Since the excitement of upfronts is over and the new series for the next season have (mostly) been picked, it seemed like a good time to talk about writing a TV pilot.
The one thing every aspiring writer needs to know about writing a TV pilot is that it will not get made. Not yet, anyway. Embrace that fact and make it your friend because the reason to write one if you’re still trying to get your first break in Hollywood is as a calling card. Proof to agents and producers that you get what it takes to write an episode, get characters, and create dialog. Since you don’t have to worry so much about being commercial (it’s anyone’s guess what that really means anyway), let your creative juices run wild. The sky really is the limit, but there are a few rules to be aware of.
Formatting: The format of a TV pilot is pretty much the same format you use for features. Oh, some networks like the description to be all in capital letters (my personal pet peeve) while others double space everything so it’s a little more flexible but it’s still your basic format.
Page length: One hour dramas this year ranged anywhere from the high 50’s to 67 pages long. Now, I wouldn’t recommend you write 67 pages unless it’s freakin’ awesome, but there is a little wiggle room beyond the standard one page = one minute of screen time. For half-hour comedies, most are around the low 30’s – 35 in regular formatting pretty much topping it out.
Acts: Every pilot needs to be broken out in to acts. For one hours, the number ranges from 4 to 6, depending on the type of show you want to write. Half-hours usually have some kind of opening teaser and then divide into 2 acts, although some go for 3. Some of the pilots for the comedies letter the scenes as well. My advice would be to skip that for now
How do you choose how many acts to use? Watch the kind of show you want your pilot to be, note down how it’s structured, and try to emulate that.
Give your series legs: Always remember that you’re writing a PILOT, the first of hopefully 100 or more episodes of a successful television SERIES. Make sure that it’s clear from the pilot that there are a limitless number of story possibilities in this series. For instance, if it’s set in an office full of whacky characters, it’s easy to see that there’s no end to the stories. If, on the other hand, it’s set in a political campaign, you might have some problems convincing a network executive that you can keep the same tension involved in a campaign up show after show for a number of years. Eventually the candidate has to win or lose, right? This is why cop, lawyer and medical shows are always going to be around. There’s almost no end to the stories that can come from those settings. The trick is to find a new and different spin on those workhorse ideas.
Have characters with… character: Make sure that each character in you pilot (and therefore the series) has a clear and distinct voice. Their dialog is the only way they have of setting themselves apart so make it sharp and unique. It really defines their roles in the series, whether it’s a drama or a comedy, so don’t make it too vague. Great characters that jump off the page are what will make executives want to buy the series. Think about how many police procedurals are on TV; now think about what sets them apart. “Psych” and “The Mentalist” are basically the same idea but with completely different characters.
Set the right tone: Make sure it’s clear from the very first scene what the tone of the show is going to be. Is it dark comedy? Is it warm and fuzzy? Is it cold and analytical or action filled? The tone of the pilot is just as vital as the characters in letting the network know that you have original ideas and know how to execute them.
There are no new series ideas that have never been done before. It’s about the life you bring to it through the setting, characters and tone that will make your pilot stand out as a sample of the kind of work you can do. Make it bold enough AND professional, and it could be the ticket to getting your first writing job.
Sunday, May 23, 2010
Thursday, May 13, 2010
Biggest Upfront In Broadcast Biz History?
This is great news for the television business in general. Hopefully it means more work for writers out there as well!
Wednesday, May 12, 2010
Monday, March 1, 2010
Old School Rules
Recently, I was corrected for correcting a script's format because the writer didn't put (CONT'D) next to a character's name when their dialog was split by action or description instead of another character's dialog. For instance (and forgive the poor alignment but you get the drift),
TOM
It was the best of times.
An arrow flies through the window and thunks into the door near Tom's head.
TOM (CONT'D)
It was the worst of times.
Apparently, it's old school now to include the (CONT'D). Ok, fashions change, times change, whatever. Here's the thing: the reason to put (CONT'D) is so that the director, the producer, the actors and the readers know that it's the same person talking without interruption. It's an easy way to be sure that you haven't skipped a line of dialog somewhere by accident. It also confirms that the writer hasn't made a mistake and accidentally mislabeled a line of dialog meant for someone else. The down side? It forces the writer to type 8 more characters. Wait, that's not exactly right. Most script writing programs do it automatically. In fact, to turn it off is an extra step so the argument that it's more work falls short.
Virtually all of the good pilot scripts that I've read this year include the (CONT'D). As a part of the script format, it makes sense, it helps the production crew and it doesn't cost the writer anything. If there's a reason NOT to do it, please respond and let me know, I'm dying to hear it.
Bottom line, if it's good enough for Alex Kurtzman and Roberto Orci, it's good enough for me.
TOM
It was the best of times.
An arrow flies through the window and thunks into the door near Tom's head.
TOM (CONT'D)
It was the worst of times.
