Yesterday, I was looking for some inspiration to tighten up my own scripts, and did a little perusal around the Daily Script archive. I ended up reading the pilot scripts for The West Wing and How I Met Your Mother in their entirety, and aside from being quite amused by the little changes made between draft and shooting scripts, something else occurred to me: These were damn good reads.
I know that's obvious. We're talking about an acclaimed Aaron Sorkin joint on one hand, and a Bays/Thomas piece that's become one of the more popular sitcoms of the last half-decade. But it's amazing how well these flow, even with sometimes inscrutable teleplay format, and especially in the case of the HIMYM script, how much I found myself laughing without the aid of witty, attractive actors reading the lines.
It also made me think about how I'm still not entirely pleased with the tone of the "Being" pilot script. It ends on a pretty serious note, which wouldn't bother me so much if I thought it was otherwise up to snuff. I conceived it being a drama with dry comedic highlights, such as Californication or Entourage. But it's definitely not network-friendly right now, if I were to pitch it that direction. I don't have act breaks, it doesn't sit well into either the drama or comedy categories, and while it is rife with conflicts, it doesn't have a central obstacle for the protagonist to overcome.
Then again, it's a pilot. It's setting up the conflict for the series. It's introducing the key players. It's welcoming viewers to this world, hoping to interest them enough to come back week after week.
I recently created a "bible" for a new comic book series I'm developing. That's something I've never done before -- put so much planning into a project before launching it. And creating the bible, delving into all of the main characters' back stories and synthesizing the series concept into just a few sentences, it all really helped not only hone the idea, but also provide a map of where to go from there. Maybe I need to do the same thing with this TV proposal.
Tuesday, December 28, 2010
Wednesday, December 15, 2010
Diversions
First, let's get this out of the way: I did not successfully finish National Novel Writing Month. It was a confluence of bad timing, loss of personal interest in the book, and the realization that the concept was flirting a little too closely with that of George Orwell's Nineteen Eighty Four. I got about 6,000 words deep, and just gave up. best to let that one sit on the shelf until a future time when actual good ideas appear to revive it.
However, the insane month that was November (which was actually supposed to be a "break" of sorts for me, but it only worked that way for about a week) is now over, Christmas is almost here, and I've gotten back to track with renewed fervor for both "Being" and another project I put on the back burner for a while, a screenplay for an espionage-action flick that I can only describe as "24" meets "Heroes."
For "Being," I've turned the focus back to the novelization of the story that picks up about six months after the proposed first season of the TV pitch. It's helping me really get to know the characters, to fully build the world in which they live, and in the end, hopefully something publishable will come out of it. In theory, I can then sort-of work backward from there if the pilot ever sold or got optioned, bridging the two works into one.
But that's getting ahead of myself. I'm only on the third chapter of the novel and the sixth page of the screenplay. It's nice to be writing again, just purely writing without deadlines or the tedium of illustrating the stories. And for the most part, they're writing themselves -- I'm just transcribing what the voices in my head are telling me. So, today's lesson is: Don't ignore the voices in your head. No matter what your psychiatric professional tells you.
However, the insane month that was November (which was actually supposed to be a "break" of sorts for me, but it only worked that way for about a week) is now over, Christmas is almost here, and I've gotten back to track with renewed fervor for both "Being" and another project I put on the back burner for a while, a screenplay for an espionage-action flick that I can only describe as "24" meets "Heroes."
For "Being," I've turned the focus back to the novelization of the story that picks up about six months after the proposed first season of the TV pitch. It's helping me really get to know the characters, to fully build the world in which they live, and in the end, hopefully something publishable will come out of it. In theory, I can then sort-of work backward from there if the pilot ever sold or got optioned, bridging the two works into one.
But that's getting ahead of myself. I'm only on the third chapter of the novel and the sixth page of the screenplay. It's nice to be writing again, just purely writing without deadlines or the tedium of illustrating the stories. And for the most part, they're writing themselves -- I'm just transcribing what the voices in my head are telling me. So, today's lesson is: Don't ignore the voices in your head. No matter what your psychiatric professional tells you.
