Women in the Business

I know this is an issue that's spoken about a lot, but I thought this article/interview was particularly interesting.

http://www.huffingtonpost.com/2010/02/24/women-underrepresented-in_n_475128.html

Rerun: The Good Guy

The following is a repost from from last April, after I saw The Good Guy at Tribeca. I thought that since it's finally released, this post might be more relevant. I'm seeing the film again on Wednesday; it should be interesting to see what my thoughts are after the second viewing.

***

This afternoon, I had the privilege of attending a screening at Tribeca of The Good Guy (starring Scott Porter, Alexis Bledel, and Bryan Greenberg). I hope not to give too much away, because it is a worthwhile film and I hope it gets distributed. But I can't stop thinking about the film, especially the script, and thought I'd share my ruminations.

The basic premise is a love triangle centered on Wall Street. It's a romantic comedy -- though not quite in the same league as Kate Hudson/Meg Ryan movies. More a comedy whose anchor was partly romance.

The characters were really the most interesting aspect of the movie. The writer/director Julio DePietro broke all sorts of basic rules with his protagonist. First, there were essentially three protagonists who occupied mostly equal amounts of screen time (though one was slightly more focal than the others). They each had valuable stories that didn't really overshadow one another. Yet, it wasn't an ensemble piece. Each protagonist was also the antagonist at different moments, which kept the audience guessing. And, what I found most intriguing about the film, was that the characters were all people we've seen in real life -- cliches almost -- but not people we've ever seen on screen. They were real people who we'd recognize but not movie characters.

It was actually disconcerting to watch this film with all the script reading I'm doing. The rules for what works in scripts can sometimes be so rigid. This is usually a good thing -- most first time writers don't understand the rules well enough to break them, so the result is a clumsy script. I'm so used to evaluating scripts -- and movies -- with my mental checklist of the dos and don'ts of screenwriting that for a while I couldn't decide if The Good Guy worked or not. But, after marinating on the film and talking briefly with DiPietro, I realize it did.

There are a few reasons the movie worked, even with its rule-breaking characters. First, the comedy was great. The audience laughed out loud multiple times. Even during gut-wrenching scenes, there was room for laughter. Second, the movie hinted at what it was doing. It basically acknowledged that the characters in the film were going to be a little different, and how. The script actually foreshadowed itself in a way. Acknowledging that rules were about to be broken softened the blow. It was obvious that DiPietro understood screenwriting and the basic storytelling rules of the medium, but that he had a statement to make by breaking them. Three, the techinical stuff -- editing, music, direction, acting -- were superb.

So what's the moral? It's okay to break screenwriting rules every so often -- just make sure you know what the rules are, you understand you're breaking them, and you strengthen another aspect (like comedy) of your script so a finicky reader is too excited to pass. Don't be afraid of unconventional characters.

Oh, and check out The Good Guy, either at Tribeca or when it hopefully gets a distribution deal.

Newsworthy?

Variety had an interesting article about screenplays that reflect the writer's life. It's always cool to read where stories come from, so it's a useful article to check out. But is it newsworthy? Who doesn't write something autobiographical when they write? I took a creative writing course in college called "The Autobiographical Imagination." I assumed we'd learn to write memoirs. But on the first day the professor announces that we could write whatever we wanted -- poems, fiction, essays -- anything. That whatever we wrote would be autobiographical because we'd be expressing ourselves.

'They" always say to write what you know. I don't believe it's possible to write anything else. I know you're thinking, "Well, I don't know about the Vietnam War and it's not autobiographical for me because I'm only 30!" You still will write a script about something you know. First off, you'll research the subject matter. But not too much. But you won't be writing a history special. Your script needs emotion and characters and specifics that take it from concept to story. And that stuff will be what you know. Even if you don't know the exact emotion of someone going to war, you know of a time when you've been frightened, and can transfer what you're feeling into the context of your story. The topic compels you for a reason, because you relate to something about it. Write about that. That's what you know.

I think it would be impossible to dedicate myself to several drafts of over 100 pages of screenplay without having an emotional connection to the material. Even a writing assignment needs that element of YOU. Every script is a reflection of its writer. So it's important to remember to tell your story, but kind of obvious at the same time. Why tell anything else?

The Black List

It's that time of year, when unproduced scripts get to shine. The full black list hasn't been released yet, to my knowledge (but I'll post when it does). But here's the top ten scripts on the list.

http://www.deadline.com/hollywood/the-black-list-to-be-posted-here-in-entirety/

I'm really excited for The Social Network -- though I was before it made the list. Cedar Rapids and Desperados will also be really cool, I think, if they do get released. Because really, who doesn't love something with the description "The Hangover meets the Sweetest Thing?" Two silly, amazingly fun movies come together? Gotta be good.

