Seriously though, trying to write a television show and a blog while holding down two jobs is draining. And daunting. What ideas or stories do I think I could possibly write that could entertain and amuse, and that haven't already been written? No pressure, right? The worst part is that you're limited only by your own imagination. These characters that you've created can be anything, do anything and say anything, so long as it doesn't surpass the audience's suspension of reality and is somehow rooted in truth.
There's an internet's worth of forums, formats and formulas for writing: rules to follow or how to properly break them, strategies to get your creativity flowing, schedules to keep to deadlines, tips to get what you've written read. It's crazy how much writing I've read in order to write (say that five times fast)
The fact is people want to be entertained and they don't want that entertainment interrupted by reality. Anything from a continuity mistake to some wholly unbelievable plot twist is going to make people quit reading, change the channel or click another video. Luckily, I think this is where I have an edge.
For two years all I did was read scripts and poke holes in them. Some of my notes were taken to heart, others were completely ignored and usually to the detriment of the production *pats self of back.
Side bar: For anyone looking to produce anything, this is the reason you hire script supervisors. I know we don't seem as important as the camera or sound or lighting, but we are an invaluable, sometimes intangible, asset to any production. Please don't ask me why I'm important, if you don't know you're production is already in trouble. And if any of my crew friends are on a shoot without a scripty, don't expect the production to go far. I'm not gloating, every production needs someone who has eyes on everything at all times to monitor the level of reality your creating. No script is a pretty evident indication that your production team is a) clueless, b) cutting corners, c) not worried about real quality. Just saying. (I am aware how self-promoting this sounds. Just remember I'm not actually in the biz anymore so this is not an attempt to pump myself up, more of a public service announcement).
Then I would get on set with this script I've poked holes in and would act as the Reality Police to guard against any crazy that could pull the audience out of the story. License plates that are from New York City when we're set in California. Clothes, cars, or technology that don't exist in the 1980s. Reflections of the crew in the main characters sunglasses. Making sure the actor actually looks like they're playing the cello when in fact they are not. Ensuring actors have taken out their earring before shooting because their character wouldn't wear one. (Apparently, six or seven times in this film they do because you're forgetful and stubborn.)
Now, when I'm writing I know where the pitfalls lie and I can (hopefully) avoid them before we even get to the production part of it. Granted when you're on a roll and the ideas are coming faster than you can type, sometimes it requires a second or third read-through or a second set of eyes (Thanks Kate) to find these minute errors.
Some times things are not in the script and inferences must be made by the script supervisor before shooting in order to make the product maintain the integrity of the story. Scripts are written for interpretation. Any script that comes right out and says everything is amateur. Actors and directors should be given leeway to add their talents to the end product. Scripts shouldn't give the characters intent, exact stage directions or camera angles. That's not the writer's job. If you're that much of a control freak and require your script to be an exact replica of what you've written, produce it yourself. And if you're a crazy perfectionist like myself, you can write, produce, script supervise, and act in it. Just make sure that each job is done individually and that you write as the writer and not as the actor.
Easy things to miss or get lost in:
- time line: how much time passes within an episode, between scenes or between episodes
- props: where do they come from, where do they end up, do they follow into another scene
- entrances and exits: in order to show progress characters needs to travel across the screen in a single direction, so if they exit camera right, they have to enter camera left. Otherwise, the audience perceives them as lost and bouncing back and forth.
- costumes: do the scenes happen in the same day? if so, did they change outfits for some reason? Is there an accessory, like a watch, that the character wears in a particular scene that they should be wearing the whole time?
- dialogue: people need to look like they're talking to each other. Ever heard of 'crossing the 180' this is it. (see pictures)
Not so much anymore. Who knows what they're looking at.
Granted, most of these things are going to come up on set, but they need to be considered beforehand. If you do not have an answers to these questions you will not fair well.
Anyway, back to writing. After much research and discussion, we've opted for 12 (used to be 13) episodes, approximately 10 minutes long. It's a comedy. And it's about us. So luckily not too much research or in-depth character analysis in needed. We'll leave that to the therapy I obviously need.
I'm sure many people are aware, but comedy is harder to write and act, then tragedy. If you've done your job and the audience have connected to your characters, then killing them will be tragic and emotional, every time. On the other hand, not everyone is going to laugh. Like ever. Some people will laugh at everything, even things you didn't expect were funny. Some people are more discerning. And then there are the people that just will not laugh. You have to expect that. You will not please everyone. Some people like cheap, blue or dirty humor. Some people like educated, detail-oriented, subtle humor. The best you can hope for is that most people were at least mildly entertained and forget everyone else.
I have presented papers and projects in school. I have sang in recitals and at karaoke. I even had to choreograph and perform a solo dance in front of the football team for a college class. Nothing is more nerve-wracking to me then someone reading a script I've written. Especially, right in front of me. Anytime Kate reads something I'm in total panic mode. Luckily she gets my humor and likes most of my writing and she laughs. Out loud. It's a total rush. I never knew. And now I'm hooked. So read on, readers. I hope you're laughing.
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