Monday, November 1, 2010
NaNoWriMo
For whatever reason, even while in the midst of the fall comic con season (Long Beach last weekend, Vegas next weekend, and a comic release event the following weekend), I've decided to participate in National Novel Writing Month. And for whatever reason, I'm writing an alternate reality/science fiction/espionage novel. Yes, I know that makes no sense, and it doesn't get "Being" any closer to production, but I think I need to do this. So updates here might be sparse this month, but if you'd like to track my progress on this novel, you can do so here.
Friday, October 15, 2010
Registration Act
I registered the pilot teleplay for "Being" a little while back -- my first Writers Guild of America registration -- but I didn't realize I'd get a nifty little certificate. But that's exactly what appeared in the mail last week.
So, that's cool.
Not much else to say about that or report. Still wrapping up a bonanza of projects, including the back-to-back releases of three comic books in which I either wrote, drew or edited something -- mostly, all of the above. Once November rolls around, I should be able to return to working on "Being" in earnest, both writing additional material and shopping around the script.
I'm also considering, as November is National Novel Writing Month or whatever, participating in NaNoWriMo and using that as incentive to finish the sequel to "Being," which is actually a novel-in-progress/potential screenplay. But we'll see.
Tuesday, September 14, 2010
Ad man
One of the various things I do professionally to pay the bills in between writing blogs about writing TV series that aren't in production is manage the social media and internet marketing for a local cultural institution. Yes, I get paid to tweet. Don't be jealous.
We're about to launch an online video contest, so we needed a kick-off video to get the proceedings underway. The original plan was to do a quick-and-dirty Flip cam video, but it morphed into something else, as these things often do, so today I ended up directing a cast of one and crew of two to create this one-minute masterpiece.
The script was written in about twenty minutes. I've never written a script for a commercial or PSA before, and because the initial plan was to do one shot, one take, I didn't even break it down into standard commercial script style (with scene notes) -- it was basically about 250 words of pithy prose, all of which had to be memorized over the weekend by the star of our video, a PR man with more than a little experience in broadcasting.
However, when I got to the location for the shoot, I realized I wanted to do a little more to make this video visually interesting, and I blocked out three shots we could use to be quick-edited in the final product for an edgier effect. After convincing the accommodating crew (one cameraman and one all-purpose grip) and producer to take on the additional shots, it quickly occurred to me I was directing this thing, something that I hadn't considered prior. I gave tips to the talent for line delivery and blocking. I selected the shots, but let the crew make the technical decisions to do what they knew best. I added a last-minute fourth shot to better balance out the overall video. It went quickly, smoothly and hopefully the outcome will be as engaging as I envisioned when I wrote it.
This wasn't my first time directing a script I wrote, as I think I've mentioned here. There was that one-off disaster of a play in college. But this was something completely different -- a much more cohesive, collaborative fruition of a creative vision (even one done in the name of marketing) -- more like writing a song and working with your band to bring it to life. It's your song, still, but it's the input from the collective whole that makes it a reality. And though no one but me and a few people will know I had anything to do with it, people will see it, and its existence will be documented.
And though it should be no surprise coming from a guy who thoroughly enjoys editing publications and leading bands, I think directing is something I'd love to do. Hmm.
We're about to launch an online video contest, so we needed a kick-off video to get the proceedings underway. The original plan was to do a quick-and-dirty Flip cam video, but it morphed into something else, as these things often do, so today I ended up directing a cast of one and crew of two to create this one-minute masterpiece.
The script was written in about twenty minutes. I've never written a script for a commercial or PSA before, and because the initial plan was to do one shot, one take, I didn't even break it down into standard commercial script style (with scene notes) -- it was basically about 250 words of pithy prose, all of which had to be memorized over the weekend by the star of our video, a PR man with more than a little experience in broadcasting.
However, when I got to the location for the shoot, I realized I wanted to do a little more to make this video visually interesting, and I blocked out three shots we could use to be quick-edited in the final product for an edgier effect. After convincing the accommodating crew (one cameraman and one all-purpose grip) and producer to take on the additional shots, it quickly occurred to me I was directing this thing, something that I hadn't considered prior. I gave tips to the talent for line delivery and blocking. I selected the shots, but let the crew make the technical decisions to do what they knew best. I added a last-minute fourth shot to better balance out the overall video. It went quickly, smoothly and hopefully the outcome will be as engaging as I envisioned when I wrote it.
