40 years worth of TV writing experience and info, yours for the taking.
I’ve been trying to avoid it, but it’s no use. I screwed up. I screwed up and now I’m paying for it.
Back during pre-production of BROKEN HEARTS CLUB I should have spent more time with the schedule and location prep. I should have hired a 1st AD to take care of those things for me. I didn’t. Now I’m paying for it.
Know how there are some books so bad you wish you could unread them? And films and TV shows you wish you could unsee?
Well, I just saw the pilot below, for a WONDER WOMAN TV series brought to us by the same geniuses who came up with the ’60s BATMAN show, and believe me when I tell you my eyes are still throwing up.
Okay, so technically, Corinna isn’t really ours. She belongs to herself. But she did write a very popular article about writing and producing her own pilot (for her series NOT IN MY NEIGHBORHOOD) and we’ve been trying to get her to write more ever since.
Corinna’s been doing more than sharpening her pencils, though. She’s written a couple of awesome specs and placed her talented little hand firmly on the brass ring by being interviewed on a podcast at ScriptMag.Com. (Hey, LB, didn’t you write a column for Script back in the Dark Ages when it was something people held in their hands that was made from trees?)
In TVWriter™’s never ending search to bring the truth, the whole truth, and nuthin’ but the truth to TV and film writers, TV and film fans, and just plain pop culture wackos, we’ve just discovered a website that although not new literally, definitely is new to us. And also wonderful.
We’re talking about Scriptshadow.Net, which has no idea we’ve ever visited or that we’re writing this recommendation. It’s a very complete site with lots of excellent script writing advice, script analysis, contests, and all that kind of good thing. Our favorite articles so far have been:
Conflict is what stories are all about, TV and film stories even more than those in other arenas. Daily Writing Tips gives us a terrific overview:
Every work of literature, and much nonfiction narrative, is based on at least one of the following conflicts. When you write a story or a biography, or relate a true event or series of events, you need not focus on such themes, and there’s no reason to state them explicitly (except in passing, perhaps, to provide insight about a biographical subject), but you’re wise to identify the conflicts inherent in your composition and apply them as you write.