, books, magazine articles, etc. And who knows… they may—and probably will—staff some time in the future.)

Anyway, all of this is to say: YOU ARE RIGHT. The path is different for each person.

Having said that, you’re ALSO right—there are certain goalposts that tend to mark the most common paths. Here’s how the ladder often works, with each step usually taking AT LEAST a year… and usually more…

1)   Intern or runner
2)   Production Assistant (PA)
3)   Writers’ PA
4)   Writers Assistant

So, that’s usually about a four-year path… assuming there are no bumps or setbacks along the way… and there are ALWAYS bumps along the way. Shows get cancelled mid-season. Assistants don’t get promoted. Bosses hire friends. Budgets limit who showrunners can hire.

However, I think there are other goalposts to follow as well… and these aren’t necessarily chronological goalposts. But as you move forward in your career, even if you’re not advancing “up” the ladder, you should be…

1)   Writing more (you should be constantly turning out product: new specs, screenplays, and plays… whatever you need to get noticed)

2)   Getting feedback from writer friends and bosses, learning how to incorporate that feedback, and then seeing your work noticeably improve (I know it sounds elementary, but you should be seeing your writing GETTING BETTER)

3)   Reading more (try to read all the pilots produced each year, on both cable and broadcast networks; this is tough, believe me, but reading not only keeps you informed about what networks are producing, it HELPS YOU BECOME A BETTER
WRITER)

4)   Meeting more writers and showrunners (literally, as you advance, you should see your Rolodex of writer and producer friends growing… not just because you’re meeting more high-level writers, but because friends who are low-level/aspiring writers get promoted)

5)   Meeting more execs and agents (and again, the ones you know should be moving up the ladder, expanding your Rolodex of high-level players)

6)   Getting things produced, published, etc. (As you improve as a writer… and expand your list of contacts… you have more opportunities to get things published or produced. Maybe not on TV… but you can stage plays or sketches, publish stories or scripts, write/produce video games and web content, etc. I used to have a teacher who said “Work begets work,” and he’s right: showrunners and execs like hiring people who are busy and productive… and the more aggressive you are about getting your work out into the world, the higher your chances of having it seen by someone.)

So, E. Daniels, I think both sets of “goalposts” are important. I know people who have been writers assistants for YEARS and wonder why they can’t get staffed… even though they never bother writing specs or reading pilots or going to networking functions.

I also know PA’s who spent every free moment reading scripts, writing stories, and begging their bosses to read their work… and they leapt past their competitors to staff earlier than most people.

Your job is to be moving forward on both fronts, accomplishing both sets of goalposts. You may not progress equally on both fronts at all times… and that’s okay. As long as you can feel yourself progressing.

Anyway, I hope that helps… and please know that you are not alone in this boat. In fact, I’m not sure most writers EVER reach a place where they feel they’ve totally “arrived.” If they did, I think they’d stop writing. I think most great writers—and maybe artists in all mediums—are driven not by a need to “succeed,” but by a need to “be heard”… and the day they feel secure in “being heard” is the day they lose their hunger to create.

So not only should you be doing this because you love the hunt, not the kill, but you should prepare yourself for a lifetime of uncertainty, insecurity, and self-doubt. Which sounds dark and depressing, I know… but those aren’t just the qualities that come with the territory of being a writer… they’re what MAKE us writers. We write BECAUSE we’re uncertain, insecure, and doubtful. It’s a vicious circle: we write to make those things go away, but those are also the very things that MAKE US WRITE.

On that happy note, E. Daniels, look at the bright side… you’re asking the same questions—and having the same concerns—as EVERY WRITER IN HOLLYWOOD, from the top of the food chain to the bottom. So while it seems like you’re wondering if you’ll ever arrive, in one of the most important ways… you already have.

TV Writing Interview: Part III... Take a Listen

2008-11-14T19:17:31.3755889-05:00

Hey, everyone--

Here's the third part of the 3-part podcast interview I did with Judith Parker Harris and the Alive! Authors Network. Take a listen... we talk about the politics and logistics of being a TV writer, frequent mistakes aspiring writers make, and how to break in and launch a successful career.

Click HERE to check it out!

(And here's Part I and Part II...)

And coming up, we've got some great reader questions... book reviews... and more pitch workshop entries!

MOVIE TALK: Quantum of Solace

2008-11-12T18:15:17.0840000-05:00

If there’s one thing the new James Bond movie, Quantum of Solace, is not… it’s a good screenwriting lesson.

This isn’t to say it’s not a lot of other things: a collection of (mostly) cool action sequences, a solid attempt to be a genuine sequel to Casino Royale, another stand-out performance from Daniel Craig.

But as far as being a comprehensible story… it falls short. Even moments after seeing the movie, I'm not sure I could've told you what it was about or what happened. Moments are memoriable, but a narrative context in which they make sense? Not so much. ...Which is sad, because I'm not a huge James Bond fan, yet I still think Daniel Craig ROCKS.

In fact, I had to go back and read a couple other reviews just to be able to write this quick synopsis:

The story opens where Casino Royale left off, with Bond and M interrogating Mr. White (Jesper Christenen), the villain they captured at the end of the last movie. Mr. White informs them that he’s part of a secret international conspiracy that does… SOMETHING (I’m still not sure what… just bad stuff, I guess). Before Bond and M have a chance to learn more, the MI6 guards in the room open fire, and we realize Mr. White’s organization is everywhere… including inside MI6.

Using clues found on marked bills, Bond traces Mr. White to an environmental organization called Greene Planet, run by the smarmy Dominic Greene (Mathieu Amalric), who—Bond later learns—is simply using Greene Planet to do something evil. Honestly, I’m still not sure what… but it has something to do with stealing water from poor Bolivians, then selling it back to their dictator, General Medrano (Joaquin Cosio), for ridiculous sums of money.

The events along the way are little more than loosely strung together set pieces… some of which look cool, but most of which do little to further the story. Or rather, if they do—it’s tough to tell how. The story has the illusion of momentum because Bond is DOING stuff—beating people up and killing bad guys—but it’s nearly impossible to track the story from plot point to plot point.

(I.e., at one point, Bond goes on a huge shoot-em-up-boat-chase to rescue Camille [Olga Kurylenko], a gorgeous young woman working for Greene Planet, from being murdered by Greene and Medrano. But after rescuing her, he simply drops her off at a hotel so she can run right back to Greene Planet! HUH? Why? Not only is Bond's motivation completely loopy [What motivation? Why'd he bother rescuing her? Why didn't he question her? Hold her hostage? SOMETHING?], but it renders what could've been a powerful boat chase completely impotent by robbing it of any narrative relevance! Because the scene is ultimately gratuitous, it's also ultimatly meainingless and forgettable.)