This wasn't my first time directing a script I wrote, as I think I've mentioned here. There was that one-off disaster of a play in college. But this was something completely different -- a much more cohesive, collaborative fruition of a creative vision (even one done in the name of marketing) -- more like writing a song and working with your band to bring it to life. It's your song, still, but it's the input from the collective whole that makes it a reality. And though no one but me and a few people will know I had anything to do with it, people will see it, and its existence will be documented.
And though it should be no surprise coming from a guy who thoroughly enjoys editing publications and leading bands, I think directing is something I'd love to do. Hmm.
Wednesday, September 8, 2010
Stasis
It's kind of strange that I actually made somewhat of a name as a "blogger" for a while, because I am pretty damn terrible at updating blogs. It's likely the reason I'm currently trying to find the time to redesign my all-inclusive website to take the focus away from its blog. Of course, if I had the time to redesign a site, I'd probably have time to update this blog that no one is reading and, concurrently, work on pitching this damn TV show, which is the reason we're all here, right?
Unfortunately, until said show is a Nielsen success and my showrunner royalties are piling up in my offshore bank account, I still have to do other work somewhat regularly. So I've wrapped up a few comic book projects and have some pending deadlines on a few journalistic assignments. But I haven't forgotten about this blog, or "Being," and as soon as I pull myself out of this pile of distracting -- but necessary -- freelance work, I'll be back to bugging agents and producers and you.
Unfortunately, until said show is a Nielsen success and my showrunner royalties are piling up in my offshore bank account, I still have to do other work somewhat regularly. So I've wrapped up a few comic book projects and have some pending deadlines on a few journalistic assignments. But I haven't forgotten about this blog, or "Being," and as soon as I pull myself out of this pile of distracting -- but necessary -- freelance work, I'll be back to bugging agents and producers and you.
Thursday, August 26, 2010
Log lines
As I mentioned last time around, I was rushed to write the first draft of the "Being" pilot because I expected nothing to come out of my initial query submission. Now that I'm getting ready to start circulating the pitch again, it occurs to me I probably need to think beyond the pilot to future episodes.
The original query included log lines for potential episodes. Log lines are simply mini-synopses of plots, usually with hooks. For example, the log line for the proposed second episode was this:
Of course, having good ideas for shows is one thing. Being able to develop them into full-blown scripts is another. Considering the time from idea conception to completing the most recent draft, the pilot episode of "Being" took about a year and a half to develop, so there's no evidence that I can produce another script, let alone within a short deadline. This means I need to start working on at least another full teleplay, as well as treatments or outlines for several more episodes.
Aside from the practical need to have more material ready at request and proof my pilot wasn't just a fluke, developing further episodes serves another purpose: to test the strength of the characters as real, living, breathing people, not just objects created to serve the plot. If the characters don't speak to me, if their actions and motivations don't come naturally and feel convincing, then there's no point in even continuing down this treacherous road.
Thankfully, I do have those loglines with which to work. I have a starting point. And I have characters inside my head, telling me they want to find love, attain success and maybe eat a bottomless stack of pancakes. All I have to do is listen.
The original query included log lines for potential episodes. Log lines are simply mini-synopses of plots, usually with hooks. For example, the log line for the proposed second episode was this:
Joseph finally tests the dating waters, but when he fails to come home one night, Jasmine presumes the worst and practically puts out an APB on his whereabouts, leading Joseph to look for other housing options.
Of course, having good ideas for shows is one thing. Being able to develop them into full-blown scripts is another. Considering the time from idea conception to completing the most recent draft, the pilot episode of "Being" took about a year and a half to develop, so there's no evidence that I can produce another script, let alone within a short deadline. This means I need to start working on at least another full teleplay, as well as treatments or outlines for several more episodes.
Aside from the practical need to have more material ready at request and proof my pilot wasn't just a fluke, developing further episodes serves another purpose: to test the strength of the characters as real, living, breathing people, not just objects created to serve the plot. If the characters don't speak to me, if their actions and motivations don't come naturally and feel convincing, then there's no point in even continuing down this treacherous road.