Anyway, congrats to the writers who made the list this year. As always, this list inspires me to work harder on my own projects so that someday, I can see my name on that list as well. Not that it's the be all and end all of everything, but it's good to have goals.

UPDATE: Nikki Finke has posted the complete roster of the black list. View it here.

Perfect Scene

*SPOILER ALERT*

I was blown away by the writing in a recent episode of Gossip Girl, "The Treasure of Serena Madre." It was the perfect example of creating tension in a scene, and it was beautiful to watch.

It was the Thanksgiving episode. The Humphreys and the van der Woodsens were celebrating their first Thanksgiving together - and boy did they have different opinions on the holiday! Rufus wanted something huge and holiday-like. Lily wanted small, maybe even just take out. She didn't even want to invite her mother. Meanwhile, Vanessa decided to crash at Dan's loft because her mother was driving her crazy. Except she didn't realize that ever since the threesome Dan's been madly in love with her. Blair's mother was hiding something, and Blair (who is obsessed with Thanksgiving) was determined to find out over the holiday -- and when she does, she thinks the big secret is that her mother's pregnant. Serena and Tripp were busy having a quasi-affair, which was driving Nate crazy because he's in love with Serena again. Oh, and you know, the whole political figure scandal. Jenny's discovered that Eric was secretly behind her sabotage at Cotillion.

After a turn of events, everyone winds up at the van der Woodsen/Humphrey Thanksgiving. EVERYONE. Including Lily's mother, Vanessa's mother, and Tripp and his wife. The table is buzzing with secrets and tension. Everyone has to be on their best behavior, because it is a holiday, and they don't want to embarrass themselves. So there are a lot of snide comments. A lot of subtext. And finally, a lot of storming off.

It's a great scene because the audience is aware of all the tension. The audience knows everyone's secrets, everyone's drama. So we're just waiting for the pot to boil over. Waiting. It comes slowly...what's going to happen...how will our characters react...and then it all erupts at once.

This is what they mean when they say you should make sure your scenes have tension. Make your characters uncomfortable. Surprise them. Take the day we're all supposed to be happy -- Thanksgiving -- and blow it up so that there's nothing to be thankful for.

Watch the scene here.

Welcome to LA!

I spent the last month in a whirlwind, planning a move to LA. I determined that it was the place to be for writing, especially TV, and that if not now, when? So here I am, in my new apartment between Culver City and Century City, knowing that not too far away are all the studios and agencies and places that are just waiting to hire me. Right now, it's a bit of settling in and job hunting. Since I know a lot of blog readers are interested in the job search, I'll try my best to keep everyone updated on how things are going.

So far...I have a couple informational interviews lined up, I keep meeting people who know people who are passing along contact info, and I've applied to practically every job on the UTA joblist. As expected, the cold call applications haven't done much for me -- but I've only applied to a few in the week I've actually lived here, and I get that no one wants to hire someone who isn't physically in the state yet.

I'm trying my best to jump right in. I attended a panel last night at 826LA about women TV writers. The panelists were FANTASTIC, just such warm people with good info and a good outlook. I'll post my notes on that a bit later. But I was delighted to have a great conversation with the lovely Amy Berg, formerly of Leverage, currently of Eureka. It's a little crazy moving into an apartment, figuring out LA traffic and crazy drivers (never thought I'd miss NYC driving), keeping up with script reading, looking for a job, and networking. But it's the hustle, and if I can juggle all of these things, certainly I'll be able to juggle a 14 hour a day schedule in a writer's room.

The Vampire Diaries

I finally caught up on last week's episode of The Vampire Diaries. I really didn't expect to watch this show at all, much less get caught up in it. I thought I'd check it out purely because I miss Buffy a lot, and I wanted to see how Nina Dobrev did outside of Degrassi. And what I found was a clever, dramatic, well-written show. So if you haven't checked out this show yet, I recommend it.

But that's not the point of this post. In this past episode, I started really noticing Bonnie (played by Katerina Graham). She's Elena's (the protagonist) best friend. Her relatives are witches (Salem witches, but don't get me started on that...I'm a self-proclaimed Salem semi-scholar, and the misuse of Salem witches irks me...but it is the CW), and she fears she might be a witch as well. At first I thought she was just a sidekick and her powers were just there for convenience and to give her something to do. I didn't expect much out of her. Certainly not depth. But I realize now that her character might be the most compelling. She's crafted very well, very subtely, and though her journey is very much a subplot, it is fully-thought out and engaging. There's a great deal about character building to learn by examining Bonnie.

And yes, the rest of this will be a spoiler. Mostly.

