10 Most Viewed TVWriter™ Posts of the Week – March 30, 2020

Good morning! Welcome to another new week at TVWriter™, starting with our latest look at the most popular blog posts and resource pages during the  last week.

They are, in order:

How To Write The Perfect TV Series Review To Captivate Your Readers

‘The Following’ Season 4 was Cancelled by Fox Because the TV Series Became a Victim of Lazy Writing!

Corporal Punishment and Primetime TV

Writing the Dreaded Outline

Herbie J Pilato On TV’s Wonder Couple, Lynda Carter and Lyle Waggoner


8 Tips for Writing for Children’s TV Shows

Supernatural Season 1 Finale – Recap and Review

The Outline/Story

The Silver Surfer

Big thanks to everybody for helping us have another terrific week at TVWriter™. Don’t forget to click above and read what you missed and re-read what you loved!

BBC to open up its Writers’ Academy to non-professionals

A couple of days ago we posted about how The Society of Authors in the UK is setting up a fund to help writers get through the financial problems that are part of the current worldwide Covid crisis.

Today we bring news of another way our British cousins are supporting our favorite art form – TV writing. Wow. Just wow.

The BBC is to throw open the doors of its Writers’ Academy to anyone who wants to have a shot at writing for television, in a move dubbed “X Factor for writers”.

In the past, only professional screenwriters have been allowed to apply to the academy, but in a bid to bring in voices from different backgrounds any budding writer will be able to try to follow in the footsteps of previous winners such as Killing Eve and The Victim writer Rob Williams.

The eight successful applicants will write for BBC Studios’ biggest shows such as EastEnders and Casualty, have lectures from writers such as Line of Duty’s Jed Mercurio and Years and Years writer Russell T Davies and get three months of paid training.

The move may be welcomed by those in self-isolation due to the coronavirus outbreak who are looking for something to focus on. Recently, stories have been shared about the creativity that has emerged from historical quarantines. William Shakespeare is thought to have penned King Lear during a plague outbreak and Sir Isaac Newton reportedly discovered gravity while in quarantine.

The head of the BBC Studios Writers’ Academy, John Yorke, said writing could help people cope with anxiety….

Read it all at theguardian.com

by Tara Conlan

Podcasting Marvels

Thursday is podcasting day at TVWriter™, and, come to think about it, everyday here is pretty much a marvel, or even a Marvel.” So what could be more appropriate to share than this podcasting meeting of “Fantastic Minds?” (Not a comic fan? Keep reading anyway. You’ll get it.)

by Bob Raymonda

In late 2019, Marvel and Stitcher Premium partnered to release MARVELS, an adaptation of the beloved Kurt Busiek and Alex Ross graphic novel in time for its 25th anniversary. Instead of relying on a regular stable of Hollywood writers and sound designers, they enlisted the talents of veteran indie-podcasters Paul Bae (The Black TapesThe Big Loop), Lauren Shippen (The Bright SessionsThe AM Archives), and Mischa Stanton (ars PARADOXICAThe Far Meridian) to create a brand new adaptation to celebrate the occasion.

As I was researching for my review of MARVELS, I had a chance to speak with Bae, Shippen, and Stanton by email about each of their individual impacts and experiences in working on the series together.

Bob Raymonda: The performances you were able to pull out of this entire cast are incredible. I was particularly struck by the work in episodes 1.6 (“Warheads”), where Marcia Hardesty’s monologue segues directly back and forth to the action of the Mutants for Peace protest. Did you direct the monologue sections separately from the action and assemble them in postproduction, or were you able to work through both naturally?

Paul Bae: Thank you! Lauren structured that scene beautifully. I love how she already knew how it would sound given her experiences working with Mischa and general familiarity with how I’ll direct the actors. I had AnnaSophia Robb do the monologue separately in Stitcher’s studio. We did the whole thing once or twice through and then took it again block by block to give me lots of choice in takes. The initial once-through was our “recorded rehearsal” that I like to do just in case we capture an incredible first performance.

BR: Your work on shows like The Big Loop and The Black Tapes feels at times more intimate than something like MARVELS, which included several massive set pieces with a lot of moving parts. Was this your first time working with a larger cast all together in the room? How different did it feel from your previous work?

PB: This was the largest cast I’d ever worked with but Mischa set up the recording studio in such a way to not only maximize our acoustics but [also make] me comfortable in that room, given that I like to be in the recording space with the actors instead of in the booth with the board. To be honest, I wasn’t sure how I’d like the experience of working with such a large cast, but excluding the loop cast recordings [in which 8–10 actors record in a ring of microphones], we rarely had more than 4 or 5 actors at once, which is similar to The Black Tapes. So I was comfortable….

Read it all at bellocollective.com

How The Society of Authors is helping UK Writers

Why is nobody/no organization in the U.S. doing this?

Philip Pullman, president of The Society of Authors

by Alison Flood

A £330,000 emergency fund for authors is being launched to support those facing “unmanageable” losses from the cancellation of events, book tours and school visits during the coronavirus pandemic.

The Society of Authors, which launched the emergency fund, said that many authors were set to be affected, with some already losing thousands of pounds a day as work is called off.

“The financial challenges facing authors had become acute even before the current health crisis, with an increasing number approaching us for financial support. But now, they’re seeing unmanageable losses,” said chief executive Nicola Solomon. “It was clear that current levels of funding would fail to meet needs.”

Author Philip Pullman, the society’s president, said that the pandemic was making it “impossible” for authors to do their work, as much of it consisted of lecturing, visiting schools and teaching.

The grants are open to all professional authors resident in the UK or British subjects, are likely to be up to £2,000, and are “designed to meet urgent need”….

Read it all at theguardian.com

Cartoon: The Weight

In this time of stress, when we’re all trying to improve our coping skills, TVWriter™’s all-time favorite artist/philosopher, Grant Snider, has a few much-needed words and pictures to share.

See more of Grant Snider’s extraordinary perception of human creativity at Incidental Comics, HERE

Buy Grant’s new book, What Color is Night? at Amazon.Com!