I do give the movie props for at least attempting to be a true “emotional” sequel to Casino Royale. The film genuinely tries to pick up the pieces left at the end of the last story: mainly, Bond’s broken heart, shattered by the betrayal and death of Vesper Lynd… and his desire to avenge the attempt on M’s life (Mr. White’s attempt at the beginning of this movie). Unfortunately, aside from a few moments, the story is so incomprehensible the movie never really delivers on its emotional promise.

Having said all this, most of the action sequences are fun to watch… even if the worst of them look a bit fake, and the best of them—like the opening rooftop chase and hand-to-hand fight scene—look like B-roll from The Bourne Ultimatum. (Now, granted—there’s no bigger Bourne Ultimatum fan than me… so I’m very sensitive to things that feel like Bourne ripoffs… and even a Bourne ripoff is more fun to watch than most of the other action scenes out there... and, to be fair, Quantum of Solaceis edited by Bourne editor Richard Pearson.)

Ultimately, here’s what you have to realize: Quantum of Solace is not a screenplay. It’s a dance. Literally. A series of beautifully choreographed pieces… with only the thinnest of stories connecting them. But instead of that choreography being wonderful piques and turns and leaps, it’s gun battles, boat chases, and fisticuffs. When the movie is at it’s strongest, it’s when the action is so coolly choreographed you don’t care about the story; when the movie is at its weakest, you’re just hoping it hurries back to the action. (Even though the action scenes sometimes feel a bit derivative, I gotta say—I have NO IDEA how writers write these things. Like in The Bourne Ultimatum, Bond's action scenes are so intricately choreographed, so meticulously planned, I can’t imagine how they can make sense on a page and still convey the kinetic energy of how they’re supposed to look on film.)

So, today’s screenwriting lesson is: a charismatic star and well-done action sequences go an enormously long way in covering up an empty story… but at the end of the day, it’s still a strong, follow-able narrative that leaves audiences really remembering the film.

QUANTUM OF SOLACE TRAILER

Fight for Writers' Rights... THIS WEEKEND! (And hey-- free lunch!)

2008-11-10T15:23:52.3970000-05:00

Hey, everyone--

As you know, reality TV writers rarely receive wages or benefits comparable to their scripted counterparts... even though they're writing scripts, shaping arcs and stories, defining characters, punching up jokes, etc.

So this Saturday, the Writers Guild is hosting a lunch event to educate and unite writers of all genres and mediums in the fight for fair and equitable treatment. Here's all the info... help join the fight-- this isn't just about reality TV; it's about fairness for writers everywhere...

The Real Deal: Writers Guild-Covered Reality & Game Shows

Why don’t writers on shows like American Idol, America’s Got Talent, and Survivor receive portable health insurance, pension, proper credits and respect like the writers on Intervention, Dog Whisperer, and Are You Smarter Than a 5th Grader? The difference is a Writers Guild of America contract.

Join WGAW President Patric Verrone, writers and producers from some of the top reality and game shows in a lively panel discussion about how writers can win industry-standard benefits. Come learn strategies that could benefit your career as a Hollywood writer. Save the date for this exciting opportunity to network with ‘reality’ and game show professionals!

Panelists include:

• Jim Milio, WGAW members and co-owner of MPH Entertainment (producer of The Dog Whisperer)
• Dan Partland, WGAW member and writer (Intervention)
• Jay Wolpert, WGAW member, screenwriter and game show producer (Pirates of the Caribbean, The Price Is Right)
• Lou DiMaggio, WGAW member and writer (The Weakest Link, The Singing Bee, Are You Smarter Than A Fifth Grader)

More participants TBA!

Saturday, November 15th
12 PM – 3 PM
Sheraton Universal Hotel
333 Universal Hollywood Drive
Universal City, CA 91608

Lunch and parking will be provided.

This is a non-transferrable invite. Must RSVP to attend.

RSVP: Talbert@wga.org

READER QUESTION: Is Writing TV Commercials a Viable Way to Get Into TV?

2008-11-09T17:06:58.2580000-05:00

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

Best Book Recommendation EVER!

2008-11-06T17:00:31.1220000-05:00

Hey, everyone--

I'm super-psyched to announce that my new (and first) book, Small Screen, Big Picture: A Writer's Guide to the TV Business (which officially comes out November 25), is now available for pre-order on Amazon, Borders, and Barnes & Noble!

The book is a user-friendly "business guide" for aspiring TV writers. It explains the differences between networks, studios, and production companies... how TV series make money... the new show development and production process... and how all this affects the creative process. It then talks about what happens in a writers room... how to break in and get your first writing job... and how to survive once you're there.

It also features interviews with almost 200 working TV professionals... network and studio executives from almost every network and studio (NBC, ABC, FOX, the CW, TNT, Comedy Central, E!, you name it)... showrunners, writers, and producers from all your favorite shows (Lost, Psych, Dexter, Life, Army Wives, Alias, Prison Break, Buffy, 24... and more)... and agents from Hollywood's top TV agencies (UTA, ICM, APA, Gersh, etc.).

Now, granted, I’m biased, but if you’re an aspiring TV writer… or even just love television and learning how it works… I think/hope this is a really helpful, important book. Most books focus on the creative aspects of being a TV writer: how to write comedy, how to structure a pilot, how to pitch a show, etc. Small Screen, Big Picture looks at these things… but from a business perspective: what executives really want, how to design a show that will be profitable for its studio, what agents need to get you work, etc.

So please… take a look… and lemme know what you think!

PITCH WORKSHOP: Entry #7 Feedback

2008-11-05T20:01:23.0220000-05:00

Hey, folks—

Today’s Pitch Workshop entry comes from Mary S., who sends in a logline for her feature romantic comedy. Take a look…

First of all—Mary, thank you so much for sending this in! Secondly, thanks to everyone who has already offered Mary their feedback and criticism… I hope it was helpful, Mary… and feel free to keep it coming!

And now, here’s Mary’s logline…

"In the feature length romantic comedy, American Breakfast, a bi-cultural young Latino flees an unjust U.S. sentence and clears away the wreckage of his irresponsible past in a quirky coastal Mexican village where he finds love, acceptance and a new life."

And here are my thoughts…

WHAT I LIKE:
I think you’re starting from a great place, Mary, because your story has a wonderfully strong emotional arc. Stories about redemption can be incredibly powerful, and American Breakfast is very acutely about redemption. I think you’ve also done a nice job of setting up two different worlds to reflect your hero’s emotional journey; he travels from an unjust U.S. to an accepting Mexican village… just as he travels from irresponsibility to maturity—so some important touchstones of your story are already in place.

WHAT I’D WORK ON:
You’ve gotten some good feedback from readers so far… I think everyone’s dead-on when they say the logline needs more details. First of all, what’s the main character’s name? Giving him a name will help us humanize and relate to him. But even beyond that—it’d be nice to have some details to help illuminate the interesting parts of the logline. What was his unjust U.S. sentence (murder, robbery, terrorism, etc.)? Why was his past irresponsible… did he have a child out of wedlock? Leave his wife? Abandon his starving family? How does he flee the U.S.? Does he run away and escape? Does he serve his unjust sentence and bolt? Some fleshing out of these vague areas will help give the story the specificity it needs to come to life.