Thankfully, I do have those loglines with which to work. I have a starting point. And I have characters inside my head, telling me they want to find love, attain success and maybe eat a bottomless stack of pancakes. All I have to do is listen.
Wednesday, August 25, 2010
Being
I suppose there's a certain irony in the fact that a guy who's spent much of his adult life avoiding watching television is trying to develop a series for that very medium. It's not as though I have anything against TV in general, not counting its use as a babysitter, its persistence as background noise or its ability to bend the will of your average person to its inflexible programming schedule. I grew up -- like most American children of the 1970s -- watching plenty of TV shows, from Sesame Street and Mister Rogers' Neighborhood to The Dukes of Hazzard and A-Team. And even in recent years, I've enjoyed/continue enjoying programs such as Arrested Development, The West Wing and -- yes, I admit to this -- Smallville, though on my schedule via DVDs and the magical interwebs, rather than on the network's prescribed time.
Still, the truth is, I went a good number of years without ever owning a TV set (I purchased my first one just last year; any other TV I've watched in adulthood has belonged to a girlfriend or ex-wife), and I've always been more inclined to spend my time productively rather than passively. It's nothing personal against TV -- this goes for most leisure activities, sleep and even calls of nature. I like to work. I'm good at it. I like results. My editors like results. I find it hard to slow down; worse, I find it harder to get back in "the groove" once I've stopped working, so I like to keep that momentum going.
What does any of this have to do with the title of this new blog you may or may not be reading? Well ... all that time being productive means I must be producing stuff, right? For whatever reason, one of those things I produced was the idea for a film or television series based very loosely (though sometimes not loosely at all) on my own life experiences -- specifically, that of a 30-year-old guy living under the same roof with his ex-wife, trying to start his life over even as being tethered to the one he's just ended.
From this basic concept, I had a loose collection of amusing (and sometimes bizarre) potential scenes, a reasonably sized cast of colorful characters, and smatterings of potential dialog collected into a Google Doc -- one that sat untouched for months until one of my favorite websites, Jeffrey Berman's The Write Environment, announced a query contest last June. It was simple: Write a query for your screenplay/teleplay/novel/etc., and the first prize winner gets his or her pitch read by a fancy agent. I entered "Being," my concept for a TV series about a recently divorced guy entering his 30s with no idea who he is, trying to carve out a new identity, with the help of his very few friends. And ... I won. In addition to a few other prizes, my query would be read by David Boxerbaum of APA. I didn't think much of it, even after winning, other than being able to pat myself on the back and return to my existence of merely being awesome ... until it came to my attention a few weeks (months?) later that Boxerbaum really liked my pitch and wanted to read the teleplay for the pilot.
One problem: I had no teleplay written. Worse: I had never written a teleplay, screenplay, or anything of the sort. At least not since writing a play in college. And even then, I really didn't know what I was doing. So I did what anyone else in this situation would do: I told Debra Eckerling (of Write On! Online), the intermediary between Boxerbaum and myself, that I had to put the finishing touches on the pilot and I'd send it over by Monday morning. This was a Friday.
Over those three days, I gave myself a crash course in writing for TV, buying books on both the art and craft of both teleplay and screenplay writing. I forced myself to write like I'd never done before on top of that, fleshing out sketches of vignettes into full-blown scenes, eventually churning out 22 pages of comedic drama. I had just enough time for my TV-loving girlfriend to read it over, mail it to myself in order to enact a poor man's copyright, and e-mail the draft off to Boxerbaum (via Eckerling). One of the most nerve-wracking ordeals of my life was over. Now all I had to do was wait.
About a week later, Eckerling sent me this message about Boxerbaum's reply:
So "Being" went back on the virtual shelf of my Google Docs account. Unfortunately, "isn't quite there yet" didn't give me specific, constructive feedback on my script or my writing, and I really had nowhere to go with it. Looking back now, I can see all the things that sucked about that first draft. Problem number one: I conceived the show initially as an hour-long drama with comedic flourishes, maybe something cable-worthy. But the end product was a half-hour pitch, with too much drama, not enough comedy and an uneven tone. It opened fairly depressingly and slow, shifted scenes too often, and ended on a pretty dim note as well. The dialog wasn't that bad, I don't think, but it also lacked bite. It was naturalistic, but maybe too much so.