Since the first episode of the show, Bonnie's been freaked out by her strange premonitions and odd feelings that she sometimes gets from touching people. At first, she tried to convince herself it was all in her head. That she was perfectly normal. And while she believed that, the audience didn't really have any reason to care about her. In fact, I thought she was a bit whiny. Just accept your powers, you know? But come to think of it, if I started being psychic and witchy I don't think I'd just ease right into it. And neither does Bonnie. She has a vision of numbers, and something really horrible happening with those numbers. And it turns out the coach gets murdered and those numbers appear at the murder scene. So Bonnie's a bit more freaked than usual. She kinda sorta predicted it. What does that mean? What else will she predict? Is she responsible? Hey, maybe she is a witch, and isn't that kind of cool in a scary kind of way? So in this week's episode, she comes into it with all these wrapped up emotions and trepidations. And she doesn't talk about her fears with anyone much. She just comes to grips with her powers slowly and subtly. She realizes she can light a candle with her mind. She doesn't try this, it just happens. She's a little scared, a little proud. All silent emotions written on the actress' face. And later, when presented with the opportunity to try this again, she takes it. And at first it seems not to work. And we see disappointment. We see that she wanted to be a witch, even though she's terrified. And when she looks back at the candles, they're all lit. And she's excited. And terrified. Because even though she wants her powers, she is scared. It was easy to want them when she didn't have them. But now it's all real.

Watching Bonnie deal with this discovery of powers is compelling. We see an entire internal conflict, even she's in only a few scenes. We understand this girl. She's real. She's not just some sidekick built so that Elena can have someone to think aloud to.

That's what makes Bonnie so great. She's not the most important character in the show (yet...I have a feeling she will become important) but she's an actual character. Too often, side characters are faceless nobodies. They exist only for the protagonist. But a better story is told when all of the characters are developed and real. When they all have arcs. I heard a powerful quote once that I always keep in mind when writing: "We are the hero of our own story." That's how it should be for secondary and tertiary characters. (And especially antagonists). They are the heroes of their own stories. If someone wanted to tell a story from their perspective, they'd have all the tools. This emphasis on secondary characters makes The Vampire Diaries must see TV, and it will make your scripts must reads.

Pitching #3

So this post will be a bit more abstract. We've covered the types of pitches, as well as the elements of a pitch, and pitch materials. But even if you have all of that down pat, how do you really impress the execs?

Many writers get extremely nervous talking in front of people. Especially important people. Especially when their hearts and souls (not to mention hours and hours and even years of hard work) are on the line. But to have a successful pitch, the first thing you need is confidence.

Okay, but how do you get confidence?

• First, know your story inside and out. Love it. Believe in it. Your story and your execution of it are so fantastic that they're worth six figures or more from these executives. If you don't that walking into the room, you'll never convince anyone else of it. But, there's a fine line between confident and cocky. Maybe you wrote the next Juno. You will be laughed at if you say that. Your story is great. You're great. But you're not better than anyone else.
• Practice your pitch. In front of people. In front of a mirror. in front of your action figure collection. But it's best in front of people, because they can actually give you feedback. Maybe the first time you'll practice reading off your note cards. Hopefully, when you're ready to pitch, your note cards will have a bunch of chicken scratch on them that only you can sorta read, and you're not going to need to refer them. I hate pitching with notecards. It makes me nervous, makes me lose my focus, and inhibits my concentration on the pitchees expressions. I've always been a bit off-the-cuff, and I totally get that not everyone is. But try to memorize your pitch (or better yet, know your story well enough) that you can go off the cuff. This will help you pitch outside of formal pitch meetings, say, at a networking event.
• Don't get caught up in the wording of your pitch. Maybe you wrote something great on those note cards. Shakespearean even. If you sound like you are reciting a speech, you will lose interest. This isn't a speech, it's hopefully a conversation. If you fumble a word or two of your memorization, remember this: no one knows what's on your note cards. No one knows your script, so they won't know if you get something wrong. So don't get flustered. Because the only way anyone can possibly know if you got something wrong is if you show it all over your face, or if you correct yourself. However, if you've been calling your main character Jack, and then slip into his name from a previous draft, Steve, correct yourself so the execs don't get confused.
• SMILE! Even if you're shaking inside, a smile will make you come off as confident and enthusiastic. It will also relax you. You know that trick that if you're on the phone with someone you can't stand, you should smile, because it will make your voice sound happy? It works in real life too. Fake it til you feel it.

Next up, the difference between selling and a conversation, plus words you really shouldn't use.

Looking for Inspiration

Writing a good script involves tapping into your own life, your own stories and events that you've witnessed, and alchemizing (i know it's not a word) them into a powerful story for your characters that speaks to your audience.

Sometimes, it's the easiest thing in the world. More often, it's hard to find that line between the stories that inspire us and the story that would work for a script. So, I thought I'd share a great post from the Grey's Anatomy writers' blog about the inspiration for this past week's episode. So yeah, spoiler alert. So watch the show if you're into it. And if you aren't a Grey's fan, there's still something to be gained from reading how professional writers come up with their story ideas.