Having said that…

For me, there are two looming holes which beg the biggest questions…

HOLE #1: You say this is a romantic comedy, but—put most simply—WHERE'S THE ROMANCE?! Romantic comedies are never about just one person, they’re about a relationship… Harold and Maude’s May/December romance (Harold & Maude), Harry and Sally’s friendship (When Harry Met Sally), Ben and Alison’s fears and frustrations facing parenthood (Knocked Up). You wouldn’t pitch any of those movies by describing just one person… you’d illustrate each of those relationships, bringing it to life so your audience could understand it and—hopefully—see some reflection of their own life in it. So I’m not even sure it’s POSSIBLE to pitch a romantic comedy where the logline focuses on something other than the dynamic between two characters. Unfortunately, the American Breakfast logline doesn’t even MENTION another character—so I’m not sure how this is a romantic comedy at all. (That doesn’t mean it’s NOT a romantic comedy. Perhaps the logline needs to be revamped to focus on the romantic relationship at the core of the story, or perhaps it’s just mislabeled and it’s not a romantic comedy after all.)

Refocusing the logline on a relationship doesn’t mean you have to ditch the themes of redemption and justice you want to explore… it just means you need to study them through the lens of your story’s particular romance. Here, for instance, are a couple sample loglines that tell a similar story… but through a more romantic lens:

• When Mexican-American Carlos is framed for murder in Los Angeles, his only hope of escape is to entrust his life to an impulsive—and gorgeous—female bounty hunter who offers to return him to his Mexican village… as long as he will father her child.

• When Carlos, a petty pick-pocket, decides to hide out in a Mexican village to escape an unjust robbery sentence, he hopes to live under the radar forever… until Penelope, a headstrong political lobbyist, mistakes him for an old ‘60’s activist and convinces him to join her campaign.

I’m not saying either of those is good—or the story you want to tell—I’m just saying they each focus on a romance… you can see where the comedy will come from… and they don’t completely sacrifice the spirit or themes of the original.

(Having said that, maybe your script ISN’T ultimately meant to be a romantic-comedy—it’s just mislabeled—in which case I’d just remove the label.)

HOLE #2: I think the other big missing chunk here is… WE NEED TO MORE INFO ABOUT THE VILLAGE HE’S GOING TO. I know I say this a lot, but all stories—at their core—are about RELATIONSHIPS, RELATIONSHIPS, RELATIONSHIPS… and if American Breakfast isn’t a traditional romantic comedy about a relationship between two people, it’s CERTAINLY about a relationship between your hero and this village.

For me, there are two ways to go with this, and while neither is better or worse, each path makes it a very different story. So is this village… A) your hero’s hometown, or is it B) a totally new place? Here’s the difference…

If the village is your hero’s hometown (like in Beautiful Girls or Ed), he’s returning to a place full of history and “ghosts,” where he already has relationships… and probably damaged relationships he never wanted to return to. American Breakfast then becomes a redemption story about a guy returning home to repair broken pieces of the life he’d left behind.

But if the village is a totally new place (like in Doc Hollywood, Northern Exposure, or Cars), it becomes a world that opens your hero’s eyes to new people, relationships, and opportunities. Only in this new land can he shed his “irresponsible” past and become the man he’s always wanted to be. In this case, American Breakfast becomes a redemption story about an outsider who—thanks to the magic of this special village—washes away the sins of his past to become a whole new person.

Neither of these story-paths is better than the other… but I think choosing one (or another one that I’m not thinking of right now) will help fill out your particular movie and help us understand your main character’s journey. (I’m also guessing you may know—somewhere in your head—exactly which village it is… it’s just not articulated in the logline. But if not… think about it; it’s an important question.)

Anyway, Mary—you’re off to a great start, and I hope this feedback is helpful!

Everyone else—if you have a logline or short synopsis you’d like to submit to the Script Notes Pitch Workshop, feel free to post it in any of the comments sections… or email it to WDScriptNotes@FWPubs.com. You can also email me with thoughts, suggestions, or questions about writing, the industry, or anything else!

In the mean time, keep reading… we’ve got some cool stuff coming up: book reviews, movie reviews, reader questions, and more pitch submissions!

TV Writing Interview: Part II... Take a Listen!

2008-11-02T19:23:02.1670000-05:00

Hey, everyone--

A couple weeks ago, the Alive! Authors Network posted the first part of Breaking In and Breaking Through the TV Business, Judith Parker Harris's 3-part interview with me about TV writing... how to get your foot in the door, get noticed, and excel in the world of television.

Well, Judith has now posted Part II... so please CLICK HERE take a listen to the next installment, and lemme know what you think!

In the mean time, have a great weekend... enjoy your extra hour... and Part III will be up soon!

Help American Idol Writers Fight for Fair Wages and Equal Rights!

2008-10-31T15:29:45.1660000-04:00

Hey, writers--

We've talked a lot here about reality TV writers' fight for fair pay and equitable treatment. Reality writers are often paid less-than-minimum wages, work illegally long hours, and rarely get breaks or meals... yet they're writing jokes, breaking stories, and crafting scenes just like writers on The Tonight Show or The Simpsons or CSI or The Colbert Report.

The Writers Guild is at the forefront of the fight for reality writers' rights, and their main target right now is Fremantle, the production company that owns and produces American Idol, one of the most powerful, profitable shows in the history of television.

Well, here's an easy, painless, two-second way for everyone to get involved...

Please CLICK HERE head to American Rights at Work and sign a letter to the American Idol producers showing your support. You can then forward the letter to you friends... and help demand Fremantle treat their workers fairly.

Also, here's a video from the kickoff of the WGA's American Idol Truth Tour...

BOOK REVIEW: The Sound Effects Bible

2008-10-30T15:09:25.3400000-04:00

A friend of mine, Biagio Messina, who’s a super-talented TV producer and filmmaker, once told me: “The easiest way to make something LOOK good… is to make something SOUND good.” (I may be paraphrasing, but that’s how I remember it.)

And he’s right.

A few weeks ago at work, we shot a sketch with a fight scene which—when I watched it the first time—felt completely weak and uninspired. But as soon as our editor, Jorge, unleashed an orgy of sound effects on it—punches, bones crunching, etc.—it was wonderfully hilarious.

In this moment, I learned three lessons which—to be honest—I learn over and over and never remember as well as I should…

LESSON #1: Jorge is an awesome editor.

LESSON #2: Biagio was right and always is. And...

LESSON #3: Whether you’re working on a reality TV show, a short film, or a 6-hour miniseries, sound effects are one of the best ways to bring something to life and make it sparkle. The world’s most dazzling visual effects are often worthless if they don’t have the appropriate sounds to make them pop.