Fast-forward a year later: I've been writing more and more fiction, specifically comic books, cutting back journalistic assignments to once a month, if that. On a plane trip returning from a Jersey Shore vacation, a flash of inspiration hit me, and I outlined an actual three-act structure for a feature-length film based on the same concept of "Being," though taking place later in the protagonist's development, when he's entering a new phase of life that drastically changes him and his relationships (something that would make a perfect season two plot line). It got me excited about the project again, though now I was redefining characters and wavering between developing it further as a screenplay or as a novel.
One night a few weeks ago, walking home from the gym, another one of those inspirational bolts of lightning struck. I figured out a way to make the teleplay for the pilot suck less, move faster and read leaner. I sat down immediately at my computer, ignoring the post-workout hunger gnawing at my belly, and within an hour, I had rewritten about half of the pilot, livening up the dialog, throwing out extraneous scenes, adding a twist or two, and ending up with a page or two more, despite all the cuts. It came out naturally and easily, unlike the first draft. I registered it with Writer's Guild West the next day (after review by the girlfriend and subsequent revision), and then ... nothing.
I wasn't sure what to do. The agent in New York I'd been working with the last half decade specializes in books and film, not TV, and he didn't like my last book pitch, so that seemed like a non-option. I considered going back to Boxerbaum with the revised teleplay, but self-doubt got the best of me. What if he didn't really like the concept all that much to begin with? What if he just said that stuff to be nice and let me down easy? I don't know the protocol for these things. Is it OK to re-pitch the same agent with a different version of the same script he already deemed wasn't "quite there?" Most of the big agencies don't accept unsolicited submissions. But do they accept unsolicited queries? I didn't know where to start. So I did the only logical thing: I started a blog.
So here we are, my friends, answering the question we asked about a dozen or so paragraphs back: what's the deal with "From Zero to Hollywood?" It should be obvious now. You're invited to come with me as I stumble my way through the minefield that is the modern television writing business. You'll watch as I fumble finding agents, pratfall pitching producers, wrestle writing scripts and generally try to avoid getting chewed up and spit out by an industry in which I have extremely limited experience. I may not make it, but it'll sure be fun watching me try. At least for one of us.
I hope you'll stick around.
Still, the truth is, I went a good number of years without ever owning a TV set (I purchased my first one just last year; any other TV I've watched in adulthood has belonged to a girlfriend or ex-wife), and I've always been more inclined to spend my time productively rather than passively. It's nothing personal against TV -- this goes for most leisure activities, sleep and even calls of nature. I like to work. I'm good at it. I like results. My editors like results. I find it hard to slow down; worse, I find it harder to get back in "the groove" once I've stopped working, so I like to keep that momentum going.
What does any of this have to do with the title of this new blog you may or may not be reading? Well ... all that time being productive means I must be producing stuff, right? For whatever reason, one of those things I produced was the idea for a film or television series based very loosely (though sometimes not loosely at all) on my own life experiences -- specifically, that of a 30-year-old guy living under the same roof with his ex-wife, trying to start his life over even as being tethered to the one he's just ended.
From this basic concept, I had a loose collection of amusing (and sometimes bizarre) potential scenes, a reasonably sized cast of colorful characters, and smatterings of potential dialog collected into a Google Doc -- one that sat untouched for months until one of my favorite websites, Jeffrey Berman's The Write Environment, announced a query contest last June. It was simple: Write a query for your screenplay/teleplay/novel/etc., and the first prize winner gets his or her pitch read by a fancy agent. I entered "Being," my concept for a TV series about a recently divorced guy entering his 30s with no idea who he is, trying to carve out a new identity, with the help of his very few friends. And ... I won. In addition to a few other prizes, my query would be read by David Boxerbaum of APA. I didn't think much of it, even after winning, other than being able to pat myself on the back and return to my existence of merely being awesome ... until it came to my attention a few weeks (months?) later that Boxerbaum really liked my pitch and wanted to read the teleplay for the pilot.
