Not A Fan. Never Watch It.
Seattlest attended SIFF's Screenwriters Salon at Hugo House last night. Seattlest is not a screenwriter, actually, but Lost was a repeat, and we thought perhaps we'd leave our cave for a bit.
The talk was hosted by Andy Spletzer (who writes for some local rag the kids all read) and noted local filmmaker Brian McDonald (of Whiteface fame). As the topic was writing for TV, the guest speakers were flown up from the belly of the beast: Al Higgins ("Malcolm in the Middle," "NewsRadio") and Joel Madison ("Undeclared," "Malcolm & Eddie," "Roseanne").
They offered their observations on making it into the biz, which Seattlest will briefly retail here so that we can get compensated for the $5 admission.
So You Want To Write For TV
Research (i.e., rent a few seasons on DVD) an existing show and write a spec script. Do not try to guess where the writers are going with a story arc: write an "evergreen" stand-alone story featuring the main characters. Do not insert a new, fascinating character into the story. Try to draw from a real-life experience, to show that you can mine a relatively simple idea for all it's worth. (Al's example is the Everybody Loves Raymond episode that turns entirely on who's going to move the luggage upstairs after a vacation. Or anything from Curb Your Enthusiasm.)
Pass your script around to friends and critics for feedback. Revise, polish. Make sure your screenplay formatting is up-to-date. Submit your spec script to production houses who are willing to read it. Don't worry that it's not about "their" show; in some ways, the hardest people to please will be the writers of the show you wrote for, since they know all there is to know about it.
If you don't already live in L.A., move there. Explore alternative ways of meeting the industry people you need to meet. (Al started as a production assistant, made lots of jokes around the office, and one day got to fill in for an absent writer. Joel was a stand-up comic who got to be friends with Roseanne.) If you're angling for a sitcom, be funny and sociable. Shows have writing rooms and they are strongly collaborative. Your best bet in getting hired is to be both competent and well-liked.
Next up at the Salon:
October 19 – The Filmmakers Journey: From Script to Screen
Everyone knows that scripts change when they're given over to directors and actors. Heck, even if you're directing your own script, it'll change on its way to the big screen. This month we'll talk to several local writers and filmmakers about that difficult journey from written page to motion pictures.