Having said that, I’ve always known very little about how sound guys work their magic. I pick up some lingo here and there… and I’ve done a few radio pieces… but for the most part, I’m a sound idiot.

And—at the risk of making a gross generalization (which I’m gonna go ahead and make)—I think most writers are probably in the same boat.

Which is why Ric Viers’ new book, The Sound Effects Bible, is such a helpful tool.

Now, I’m gonna be honest… this is not a book you curl up with and enjoy in a single sitting. It's also not the book you read to stir up your creative juices or think differently about your writing.

It's exactly what the title says it is: a thorough introduction, a reference book, to the practical world of creating and using sound effects.

...Which means this IS the book you read if you’re producing your first film and must learn how to produce sound effects… or if you’re starting your first job as a post-production P.A. and want to learn more about the post world… or if you’re a writer/producer and need to communicate more articulately with your post department… or even if you’re an experienced sound guy and just want to keep an easy-to-read manual handy.

The book begins with an overview of the “science of sound,” discussing frequencies, amplitudes, decibels, etc. If this sounds like stuff you learned in junior high science class, you’re right… it is. And while the last thing I would EVER want to re-read is my junior high science book, The Sound Effects Bible takes this information and helps you apply it practically, in the recording and usage of sound effects, in ways your junior high science teacher never did.

Viers goes through microphones… different types, how they work, which to use for different kinds of recording. He talks about recorders… how they’ve evolved throughout history, differences between digital and analog, how to set up a recorder correctly. He even walks you through designing your own sound effects recording studios and Foley stages.

For me, the most fascinating chapter was “The Ten Recording Commandments,” which outlines exactly how to record top-notch sound effects. I’ve never before had to record any sound effects… and I don’t foresee needing to do it any time soon… but I love getting in-depth peeks into other artists’ creative processes, and Viers does such a good job of detailing his “commandments,” I felt like I could do it this afternoon.

The book also has a corresponding website—www.soundeffectsbible.com—that includes the actual sound effects samples discussed in each chapter, video tutorials, and a ton of other useful information. As of this morning, many of the coolest parts of the site (like the sound effects themselves) were still under construction, but once it’s up and running, the book and site together will be a powerful resource for anyone wading into the world of sound effects.

(I also hope Viers keeps the site updated with news on the latest sound effects developments, technologies, and resources, helping the book to be a constantly up-to-date guide to the world of sound.)

Anyway, if you're getting ready to produce a film... or work in post... or just want to learn more about one of the most important-- but often over-looked-- processes in film... check out the book and lemme know what you think...

In the mean time, here’s a tutorial video of author Ric Viers smashing a station wagon with sledgehammers and cement blocks (and if this is what sound effects guys do all day—count me in)…

PITCH WORKSHOP: Entry #7

2008-10-29T04:44:23.5786306-04:00

Today's Script Notes Pitch Workshop submission comes from Mary S., who sends in the following logline for her feature project...

"In the feature length romantic comedy, American Breakfast, a bi-cultural young Latino flees an unjust U.S. sentence and clears away the wreckage of his irresponsible past in a quirky coastal Mexican village where he finds love, acceptance and a new life."

So please... post your constructive thoughts! And if you have your own logline or synopsis on which you'd like some feedback, please email me at WDScriptNotes@FWPubs.com... or just post it in the comments section below.

In the mean time, thank you so much for submitting, Mary!

PITCH WORKSHOP: Entry #6

2008-10-26T19:33:29.6500000-04:00

Hey, guys—

Wanted to take some time today to respond to our most recent submission to the Script Notes Pitch Workshop. Thanks to Matt for submitting his work, and thanks also to Janine for her thoughtful online response. Matt, I hope you found Janine’s thoughts helpful, and I just thought I’d add my own two cents.

For those who are new to the discussion, here’s Matt’s synopsis…

Title: Downsize This!
Genre: Romantic Comedy

"Love in the Time of Downsizing"

Steve (40) is a miserable, cantankerous SOB, who finds that his long-laid plans for self-downsizing is finally starting to bear fruit when his Boss presents him with an offer he can't refuse: submit to the company's new Wellness Program, and if in 6 weeks, his disruptive at work attitude can't be adjusted; his self-downsizing wish - and the severance windfall that accompanies it - will be granted.

But when Steve meets and immediately falls in love with Alice (36), the sexy, eccentric, alcoholic Wellness Program Instructor he learns is (unwillingly) destined for downsizing; he presents a very different face at work - one of charisma and cool confidence - that brings a surge of curious new members to Alice's program; securing her immediate future within the company.

It also garners the attention of the Boss' who mistake Steve's charade as proof that he may just be what they've been looking for: someone fresh, re-energized, and confident; a man who can be presented to the Board as appearing to be the company's new face during these tough economic times.

Meanwhile, Steve struggles to woo Alice away from a competing nemesis while juggling his new found celebrity with other female co-workers, as he continues to plot his professional demise within the company in the hopes of receiving his elusive severance prize.

In the end, Steve must decide if what he wants - financial independence - is really worth sacrificing what it is he truly needs - love?

WHAT I LIKE:
I’ll be honest, Matt—I am a total sucker for stories about people trying to get fired. I think there is something absolutely hilarious about people behaving inappropriately in corporate/work environments. A couple years ago, CBS and LMNO Productions did a reality show called Fire Me, Please, where employees had to compete to get fired without their bosses catching on. It was—for all intents and purposes—a miserable failure… but I loved it. So I think “Downsize This!” begins from a strong comedic starting place… the kind of premise that immediately allows you to brainstorm scores of hilarious scenarios.

You’ve also given Steve a strong, relatable want… to get fired and get a severance package, which is something we’ve all dreamed of, especially working at jobs we despise. So right off the bat, you’re in a good place to generate story… you have a fertile premise and a character with a solid objective, both of which put you in a good starting posigion.

WHAT I’D WORK ON:
I agree with Janine’s comments… despite having a strong starting place, I think there are a lot of confusing elements in this synopsis, and they’re muddying both your A-story (Steve trying to get fired) and your B-story (Steve trying to win Alice).

While I obviously haven’t talked to you at all about your story, my sense—simply from readying the synopsis—is that much of the confusion is coming from a flaw in your writing process, and that flaw is this…

I think you’re creating story situations based on things you, the storyteller, WANT to have happen… or things you think SHOULD happen… rather than creating story situations by letting characters and events play out organically.

I know that sounds like a weird note, since we—as storytellers—are obviously in control of our stories and responsible for creative decisions, but being creatively responsible doesn’t necessarily mean we can simply wrench stories and characters in any direction we want; in fact, it often means that while we do indeed CREATE a story, we must also SERVE the story… or, rather, do what is right for the story… make it as relatable, believable, and powerful as possible—even if that means sacrificing things we want to happen.