Apparently, it's old school now to include the (CONT'D). Ok, fashions change, times change, whatever. Here's the thing: the reason to put (CONT'D) is so that the director, the producer, the actors and the readers know that it's the same person talking without interruption. It's an easy way to be sure that you haven't skipped a line of dialog somewhere by accident. It also confirms that the writer hasn't made a mistake and accidentally mislabeled a line of dialog meant for someone else. The down side? It forces the writer to type 8 more characters. Wait, that's not exactly right. Most script writing programs do it automatically. In fact, to turn it off is an extra step so the argument that it's more work falls short.
Virtually all of the good pilot scripts that I've read this year include the (CONT'D). As a part of the script format, it makes sense, it helps the production crew and it doesn't cost the writer anything. If there's a reason NOT to do it, please respond and let me know, I'm dying to hear it.
Bottom line, if it's good enough for Alex Kurtzman and Roberto Orci, it's good enough for me.
Thursday, July 16, 2009
Is Harry Potter Afraid of a few Vampires?
Just saw the new Harry Potter movie last night and I enjoyed it. Who could complain? An evening sitting down with old friends, catching up on what's new at Hogwarts and of course, confronting new evils.
The problem is that now, in hindsight, Harry seems like a good Chinese dinner. I enjoyed it at the time but two and a half hours later I was left feeling hungry and empty.
I intentionally didn't re-read the book before seeing the movie. If Steve Kloves can't tell a good story with the script alone then I'm kind of screwed anyway, right?
Only this time it felt like Mr. Kloves got the order to make this "Twilight" like, up to and including hormonal adolescent growing pains. Yes, I do remember that's what ONE of the stories of the book was but in the movie it was the main driving force. There was "snogging" everywhere, even in the background of what should have been a tense, suspenseful, danger-filled moment.
Don't get me wrong, I'm not against a good snog on a frequent basis but the story should have and could have been about so much more. While this was nowhere nearly as lame as "Twilight," I can help but wonder if the producer of this aging behemoth of a series is feeling the hot - or in this case very cold - breath of the new rock star in town.
Thoughts??
The problem is that now, in hindsight, Harry seems like a good Chinese dinner. I enjoyed it at the time but two and a half hours later I was left feeling hungry and empty.
I intentionally didn't re-read the book before seeing the movie. If Steve Kloves can't tell a good story with the script alone then I'm kind of screwed anyway, right?
Only this time it felt like Mr. Kloves got the order to make this "Twilight" like, up to and including hormonal adolescent growing pains. Yes, I do remember that's what ONE of the stories of the book was but in the movie it was the main driving force. There was "snogging" everywhere, even in the background of what should have been a tense, suspenseful, danger-filled moment.
Don't get me wrong, I'm not against a good snog on a frequent basis but the story should have and could have been about so much more. While this was nowhere nearly as lame as "Twilight," I can help but wonder if the producer of this aging behemoth of a series is feeling the hot - or in this case very cold - breath of the new rock star in town.
Thoughts??
Thursday, May 14, 2009
Special Speaker Event: "Respecting the Antagonist"
The latest entry in the Scriptwriters Network's Speaker Series sounds like an interesting one to attend for any LA based writers. Given by writer/producer/mentor Bill Boyle, it's called "Respecting the Antagonist". Here's the info:
The event takes place on Saturday, May 16th from 1 - 3pm at CBS Studio Center in Studio City.
For more information and to RSVP (which you must do to attend) contact the Scriptwriters Network. You can also call them at (888) 796-9673 (1-888-SWN–WORD)
Hey, besides getting great info you might also win Movie Magic Screenwriter Software
or a subscription to Creative Screnwriting Magazine so it's a win-win all around!
"The essence of true character conflict is not derived from the protagonist being right and the antagonist being wrong, but from both characters being right – carried to an inevitable conclusion. Villains and unsympathetic characters don't consider themselves evil.
Everyone including your antagonist is doing the very best he can given his fears, needs, knowledge, skills, pain, and personal history.
The hero offers us the journey and the objective of the story, but it is the antagonist that creates the drama.
A great antagonist makes us squirm not because of the opposition he represents, but because there is a truth behind his position that makes us uncomfortable. It is the antagonist that forces both the hero, as well as us, to confront our shadow side.
ABOUT THE SPEAKER:
Bill Boyle is a veteran screenwriter who has been involved in the film industry in both Canada and the U.S. for over 25 years as a writer, director, agent, producer, story editor, and mentor.
Mr. Boyle devotes a significant amount of his time mentoring younger screenwriters through his Screenwriting Workshops and Script Coaching. He is presently teaching screenwriting at UCLA Extensions."
The event takes place on Saturday, May 16th from 1 - 3pm at CBS Studio Center in Studio City.
For more information and to RSVP (which you must do to attend) contact the Scriptwriters Network. You can also call them at (888) 796-9673 (1-888-SWN–WORD)
Hey, besides getting great info you might also win Movie Magic Screenwriter Software
or a subscription to Creative Screnwriting Magazine so it's a win-win all around!
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