One of the most knowledgeable writers on the web hits one out of the park…again.
by Ken Levine
Here’s a Friday Question that became an entire post. I know the WGA has seminars on this and some colleges offer courses in this, but the following points are pretty much everything you need to know. (Reminder: Whenever I can’t think of an appropriate picture I always post Natalie Wood photos.)
The question is from Brian Hennessy.
Hey Ken – can I ask you what are mistakes that first time showrunners make?
1. Not communicating with your staff. It’s not enough to have your vision for the show; you need to clearly share it with your other writers. Don’t just assume. It’ll be hard enough for them without trying to figure out what’s in your head. Same is true with your editor and directors.
2. Be very organized. Time will go by much faster than you think. From day one lay out a plan. You want so many outlines by this date, so many first drafts by that date, etc.
3. Don’t squander that period before production begins. It’s easy to knock off early or move meetings back. But this is golden time before the crunch when actors arrive, cameras roll, and a thousand additional details require your attention.
4. Accept the fact that the first draft of the first script you receive from every staff member will look like a script from the last show they were on. It will take them time to adapt to your show.
5. Remember that every writer is not a “five-tool player” as they say in baseball. By that I mean, some may be strong at story but not jokes, or punch-up but not drafts. Not everybody is good at everything. Consider that when putting together your staff.
6. Hire the best writers, not your best friends.
7. Hire at least one experienced writer. Otherwise, on top of everything else you’re doing, you’re re-inventing the wheel.
8. Don’t show favoritism to some writers over others. It destroys morale and no one loves a teacher’s pet.
9. Pick your fights with the network and studio. Don’t go to war over every little note. Antagonizing everyone all the time is a good way to ensure this will be your only showrunning gig. Yes, you’re an artist and you’re trying to protect your vision. And yes, a lot of the notes are moronic, but you have to hear them out. You have to consider them. You have to do the ones you can live with. The best way to get your way is to get them on your side.
10. Don’t overwork your staff. This goes back to being organized. There’s only so many times you can whip the same horse. Your people are dedicated to the show but not to the extent you are.