40 years worth of TV writing experience and info, yours for the taking.
The devil’s in the details when you’re trying to make it as a writer. And so’s the success. Which is why these details are here for you:
In the last installment of How to Make a Genre Show I took you up to the point in the show-creation process where you had detailed outlines (approved by the network!) for the episodes of your series. Now it’s time to take that outline and turn it into a script — which I did, when I wrote episode six of Z Nation, which airs tomorrow night.
In case you’ve been wondering what the Writers Guild of America has been up to, interwebwise, wonder no more, bunky. The Guild is proud to announce it’s gotcha covered.
Sorta:
Working on Dancing With the Stars again has been a real treat, thought it’s certainly keeping me away from the blog.
Just wanted to pop by today and share a neat little thought on interviews courtesy of my pal Dan, another producer on the show.
We were having a conversation about good interview technique this week, and he offered up a great bit of advice that hadn’t occurred to me after a decade and a half of working on interview questions and conducting more than my share of “look at me, not at the camera” sit-downs.
by Herbie J PilatoNo, I’m not talking about Jim Morrison and his legendary rock band.
But what I am addressing are the physical front door props, on the exterior and interior, of certain television shows, and how their consistency or inconsistency is pertinent, representative and conducive to the true success of any given series – and the creative process in general.
For example, Bewitched. And I know what you’re thinking: “Really? Did he reference Bewitched…AGAIN?”
Rewriting is hell, right?
Nope. Not when you can goose the effectiveness of your writing and create a really outstanding script or manuscript.
Have you heard from a producer, “there’s nothing wrong with your script, it just needs a rewrite.”?