A remake of a show about a remake of a show

The title to this post reminds me of the Friends episode "The One Where Everybody Finds Out," when Phoebe says "They don't know that we know they know we know" and Joey has no idea what she's talking about. Fittingly enough, Matt Le Blanc is starring in a new Showtime comedy "Episodes" -- a remake of a BBC show, about two British writing partners/married couple who are signed on to produce an American version of their hit British show. The comedy is being written by former Friends co-creator David Crane and Mad About You co-producer Jeffrey Klarik. It could be really cute. I love everything Friends, so I'll definitely be tuning in when the time comes.

Also, just a musing I've been having lately that seems to fit here. Remember a year or so ago when comedy was dead? Well, it just goes to show you that trends are just that -- fleeting and changing. There are 3 full nights of sitcoms on network TV, and HBO and Showtime have quite a few half-hour comedies. And that's not counting dramedies like Glee or Ugly Betty. People are interested in laughing again. As for me, I could barely contain my laughter during last week's premiere of Modern Family, and I've been loving newbies Community, Bored to Death and Cougar Town as well. Gotta get ready for tonight's two new comedies also...oh, time, where have you gone?

What Does a Pitch Look Like?

So, more technical stuff in the second part of the pitching series.

There are a few necessary elements to a pitch. First, introduce yourself, schmooze a little. People like to work with people they like. So be likeable. Ask about the projects they are working on, what they think is doing well -- and if it's applicable, adjust your pitch to meet the needs to glean from them. Be a polite snoop, in other words. They'll let you know when to begin the actual pitch. Start with the concept. Some people suggest doing a match-up kind of thing to give a frame of reference. For example, "It's I Love You Man meets Doubt." Some people hate that, though. Try to learn as much about the person you're pitching to as possible to see if they'd appreciate something like that. But at least give a logline so they know what's coming. Unless you established it prior to the pitching meeting, mention the form. Is this a movie? A pilot? Unscripted or scripted? Then, tell them why you think they'll be interested. Are you pitching to get a deal to write the script? To get money to fund your indie project? To get an actor or director on board? If the pitch is based off another source, mention it. Explain that you have the rights. If you don't have the rights -- get the hell out of the room! If you have anyone attached to the project mention that. (and by this, I mean real names. If your cousin is an actor and he's agreed to star in it, don't mention it. Unless your cousin is Zac Efron). Then, begin the story. The story is the most important part of your pitch. Like I said in the previous post, the story should include a beginning, a middle, and an end. Make sure you have enough time to get to the end. Only stress the important beats. Leave some things to the imagination.

The people you're pitching to will have feedback for you, most likely. Well, hopefully. Feedback means they're listening. Take notes. I like to paraphrase their feedback and repeat it back, with a specific way of incorporating into my story. That way they know you're listening, interested, you value their opinion, you aren't stubborn, and you're easy to work with. But keep it short. The feedback portion isn't really about you. There might be feedback mid-pitch as well, and accept it gracefully. The more feedback, the more engaged they are. Most execs I spoke to have said they know if they're interested in a pitch within the first 5 minutes. If that long. Another line I've heard a lot is that pitching is like dating. You kind of get a feel for the person at the outset (How I Met Your Mother fans will recognize this as the lemon law). You're also trying to feel out if you'd be a good match for the person you're pitching to.

Here's a tricky subject: pitch materials. An all-too-often-asked question. If you're pitching an unscripted show, having a sizzle reel is generally a must. Just a short cut of what your show will look like or an ad for your show. Something to give them an idea of the show's style and your talent. So many reality show ideas are alike, but what sets them apart is how they're done. If you're pitching something scripted, it's okay to bring materials, but don't expect to hand them out. You can bring a treatment, a synopsis, a copy of the script, exciting visuals. Some people feel more comfortable if they have them along. But don't hand them out at the outset. Because as soon as you hand someone a piece of paper, what do you think they're going to do? That's right, they'll read it. You want their focus to be on you, not your papers. If, at the end, they ask if you have something, give it out. If you really have to, and you've gauged the people well enough, you can offer to give them more to look at.

Pitching #1

We're writers, right? We like to sit by our computers typing away, not really doing the public speaking thing so much. But when it comes to getting someone to read our scripts, or better yet, buying our scripts, we have to talk it up to them. We have to pitch.

A lot of people get really intimidated by the idea of pitching. Telling someone your 110 page story that you've slaved over for months in only a few short minutes? How can you possibly get it all in there? Plus, what if they hate it? Won't you just be utterly humiliated?

Not if you follow these tips. I'm going to do a short series on pitching over the next few days or so, with some techniques and guidelines.