The reason I say this in regard to “Downsize This” is that while your movie has a wonderful premise, it feels like many of its actions, events, and characters don’t behave in ways that seem honest, familiar, or true to human behavior. And since your premise is so ripe… and Steve’s want is so strong… your audience immediately has visions of how this story “should” play out. Thus, when your characters behave in contradiction to those expectations, it makes it very hard to believe in them or their world. This doesn’t mean your story should be predictable; it just means it needs to operate within the “rules” and expectations of how we believe people would act in the situation you’ve set up.

For instance… Steve is a “miserable, cantankerous SOB” who has been trying to get downsized for a long time. But instead of firing him—even in “tough economic times”—his company puts him into a six-week “Wellness Program” to change his attitude. Well, first of all—I’ve never heard of a company that puts troublemakers through their own “attitude rehab.” Companies may put an employee on probation, but they don’t usually put them through a six-week readjustment program. Why wouldn’t they just fire Steve? He’s a bad worker who doesn’t want to be there… why spend six weeks of valuable time, money, and energy trying to “fix” him?

Then, Steve meets Alice… and he INSTANTANEOUSLY becomes a new person: cool, confident and charismatic. Now, love is a powerful thing… but I’m not sure it can instantly change someone from “miserable” and “cantankerous” to cool, confident and charismatic. This just doesn’t seem like believable behavior… or at least, none I’ve ever seen in the real world. First of all—how does Steve change so dramatically so quickly? Second of all—it’s tough to swallow that such a miserable jerk would so quickly fall in love. And while you say it’s a “façade,” that confuses things even more: does Steve actually like Alice? Because if he DOES, then it’s NOT a façade; it’s a sincere attempt to be a better person and win her heart. And if he doesn’t like her, then why should we care about their relationship? Or, more importantly, why is she even in the story?

I also don’t buy that Steve’s boss—who knew Steve was such an asshole he had him put in a “wellness program”—would be so instantly duped by his transformation that he would suddenly make Steve the “new face of the company.” I mean, the boss knew what Steve was like before… so wouldn’t be super-skeptical of this “new Steve?” Even if he wasn’t skeptical, why would he make this guy—who less than two months earlier was on the verge of getting fired—the “new face” of the company?

Along those same lines, why do all these women who knew the “old Steve” suddenly fall head-over-heels for the “new Steve?” Most men spend a lifetime trying to find that kind of female-attracting behavior, and Steve—a known misanthrope—suddenly fakes (after meeting ONE GIRL) and all the other women fall for it. I don’t buy that Steve—or anyone—could do that… and I don’t buy that all these women are stupid enough to fall for it.

Perhaps most importantly, if Steve’s incredible ability to be a brilliant businessman was nestled just below the surface… why didn’t he ever step up before? I mean, once Steve meets Alice, he becomes a virtual superhero, possessing nearly inhuman business savvy and romantic prowess. So where were these skills before? I suppose you could say he hated his job so he never used them, but I don’t believe that someone in possession of these kinds of skills is an antisocial bum. Why couldn’t he have just gotten another job? Or why wasn’t he using these skills all along to get ahead, pick up chicks, dupe his boss, etc.?

Now, Matt—I know it seems like I’m really ripping apart every beat of your story here, and in a way I am. But here’s why I said earlier I think your process is flawed and you’re trying to twist the story in directions it doesn’t want to go…

I can see how each of these moments would work and be funny… in their own movie. We’ve all seen movies—and will see many more—about losers who acquire business/romantic skills and find themselves catapulted to the top of the social food chain (What Women Want, Love Potion #9). We’ve all seen movies about guys who work to become different people to win a girl (Hitch). We’ve seen movies about people pretending to be someone they’re not to get ahead in the corporate world (The Secret of My Success, Working Girl, Taking Care of Business). We’ve all seen movies that satirize and condemn the corporate world (Office Space).

So each of your story moments could be very effective, Matt… and I understand why you like them all. But that doesn’t mean they all belong in the same movie… and combining them seems to blur the story you really want to tell.

My advice: think about the story you really want to tell, the story scratching and clawing its way out of your imagination. Don’t pick the story you think is the most commercial… or even the most original… or the easiest to shoot on a low-budget… or the easiest to make as a summer tentpole… or the best to get you into film school. Pick the one story that will haunt you and eat at you if you DON’T tell it.

Once you’ve done that, write your logline. This isn’t so you an pitch it easily and quickly; it’s so you have—in short sentence form—the core essence of your screenplay. For sake of this example, let’s say your logline is…

“When Steve, a cantankerous misanthrope, learns his company will be laying off its ten lowest-performing employees and giving them severance packages, he becomes determined to under-perform his co-workers, get fired, and use the money to achieve his dream: starting his own comic book store.”

Print this out and tape it above your desk. As you continue to work, refer back to this logline as often as you need to to make sure your story is laser-focused and not veering off in weird directions.

Next step: brainstorming. I usually like to do this somewhere other than the place where I do most of my writing. I’ll go outside… or to the park… or a café… or the swimming pool. Anywhere where I can feel unconfined and free of the environment where I do most of my other thinking and working. Personally, I think it’s tough to do “new” thinking when you’re surrounded by “old” environments.

Take a pad and brainstorm all the things Steve might do to try and achieve his goal. Don’t censor yourself as you write… simply let as many ideas as possible flow from your brain to your pencil and onto the paper. Never let your pencil stop moving. Even if you’re scribbling lame, ridiculous ideas… let them come. A strong premise—whether comedy or drama—should generate a nearly infinite number of ideas.

Just looking at the above Steve/comic book shop example, I’m gonna do a quick brainstorming session. Here we go, right off the top of my head…

WAYS STEVE MIGHT TRY TO GET FIRED/LAID OFF
• Never turn in any work
• Show up late
• Sleep with the boss’s wife
• Sleep with the boss’s daughter
• Dress like a clown
• Fart wherever he goes
• Eat lunch without a fork or spoon—just put his face right in the plate
• Only communicate by singing
• Hop everywhere he goes
• Call his co-workers names
• Pee himself constantly
• Wear his clothes backwards
• Start selling off the office equipment

Now, I’m not saying any of those or good, funny, or even helpful idea. What I AM saying is this: I typed those in about 30 seconds of spur-of-the-moment thinking. If you were to spend even just an hour doing this, you’d have HUNDREDS of ideas.

Your job is then to pick the best of those (and by “best,” I mean those that are the most true and honest to Steve’s character, his want, and the world of the story—not those that you most want to happen), and begin to think about what would logically happen if they were to happen.

For instance, if Steve started communicating only by singing, he’d probably annoy and anger a lot of people… at first. But then maybe people would grow to like his singing—maybe it’s a cheerful break in an otherwise dreary workplace—and the office would institute musical Fridays, allowing people to play CD’s and listen to radios. So Steve would need to think of a new tactic. Perhaps he tries to sleep with his boss’s wife… only to discover that his boss and his wife have an open marriage, and his boss wants to join them.