One problem: I had no teleplay written. Worse: I had never written a teleplay, screenplay, or anything of the sort. At least not since writing a play in college. And even then, I really didn't know what I was doing. So I did what anyone else in this situation would do: I told Debra Eckerling (of Write On! Online), the intermediary between Boxerbaum and myself, that I had to put the finishing touches on the pilot and I'd send it over by Monday morning. This was a Friday.
Over those three days, I gave myself a crash course in writing for TV, buying books on both the art and craft of both teleplay and screenplay writing. I forced myself to write like I'd never done before on top of that, fleshing out sketches of vignettes into full-blown scenes, eventually churning out 22 pages of comedic drama. I had just enough time for my TV-loving girlfriend to read it over, mail it to myself in order to enact a poor man's copyright, and e-mail the draft off to Boxerbaum (via Eckerling). One of the most nerve-wracking ordeals of my life was over. Now all I had to do was wait.
About a week later, Eckerling sent me this message about Boxerbaum's reply:
They thought your concept was great, but said your writing needs to be stronger - that "it isn't quite there yet."Well ... of course not. I wasn't disappointed. I wasn't surprised. I wasn't offended or angry. I was just ... eh. I knew it wasn't great -- the teleplay, not the concept. I've written a lot of different things over the course of my life, but most of them have been based on journalistic style. It's what I've done for most of my professional life. I've been a reporter and editor and blogger, and I've always performed on and met deadlines, but doing so in a completely unfamiliar style for a major agency on the first time out? That would have been like pitching Esquire when I was 16.
So "Being" went back on the virtual shelf of my Google Docs account. Unfortunately, "isn't quite there yet" didn't give me specific, constructive feedback on my script or my writing, and I really had nowhere to go with it. Looking back now, I can see all the things that sucked about that first draft. Problem number one: I conceived the show initially as an hour-long drama with comedic flourishes, maybe something cable-worthy. But the end product was a half-hour pitch, with too much drama, not enough comedy and an uneven tone. It opened fairly depressingly and slow, shifted scenes too often, and ended on a pretty dim note as well. The dialog wasn't that bad, I don't think, but it also lacked bite. It was naturalistic, but maybe too much so.
Fast-forward a year later: I've been writing more and more fiction, specifically comic books, cutting back journalistic assignments to once a month, if that. On a plane trip returning from a Jersey Shore vacation, a flash of inspiration hit me, and I outlined an actual three-act structure for a feature-length film based on the same concept of "Being," though taking place later in the protagonist's development, when he's entering a new phase of life that drastically changes him and his relationships (something that would make a perfect season two plot line). It got me excited about the project again, though now I was redefining characters and wavering between developing it further as a screenplay or as a novel.
One night a few weeks ago, walking home from the gym, another one of those inspirational bolts of lightning struck. I figured out a way to make the teleplay for the pilot suck less, move faster and read leaner. I sat down immediately at my computer, ignoring the post-workout hunger gnawing at my belly, and within an hour, I had rewritten about half of the pilot, livening up the dialog, throwing out extraneous scenes, adding a twist or two, and ending up with a page or two more, despite all the cuts. It came out naturally and easily, unlike the first draft. I registered it with Writer's Guild West the next day (after review by the girlfriend and subsequent revision), and then ... nothing.
I wasn't sure what to do. The agent in New York I'd been working with the last half decade specializes in books and film, not TV, and he didn't like my last book pitch, so that seemed like a non-option. I considered going back to Boxerbaum with the revised teleplay, but self-doubt got the best of me. What if he didn't really like the concept all that much to begin with? What if he just said that stuff to be nice and let me down easy? I don't know the protocol for these things. Is it OK to re-pitch the same agent with a different version of the same script he already deemed wasn't "quite there?" Most of the big agencies don't accept unsolicited submissions. But do they accept unsolicited queries? I didn't know where to start. So I did the only logical thing: I started a blog.
So here we are, my friends, answering the question we asked about a dozen or so paragraphs back: what's the deal with "From Zero to Hollywood?" It should be obvious now. You're invited to come with me as I stumble my way through the minefield that is the modern television writing business. You'll watch as I fumble finding agents, pratfall pitching producers, wrestle writing scripts and generally try to avoid getting chewed up and spit out by an industry in which I have extremely limited experience. I may not make it, but it'll sure be fun watching me try. At least for one of us.
I hope you'll stick around.
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