Let's start off with the three kinds of pitches. First, there's the elevator pitch, which is a 30 second pitch in case you randomly bump into someone, say in an elevator. This is generally impromptu, so it's good to have something always memorized in the back of your mind. This pitch should include the main character, the journey, and how the script ends. If your story works, this should be a breeze to figure out. I found that I had some trouble with my elevator pitch until I really figured out the heart of my story. What is the most important part of your character's journey? The inciting incident, the main obstacle, and the ultimate goal? Practice this pitch on your friends, in networking events -- this should be your answer to "Oh, you're a screenwriter? What's your latest project?" No one wants a long answer. The key is to leave the person wanting to read your script. Remember to smile. If you're excited about your pitch, they will be too. Just an aside -- it's a good idea to have elevator pitches prepared for 1. your current script 2. any previous scripts 3. yourself. Come up with a personal pitch for networking events. This should include your current job, the fact that you're a screenwriter, and the script you are working on. Unless your current job is more interesting.

The next pitch is the 3-5 minute pitch. It's for a script you've already written. This should have more details than the elevator pitch -- the act breaks, major story beats. Mention your protagonist and maybe some other main characters. Make sure you get to the end of the story. No one wants a hidden ending, an exec wants to know the twist ending before they read your script. Imagine if The Sixth Sense had a different ending -- would it be the same movie? The twist can make a movie, so don't leave it out. The way you tell the story should be indicative of the tone. The funniest comedies are funny to talk about, the best dramas are dramatic just in story. I'll be talking a bit more about this pitch in upcoming posts. It's the most common for new writers, and also is a follow-up to an elevator pitch that has established proper intrigue.

The third is the professional pitch. This is 15-20 minutes and it's usually to get a check to write the project. So it's not really going to happen until you're more established. This includes a lot of detail, everything in the 3-5 minute plus more supporting characters and other incidents. The general idea is to tell such a good story that someone pays you to write it.

Notice that none of these pitches include the marketing strategies for the script. You may be able to throw some of that in during a professional pitch, but for the other two, it's best to let your story speak for itself. There are marketing people to decide how to find a target audience. Your job as a writer is to tell a good story. And if your story is good enough...finish this sentence please...your audience will find you.

Check back for upcoming posts on the specific elements of the pitch, strategies for delivering the pitch, and what it takes to sell a pitch.

A Film to Remember

Sorry about the long posting hiatus...this past month has been such a whirlwind, but now that things may have calmed down, I'll get here more regularly.

In this past week's Entertainment Weekly, Stephen King wrote his column about the decline of pop culture. I adore Stephen King (among other things, if you haven't read his On Writing you really ought to. It's more geared toward fiction, but it is a definite "must" for any writer of any genre), but I disagree with one of the comments he made in his column. I tried to find the article on EW's site, but it doesn't seem to be up. But I'll share the quote with you: "When did you last see a movie that still engaged your mind a week or a month later? Doubt was nearly a year ago. Ditto The Wrestler and The Reader." His point is mostly that movies like Transformers 2 dominate the box office and have the widest distribution. Fair. I'm personally tired of this argument against big blockbusters, especially in summer, because a)they are fun, sometimes, and movies don't have to always be more than pure entertainment and b)if the studios make big money on one picture, they don't have to worry about losing money on a smaller one -- and with DVDs and hulu an whatnot, most people don't go out to the big screen anymore for a movie that won't get lost (ie, whose explosions won't be as awsome) on the small screen.

But all that aside...there have definitely been movies that came out since The Reader that have stuck with me. That I can't stop thinking about. That inspire me in multiple ways. Most recently, I would say 500 Days of Summer and Inglourious Basterds. I cannot get them out of my head, and if money were limitless, I'd see them again in theaters tonight.

What is it about these movies that makes them so hard to get out of your head? I think foremost it's originality. I've never seen anything like Basterds. A tear-jerking action comedy about Nazis? Who even thinks of that? And to pull it off without being offensive? As the granddaughter of Holocaust survivors, it takes a lot for me to see a WWII movie, much less one that is supposed to be funny -- and I must say, Quentin Tarantino figured out a way to make WWII Europe into something that was at times laugh out loud funny. There has been nothing like that movie. And 500 Days took the romantic comedy to another level. It added truth to a usually sugarcoated genre. So of course, weeks later, I'm still wrapping my head around these films.

I also realize, that when I read a script, I'm looking for that originality. That extra oomph that makes me sit up a little straighter as say "Damn, I've never seen this before, I don't entirely know where it's going, but I trust it." I can read a beautifully written script, but if its plot doesn't stand out, chance are I'll pass. You'd be surprised how many of the same script I read. I read the synposes first, and so often I can't tell the scripts in my pile apart. But, it is also key to remember that originality isn't the be all and end all. I have read some highly original scripts, but the structure or the writing were off, or the plot was way too far-fetched that it was original but not interesting. So it is definitely important to keep that balance in mind when crafting your work, so that your script is one that a reader remembers weeks later.