Again—I’m not saying ANY of these ideas are right for the story you want to tell. I’m simply trying to concoct examples that are on-point for Steve’s objective and have a cause-effect relationship that seems believable… in both our world and your story-world.

Anyway, Matt—like I said earlier, I think you have a strong comic premise and a character with a great want; my sense is that you simply got sidetracked by subplots and story elements that seemed interesting, but weren’t necessarily integral to your main story. I even think that as you go back and reconstruct your story, focusing on your A-story, you’ll see how the B-story (the Alice love story) can integrate itself more organically without derailing everything else.

I hope this is helpful info… good luck with project, and lemme know how it goes!

For the rest of you, if you have loglines or summaries you’d like to submit to the Script Notes Pitch Workshop, feel free to email me at WDScriptNotes@FWPubs.com, or simply post them in a “comments section” here on the blog.

In the mean time, we’ve got some great stuff coming up… more Pitch Workshop submissions, book reviews, some great website recommendations, and more questions from readers!

Have a good Sunday!

MOVIE TALK: Changeling

2008-10-23T12:47:55.8020000-04:00

Hey, guys--

Saw Changeling last night, the new movie by director Clint Eastwood and screenwriter J. Michael Straczynski (former Writers Digest columnist/author!), and I have to say:

This movie is many things…

• A disturbing psychological thriller
• A restrained “little-guy-takes-on-the-system” drama
• A great screenwriting lesson
• A scathing indictment of the Bush administration

Based on a true story, Changeling begins in 1928 and follows Christine Collins (Angelina Jolie), a Los Angeles woman whose son, Walter (Gatlin Griffith), mysteriously disappears. Distraught, Collins goes to the LA Police Department, which has been under fire lately from press accusations of corruption, ineptitude, etc. Over the next five months, Collins becomes a local cause celebre, especially on the radio show of L.A. firebrand Reverend Gustav Briegleb (John Malkovich), whose mission in life is to expose and punish the corruption at LAPD. Until one day, Collins gets a call from Captain J.J. Jones, the cop handling her case (Jeffrey Donovan)…

The police have found her son, living with a drifter in DeKalb, Illinois. Yet when Jones returns Walter to her, Collins is horrified… THIS BOY IS NOT HER SON.

And this is where things get interesting.

Although Collins attempts to convince the authorities that the child is not hers, they convince her she’s overwhelmed with emotion and unable to recognize the boy. When Collins notices actual physiological and anatomical differences—the new “Walter” is three inches shorter and circumcised—the police send over doctors to “scientifically explain” the changes: trauma makes people shrink, the drifter may have circumcised the kid himself, etc. But when Collins refused to back down, Captain Jones gets aggressive, committing her to an insane asylum where the shrink refuses to declare her “healthy” unless she agrees the boy is hers.

These early scenes (and by “early,” I mean the first two thirds of the film) are the strongest part… both a Kafka-esque nightmare and a Hitchcockian thriller about a falsely accused protagonist battling against massive, mysterious forces beyond her control. Eastwood and Straczynski even seem to be embracing specific Hitchcock tropes… the cops/authority figures who won’t listen, doctors who twist Collins’ words back on her, the use of elaborate psychological explanations and treatments, etc. Even the characters actors seem to be embracing Hitchcock types: a man-boy-ish, Anthony Perkins-esque serial killer… a bulldog-ish nurse… etc.

These sections of the movie are also a brilliant condemnation of the Bush White House. The obstinate, arrogant, proud Captain Jones twists facts and circumvents laws in order to achieve his own personal motives and avoid repercussions. When he’s presented with solid evidence that “Walter” is not Collins’ son, he denies it and sends in his own “experts” to prove otherwise. He sentences Collins to an inhumane prison (an insane asylum) with no trial, evaluation, or even chance for rebuttal. He defends his actions with lines like, “Departmental policy is what I say it is,” and “This police department does not tolerate dissent, embarrassment, or contradiction.” All this time, the real perpetrators of the crime are running around free, but Jones doesn't care; he's too focused on his own crusades and bending truth to make them happen. When taken to task for his actions, Captain Jones defends them on grounds that he acted appropriately based on information he was given… and he’s not responsible for being given false information. (“Extraordinary steps were taken because we were dealing with an extraordinary situation,” he says.)

Most importantly, however (at least for our Script Notes purposes!), I was struck by how Changeling is a perfect example of screenwriting’s most basic tenet: a character with a simple, solid, tanible “want” meets an immovable obstacle… and must take action to defeat it.

Collins’ want is obvious… she wants to find her son… and she articulates this simply and clearly throughout the movie, literally saying—over and over—“I want to find my son,” “Where is my son,” "I want my son back," etc. Even when it has become apparent that LAPD is pulling strings and being shady… even when we, the audience, are hungering for the defeat of Jones and the evil cops… Collins doesn’t stray from her single-minded want: “I want to find my son.”

I think this is an important lesson, because screenwriters often think the best way to give characters dimension and complexity is to give them MULTIPLE WANTS… but this actually just confuses the story. Collins is relentless in what she’s trying to accomplish… even when Captain Jones gets his comeuppance—and lesser screenwriters would’ve said, “Okay, the bad guy is vanquished”—Straczynski knows the story can’t end until the protagonist’s want is fulfilled (or, if she doesn’t succeed, at least addressed). (To be fair, the movie’s biggest flaw is that it goes on a bit long; it has about seven endings. Still, it’s never less than riveting…)

Likewise, Straczynski’s villain—Jones and the LAPD—is equally unstoppable… and more powerful. Jones barely has to struggle to tamp down Collins when he needs to; with an entire police force and a gaggle of lapdog reporters at his disposal, he simply utters a few words and Collins gets pummeled.

It’s truly a case of “an unstoppable force” meeting “an immoveable object,” and Collins triumphs only by never giving up and chipping away, slowly and steadfastly. It’s screenwriting—and theoretical physics—at its most basic.

I know this lesson seems elementary, but I LOVE learning this, being reminded of this, over and over. I often find that when I’m blocked, or unable to break a story, it’s returning to Screenwriting 101 basics that’s most helpful… that I’m usually stuck precisely because I’ve forgotten the foundations of solid storystelling. I’m trying to complicate a simple situation… or I’ve given my character multiple/confusing wants… or my antagonist isn’t powerful enough and it’s weakening my story. And by being reminded of rules as simple as clarifying and reminding myself of my character’s one tangible want, I’m able to get see the story anew and move forward.

Anyway, Changeling opens this weekend… do yourself a favor and check it out. It’s not only a terrific movie, it’s a wonderful lesson in simple, irrefutable storytelling and screenwriting.

Lemme know what you think of it...

Chad

Changeling Trailer

Chatting About TV Writing... Take a Listen!