A quick tip for originality: write against the grain. If your first instinct is to write a scene one way -- for example, a bank heist, the robber says "Give me your money of I'll kill you," points a gun at the teller's head and the teller weeps and hands over the cash as a child cries in the corner, huddled with its mother -- imagine it differently. Maybe the teller is in on the plot. Maybe the teller is secrelty a renowned martial artist. Maybe the child runs over to the robber and says "Daddy no!" Even if your idea is absurd (kind of like my last one), it may lead you to a deeper, more original story. And if you write a scene that no one is expecting -- but still holds true for the larger premise and tone of the film -- your script will be golden.

One final question: what movies stick around in your head (from this year or otherwise) and why do you think that is? By discussing outstanding movies, I think we'll all get a better idea of what the perfect script should look like.

Leverage

I just found this really cool blog by the creator of Leverage and other writers.

I've never been one for procedurals, but I'm addicted to Leverage. The characters are so developed and unique, and the cons aren't just a whirlwind of intense fun, but actually highlight the characters' flaws and insecurities. They tell a universal story while keeping it very specifically contained to these specific characters in this specific world. It's the perfect balance. The show is on TNT Wednesday nights at 9, with an encore episode at 11. Check it out. Seriously.

(500) Days of Summer

I don't tend to do movie reviews, because everyone has different tastes, and I like to stay as far away from spoilers as I can, but for this movie I just cannot help myself. I saw (500) Days of Summer this afternoon, and I was completely blown away. The storytelling was so unique, so unexpected -- and it really worked. If you're writing anything with flashbacks or voiceover, this is a must-see.

The basic premise, without giving too much away, is boy meets girl...but it isn't a love story. It's just an honest portrayal of the modern relationship, with heartfelt details and fantastic acting. I'm a huge Joseph Gordon Levitt fan to begin with, but his work in this film was stunning. And Zooey Deschanel was so real, you could almost touch her. Everything about this movie worked, from the sequencing, to the intricate costume and set design, to the dramatic tension in each scene.

This is a prime example of both characters and conflict. The entire movie is driven by these two specific characters who are at once only themselves but also universal, regular Joes. So the audience immediately recognizes themselves in the characters, but they are so detailed that they feel like real people. The characters are mixed with an inherent conflict that's placed subtly in each scene. Not a moment goes by with some sort of dramatic tension. Each scene has a purpose or two, but in the background are inklings of the greater conflict. One of the complaints I make most in my coverage (and that I get 0n my own writing, let's be humble for a second) is that the scenes lack conflict, and the story lacks drama. So seeing a movie where it really comes together made me truly understand this important nuance of screenwriting.

In short, if you're serious about pursuing screenwriting as a career, you have to see this movie. And you have to learn from it. And if you just like movies, art, or life, then you'll have a great hour and half in the theater.

Emmys

Writing awards are being cut from the live telecast of the Emmy...I don't know about you, but I'd really like to accept my future Emmy on TV.

http://www.thrfeed.com/2009/08/hundred-tv-writers-protest-emmy-changes-.html

Characters Aren't Just Their Quirks

One of the notes I give most often on the scripts I read is that the characters lacked proper development. They weren't people. Today, I'm up to my second script of the day, and both make the error of characters having quirks but not personality.

Don't get me wrong, it's important to have a few quirks. They draw the audience give, make a character memorable...but only if done correctly. Only if the quirk is a reflection of a deeper aspect of the character. Think of people you know, and their unique quirks. Where do they come from? What do they say about that person? Your characters should be well-developed, they should feel like real people. And real people have layered personalities, the outer layer of which is generally their quirks.

For example, take Monk. He's OCD, which would be his quirk. But what does that really mean about him? Well, he's meticulous. Which makes him a great detective. And he's a little bit anal, which makes him hard to work with. You can feel like you know Monk, because he's not just another bland detective. He's a detective who took an attribute that could have held him back in his work, and turned it into something that makes him the very best.

Or in Forgetting Sarah Marshall, Jason Segel's character ate cereal out of a giant salad bowl. So weird. So particular. So unique to Peter Bretter. But even more importantly, it was just a manifestation of who he is. A goofy sort of guy, still with a childish impulse, who's so down trodden he doesn't want to eat anything more than cereal. But if he's going to do it, he's going to do it in a big way. This quirk doesn't present itself continuously throughout the movie. Instead, other quirks come about that have the same birthplace. The same core.

So, don't make characters whose only unique quality is their stutter or their need to wear high platform shoes. Make them people, who because of who they are, would have to stutter or wear high platform shoes. Or both. A stuttering-platform shoe wearing character would certainly be unique. If they were real.

How to Write a Spec Script

I'm currently in an amazing class, taught by two producers, one of whom used to head up the WB Fellowship program. This class is kind of her NY version of that program, in that we're learning how to perfect spec scripts, we're meeting writers, and getting notes from seasoned development execs.

I'm just starting to outline my spec (How I Met Your Mother, if you're interested). I went through (read: pitched) many ideas for the script, and got a lot of useful feedback about what works in a spec and what doesn't. Even though I thought I knew the basics of spec writing, I learned a lot just from talking to a woman who's spent years of her career weeding through specs -- she's literally seen it all. And is looking for something new and fresh.

So, the basics: A spec is script you write "on speculation" that you will get a job. You will not get paid for it. No one asked you to write it. In all likelihood, it will never get made. The most you should assume it will do for you is get you an agent or a staffing position on a TV show. Generally, specs are of shows that are currently on the air. However, original spec pilots have been making their way to agents. For our purposes, though, when I talk about spec writing, it's writing a spec of a show that currently exists.

What shows to write:

1. A show that is currently on the air, showing new episodes
2. A show that has been on the air for some time, or is so widespread everyone knows it -- for example, a show like the Mentalist would be okay because it's such a hit that Hollywood is paying attention. Better Off Ted still needs a few seasons under its belt, because the super-busy agent or producer reading your script probably hasn't had the need to Tivo it yet.
3. A show that is likely to remain on the air for at least another season. You want as much life as possible out of your spec -- mostly so that you don't have to write one every few months -- but also that people in Hollywood see that you're paying attention and can capture the current voice.
   
4. If you want to be a comedy writer, pick a half hour sitcom. Don't pick a dramedy. It's kind of a different beast. If you want to write dramas, pick an hour-long. It's best to have more than one spec under your belt (ideal these days is 2 specs and an original), so for comedy, write a multi-camera and a single-camera. For drama, write a serial and a procedural. Show that you're versatile. But don't be too versatile, ie, write an Office spec and a Law and Order. No agent will know what to do with you.
5. Don't pick a show like Lost where you kind of have to be in on the mystery to know what to write next. Serial dramas are obviously harder than procedurals because of all the character dynamics that shift. But try to find one where you can have a stand-alone episode. A bad idea would be (something I attempted earlier this year) writing a Grey's Anatomy script this season. Since your script must be current, it's kind of impossible to write a script with characters who may or may not be dead.
6. Find a show you really love, that you can spend hours watching and researching, whose characters you know, love, and understand. Because ultimately your passion will be what makes a script great.

I picked my show...what should the plot be?

1. A stand-alone episode is best. Write something that can happen at any point and is not contingent on any of the characters' current relationships, unless those relationships are fairly stable. Otherwise, as soon as your characters move on in the actual show, your script is completely moot. Plus, execs/agents will think you're a bit of a dumbass for not realizing that.
2. Don't make any major character changes. For instance, don't write Liz Lemon sleeping with Jack Donaghy. It's not up to you, and it doesn't show that you can write within the confines of the show.
3. Don't revolve the show around a guest character. This includes having your story be about the main characters, but sort of contingent on the existence of a guest character. Keep to your show's main cast as strictly as possible. Even recurring guest cast is a bad idea...what if, unbeknown you, the actor who plays Intern Steve on Grey's Anatomy just got cast in his own pilot and will never be on the show again? Don't risk it.
4. Stick to the main set of the show. Your characters should not venture off to foreign countries, or go to the movies if they always hang out at a bar, or anything like that. Show that you can use the world that already exists on the lot. On the off chance that your spec is good enough for the show to buy, don't let them hesitate because they'll need to increase budget to shoot your script. And even if you know they'd never buy the script, anyone reading yours will know this rule and expect you to follow it.
5. Don't change the rules of your show's universe. For example, Dunder Mifflin can't start selling pencils in addition to paper. The vampires on True Blood can't start to fly. Chuck Bass on Gossip Girl can't start taking the subway.
   
6. Competitions are dull. They're an easy way out, and too many specs use this device. It's boring to your reader because he or she has read it a hundred times before.
7. Make sure your A story is for your lead character. For example, my How I Met Your Mother is mostly about Ted even though the other characters have carried shows in the past. The general concept of the show is that it's Ted's story, so my script will be Ted's story. Same for Grey's -- it should be Meredith's story. Or 30 Rock, make it about Liz.
8. Make sure you have a B and C story, and that you balance them in exactly the same way that most of the show's episodes do.
9. Take a known story and spin a brand new twist on it.
10. Stay within the voice of the show. Understand what plots they tend to use, and use one like it, but one that is still wholly unique to both that show and the TV universe as a whole. Make sure your own voice comes through in your script but doesn't overshadow the voice of the show.
11. Remember that the people reading your script have read scripts for almost every show out there. Don't recycle a plot from a show that's no longer on the air. Don't pick an obvious plot that would have worked really well for The Larry Sanders Show and submit it to 30 Rock. Chances are someone at some point wrote a Larry Sanders spec with that idea, and the person reading your 30 Rock may recall it. Be as original as possible!

This all sounds impossible, how do I do it?