2008-10-21T01:47:10.9742850-04:00

Hey, everyone--

Just wanted to invite you all to listen to a recent podcast interview I did on the Alive! Authors Network... all about TV writing and the TV industry.

This is the first of a 3-part interview I did, called Breaking In and Breaking Through the TV Business, with podcast host Judith Parker Harris. We talk about finding your own voice, common mistakes, ageism in Hollywood, how to deal with criticism, show business myths and misnomers... and more!

Click HERE to go to the podcast...

Take a listen and lemme know what you think... the next two segments will be available over the next few weeks!

READER QUESTION: Protecting Your Work: Part II (an afterthought)

2008-10-20T13:27:11.3530000-04:00

First of all, special thanks to Heather, a lawyer who responded to yesterday's post about protecting your work with the following advice:

"It may be that writers don't typically register scripts with the US copyright office, but I can tell you (as an attorney) that the ONLY way to get into federal court with a claim of copyright infringement is with a US copyright.

The WGA registration won't be enough (which is probably why screenwriters don't use it in court to claim copyright infringement).

Mailing a copy of the script to yourself (and leaving it unopened with the postage dated) won't do you any good either, legally.

This is not to say that Chad's advice here is incorrect; what is written here may very well be what screenwriters do. But legally, the US copyright is the only one that will stand up in court.

But even that will only protect the *expression* of the idea in your screenplay. Ideas themselves cannot be copyrighted, so the script must be extremely close to yours to fit the definition of copyright infringement. A similar plot won't be sufficient."

Heather-- this is a terrific, valuable info-- THANK YOU!

Secondly, Heather's post made me realize I didn't mention the #1 way most working Hollywood writers protect their work when sending it to studios, networks, production companies, producers or other readers and buyers...

They send it through an agent, lawyer or other type of middleman.

Most professional screenwriters use an agent, which-- in California-- is a representative legally bonded by the state and empowered to procure work and negotiate contracts (different states have different rules about who can be an agent and what they can/can't do).

Others use a manager, which-- technically-- are simply supposed to be career advisers and can't legally procure work or negotiate contracts (but this doesn't mean they don't do it... the lines between agents and managers have become very fuzzy).

Rarely are lawyers used to submit material or procure work, but this doesn't mean it can't happen. Still, most lawyers simply negotiate, proof, and execute contracts.

Of course, if you don't have an agent, lawyer, or manager, it's tougher to submit work this way. If you have a lawyer friend-- even if they're not an official entertainment lawyer-- perhaps you can ask them to submit your material anyway. It's not the usual mode of business, but at least there's some layer of legal protection... or, at the very least, the appearance of legal representation.

Having said all this, there's still no guarantee of protection. As Heather points out, the only way to TRULY protect a piece of writing is through the U.S. Copyright Office, and-- to be honest-- I've never heard of a writer doing that. And as I pointed out yesterday, I don't believe ideas DO get stolen in Hollywood... at least not on a regular basis.

At any rate, as a writer struggling to break in, what you should be worrying about isn't how to protect your ideas... but how to get them in front of as many official buyers as possible...

READER QUESTION: How Should I Protect or Copyright My Writing?

2008-10-19T14:30:29.3040000-04:00

Hey, everyone--

Today’s reader question comes from Joseph, who writes…

“I have recently finished my first spec script and am about to start the revision process. I am planning to give the first draft to some writer friends of mine, one is a professional screenwriter, in order to get some feedback. Although I trust them, I want to be sure that my investment and work are secure. When should I register my script with the copyright office?”

Thanks for the question, Joseph! I hear this question a lot, so you’re speaking for a lot of writers out there.

Also, be prepared… I know my answer is going to stir up some controversy, so be prepared. And if it does stir up controversy—if anyone reading wants to comment—please comment below! (I love getting good heated chatter on the comment boards!)

So, here goes…

Part One (non-controversial):

Screenwriters don’t actually register scripts with the U.S. Copyright Office. They register them with the Writers Guild of America, the labor union which represents and protects most writers working in film, TV, and even radio. This is a super-simple process which you can now do online for $20 (click HERE to go right to the WGA’s registration page). You don’t even have to be a member of the Guild to do this—anyone can register their script, treatment, reality TV idea, etc.!

(To be fair, you probably COULD register your work with the copyright office, but I’ve honestly never heard of anyone doing this, and I have no idea how it’s done. The WGA is the standard registration outlet for screenwriters. I’ve also heard you can put your script in an envelope and mail it back to yourself. Then, simply keep the unopened envelope in a safe place; the postmark indicates the date on which the contents were created, proving you wrote the script before that date. But again—the real registration place is the WGA.)

Having said that, everything you write is—in theory—legally copyrighted as soon as you put it down on paper. So a WGA registration isn’t necessarily better proof than simply mailing your script back to you. Sure, the WGA registration process is more specific and specialized than simply mailing a script to yourself, but it’s not necessarily BETTER.

(To be honest, I’ve never heard of anyone claiming their script was stolen, then using WGA registration as proof to win their case. Maybe it has happened; I’ve just never heard of it. I will say: the Guild often steps in to arbitrate rewrite disputes, like when George Clooney went “fi-core” early this year over Leatherheads, and the WGA is usually very fair in these disputes.) (I don’t know why Clooney was so upset… if I were him, I wouldn’t have WANTED rewrite credit on Leatherheads.)

Part Two (here comes the controversial part):

While I never discourage anyone from registering their scripts with the WGA, I don’t usually “encourage” it, either. Mainly because: IT DOESN’T REALLY MATTER. Here’s why…

TV and movie ideas rarely get stolen. I know people think they do… and we’ve all heard legends and horror stories of “I know a guy who wrote a script just like Quarantine, he tried selling it, and two years later another company came out with a movie just like it”… but the truth is…

IDEAS RARELY GET STOLEN IN HOLLYWOOD.

First of all, there are no new ideas out there. My old screenwriting teacher used to say, “Whatever you’re working on, you must always assume there are five other identical projects in development at the exact same time”… and he’s right. I once had a student approach me at one of my classes, claiming he had an original idea that had NEVER been thought of—he was sure of it—and he wanted to know how to protect it. But when he pitched me the logline, it was just like a TV series already in development at two different networks.

Now, just because there are similar projects out there isn’t reason enough to not worry about protecting your work. What it means is this:

IT’S RARELY YOUR IDEA ITSELF THAT HAS VALUE… IT’S THE EXECUTION OF THAT IDEA.

In other words, ideas themselves are almost worthless; it’s a writer’s unique take on any idea that gives it value.

I often use the example of The Cosby Show and Everybody Loves Raymond. On paper, these are nearly identical TV shows: befuddled dads attempt to maintain control over their worlds as they navigate marriage and fatherhood. But the execution of these shows—how their storytellers see the worlds in which they live—is drastically different, and no one would accuse Raymond creators Phil Rosenthal or Ray Romano of ripping off Bill Cosby.