1. Research your show intensely. Rent the DVDs. Watch them straight through. Watch all of the extras. Listen carefully to the commentary, you can get some great ideas about how the actual writers come up with ideas and execute them, and how the people on the show feel about the characters and settings. Read as many scripts from the show as you can. www.scriptcity.com is a great resource, though you may have to pay $10 for a script (but when you're getting paid $3000 a week to write for the show you got hired on from that spec, you'll be okay with the fee.) Re-watch the show, taking notes of exactly what happens and when. Time the act breaks (now called "act outs" apparently). Time the scenes. Outline the show. I use graph paper to plot a curve of the show. Know that show so well that you can recite in your sleep and that you interact more with its characters than the real people in your life. Yes, be a crazy hermit. Total immersion. Read blogs. Read interviews. Read fansites. Watch webisodes, if applicable. (You don't want to copy a webisode plot by mistake!). Read the Episode Guide of the show (wikipedia is usually a good resource for this.)
2. Watch similar shows to get a feel for plot lines that you can maybe add your own spin to, or things that you should avoid because they'll seem overdone. For example, no one can really write a spec of the cast of How I Met Your Mother getting trapped in Ted's apartment in real time, because it will be too reminiscent of the Friends episode "The One Where No One's Ready."
3. Draw from personal experience. This was reiterated by almost every writer and exec who spoke to my class. Personal experience is where the rawest, funniest, most intricate stories come from. They'll be in your voice, they'll be unique, and they'll have that je ne sais quoi that readers crave. The truth compels people, and what you need to be is compelling.

Sexism

Amanda the Aspiring TV Writer linked to this blog on her site. It's a thoughtful essay on the subtle sexism still extant in Hollywood today.

And for more subtle sexism things, consider this info from New York Women in Film and TV.

It's odd to me that given the disparity between the genders in Hollywood, women still aren't considered minorities when it comes time for fellowship apps. Just saying.

It's All About Who You Know -- So How Do You Meet People?

When I decided that I was going to actively pursue screenwriting/TV writing as a full-time career, I was kind of nervous. It's hard enough to cultivate talent, but add to that the fact that it's who you know more than what you know that determines your success? I didn't know anyone. I had no family friends to pull favors from or anything like that. So I thought, I guess if I'm going to do this, I'll have to be one of those lucky few -- very few, I thought -- who make it based on merit alone.

But here's the thing. Yes, it is about who you know -- but no one ever said you have to start out knowing anyone. The trick is USING YOUR MERIT AND SKILLS TO MEET PEOPLE.

Here's a little bit about my journey -- and while I haven't yet achieved the success I want to, I'm only just starting out, and I can feel that this is the right path. I think understanding how I personally am finding success could help you navigate your own trajectory. I took a screenwriting course in college, went to the Summer Film Program at USC for 6 weeks, and applied like crazy to internships and script reading jobs while I was out in LA for the summer. I got a script reading job, partly because of an interesting resume, partly because the head of the management company had done the same program at USC years earlier and thought I was a)the kind of person he wanted reading scripts and b)going to learn a lot from combining my coursework with the job. (People in this industry really do want to help you learn, especially at your early stages). Months go by, nothing. I was applying above my "level." Not above my skillset, but above my experience. I randomly saw an application for an internship at a non-profit, New York Women in Film and Television, and applied. I got the job. The organization is all about providing opportunities for people to connect better in the industry and advance their careers. It's a great organization, and there are chapters worldwide -- so I'd suggest checking it out. I worked really hard at NYWIFT, and attended as many of the programs as possible. I did my best to be helpful, efficient, pleasant, and hard-working -- more on that later. I built close relationships with my peers and superiors, and was given the opportunity to staff and attend a writing seminar with two established producers, one of whom used to head up the WB workshop. It's a great class -- small, and selective. I make it my business to be as gracious and helpful as possible to both the teachers and the other students. And I'm getting some great mentorship out of the deal. I've also had informational interviews with panelists (executives) from some of the NYWIFT events, and gotten great information, budding friendships, and people to offer to look out for opportunities for me. Meanwhile, at one of the NYWIFT events, I met one of our board members, and we got along pretty well. When she had an opening for an internship/PA job at her production company, she emailed me asking if I was interested. Suddenly, I wasn't the person blindly applying for jobs. I was the person who knew the hirers -- who "cheated the system" and got the job without applying through craigslist or entertainmentcareers.net.

I started out not knowing anyone. And now I have many business cards of contacts, and I'm seeing results from those relationships. I've learned -- it's not about who you know. It's about who you meet, and how you conduct yourself when you meet them.

In the next post, I'll talk a bit about how to meet people, what to do at networking events, and most importantly -- how to succeed as an intern/assistant and make sure you get bumped up to the next opportunity.

In the meantime, for that last bit, check out Amanda the Aspiring TV Writer's article on the Dos and Don'ts of being a good assistant.