You can probably come up with a million different examples, shows or movies that are similar but have very different takes… Fringe and The X-Files, The Sixth Sense and Stir of Echoes, etc.

Executive, producers, networks, and studios know this. After all, they’re not just looking for good ideas… they’re looking for good writers who can EXECUTE those ideas. Writers who have unique perspectives and fresh ways of seeing the world. Which means if you’ve done your job well, in both developing and writing your script, your story can’t be told without you.

Thus, the best protection your script has is to make sure you’ve told a story ONLY YOU CAN TELL. Or rather: make sure you’ve written a story only you can tell in the way you would tell it… and in someone else’s hands it becomes a different story.

So, am I suggesting you don’t protect your work? NO. If spending $20 on a WGA registration gives you peace of mind, I say GO FOR IT. (And for $20, why not?) But I certaily wouldn’t let NOT being registered stand in the way of showing my script to people or getting feedback.

And whatever you do, DO NOT—repeat: DO NOT—put your WGA registration number on the front of your script. Don’t even write “WGA registered,” which some fledgling screenwriters do. THIS IS A SURE SIGN OF AN AMATEUR. Professional screenwriters do not do this… and the moment producers, execs, or agents get a script with this emblazoned on the script, the thought that flashes through their mind is: “amateur.” And while they’ll still judge the script on its own merits, you’ve already planted a tiny seed that may—even a tiny bit—affect their read.

So, to sum up: go ahead and register your script. It can’t hurt. But know that you’re simply paying for peace of mind, to quell your own fears (which, as a neurotic writer, I know can be overwhelming)… not necessarily any genuine protection or stamp of professionalism.

PITCH WORKSHOP: ENTRY 5

2008-10-17T17:20:30.3180000-04:00

Today's submission to the Script Notes Pitch Workshop comes from Matt in Montreal, who is looking for feedback on his synopsis for his feature idea, Downsize This! (although he's not married to the title). He also says:

"I'm aiming for a Jim Carrey inspired, farout main Protagonist, contrasted with an even wilder love interest, populated with supporting characters with their own selfish designs...

I'm happy with what I have here, but if you could offer me any specific guidance with how to improve the above synopsis, I would greatly appreciate it."

So please... take a look and post your constructive criticism in the comments section below! Here's Matt's synopsis... and thanks for submitting, Matt!...

Title: Downsize This!
Genre: Romantic Comedy

"Love in the Time of Downsizing"

Steve (40) is a miserable, cantankerous SOB, who finds that his long-laid plans for self-downsizing is finally starting to bear fruit when his Boss presents him with an offer he can't refuse: submit to the company's new Wellness Program, and if in 6 weeks, his disruptive at work attitude can't be adjusted; his self-downsizing wish - and the severance windfall that accompanies it - will be granted.

But when Steve meets and immediately falls in love with Alice (36), the sexy, eccentric, alcoholic Wellness Program Instructor he learns is (unwillingly) destined for downsizing; he presents a very different face at work - one of charisma and cool confidence - that brings a surge of curious new members to Alice's program; securing her immediate future within the company.

It also garners the attention of the Boss' who mistake Steve's charade as proof that he may just be what they've been looking for: someone fresh, re-energized, and confident; a man who can be presented to the Board as appearing to be the company's new face during these tough economic times.

Meanwhile, Steve struggles to woo Alice away from a competing nemesis while juggling his new found celebrity with other female co-workers, as he continues to plot his professional demise within the company in the hopes of receiving his elusive severance prize.

In the end, Steve must decide if what he wants - financial independence - is really worth sacrificing what it is he truly needs - love?

Batman vs. McCain: Last Night's Debate

2008-10-16T18:40:22.4460000-04:00

A great clip from last night's debate... or not... (courtesy of Andrew Sullivan's "Daily Dish" at The Atlantic)...

Batman vs. The Penguin (the debate)

PITCH WORKSHOP/READER QUESTION: The Importance of Loglines

2008-10-16T02:42:17.5780000-04:00

Hey, everyone—

Just wanted to give a quick follow-up to Tuesday’s episode of the Script Notes Pitch Workshop… and an answer to a question asked by Scott, the author of Tuesday’s Pitch Workshop entries. Scott writes:

“Wow, thank you so much for all your help. You are completely right, I know what the story is about but I have not explained that. I think i just found it so hard to distill my ideas into one or two sentences that I end up just writing generic lines.

Should I expand them a bit beyond two sentences? Or should I focus more on keeping it short but packing more information in? I could write a paragraph which would be a lot simpler and easier to read, but I dont want to write too much.”

Scott… I’m so glad you asked, because I get this question a lot: some version of “I can’t distill my story idea into just one sentence,” or “My story is too complicated to be condensed into a single line.”

It’s a common challenge… every writer goes through it… but here’s my answer… (and I’m gonna sound like an asshole when I say this, so I’m just gonna say it)…

If you can’t distill your story into a single sentence, you don’t yet know what your story IS.

Now, I know what you’re thinking… “Of course, I know what my story is… it’s my story… how would you know if I know it or not?!” But bare with me…

There’s not a story in the world that can’t be boiled down to one sentence. The Iliad, Citizen Kane, A Rose For Emily, The Office, Freddy Vs. Jason, Dragnet… every tale in the history of the world can be told in a single line. Take a look…

• Kim, a twentysomething recovering drug addict, must confront the ghosts of her family’s past when she returns home from rehab the week of her sister’s wedding. (Rachel Getting Married)

• Liz, a thirtysomething TV writer, attempts to maintain her artistic integrity, vision, and sense of self as she produces a sketch show under the aegis of a massive commercial corporation. (30 Rock)

• When terrorists kidnap the president and take over the White House, Mitch Rapp—a level-headed, tough-as-nails secret agent—must single-handedly do what the ineffectual U.S. government can not: infiltrate the White House, rescue the president, and defeat the terrorists. (Transfer of Power)

Now, these loglines aren’t necessarily perfect, but I do think they sift out each story’s essence: the story’s main character, what that character wants, obstacles in her path, and a sense of how the story works emotionally.

So being able to write a logline isn’t just developing a sales tool, a succinct blip to quickly communicate your story… it’s an exercise to help YOU understand the basic nut of your story, it’s primary narrative and emotional engine.

THIS is the most important purpose of the logline… to laser-focus you on the core of your story. Which is why I say: if you can’t tell your story in a single logline, you don’t yet know what that core is.

Perhaps you’re trying to tell too many stories at once… perhaps you don’t fully understand your main character… but until you can articulate your story in one tight sentence, you still have some developing and pre-writing to do.

Anyway, Scott… I hope this helps (without sound too asshole-y)… and please keep reading and posting! Coming up in the next few days, we have more Pitch Workshop entries, new movie reviews, some great new websites, and more!

Chad