Love & Money Dept – TV Biz Happenings of the Week Ending July 22

TOSHIBA Exif JPEGLatest News About Writers & Other Mostly Living Things That Are Doing Better Than We Are
by munchman

Uh-oh. Last week’s return of yer friendly neighborhood munchman’s formerly adored column, Love & Money, tanked even worse than Katherine Heigl’s new Netflix series will if it ever actually makes it to the air.

We know why nobody wants to see Ms. Heigl’s next project. It’s the same reason nobody wanted to see her previous failures – nobody fucking can stand her onscreen persona.

But this is me, Timothy Tyler Muncher my very, very, very loved self. How in the name of all that’s holy, unholy, and whatever’s in between did last week’s launching get exactly one (1!) recorded view between last Thursday and yesterday?

Have I become that obsolete already? After only a 4-year absence? Am I cursed? Reviled? Or, or – omg, I think I’ve got it – forgotten?

‘Scuze me while I – choke – sob….

Our Beloved Leader, Larry Brody (the guy with the highest Amex Black Card limit on the planet who after all these years of occasionally faithful service, still refuzez to pay me) sez that the only reason I’m even here this week is that the WGA-ATA war hasn’t had any major developments (although this particular occurrence and the thinking expressed here may end up more important to future writer/agent relationships than it seems).

LB also has opined that the problem last time out was that I spent too much talking about the Arch Enemies Known As Executives instead of writerz.

I’m not sure LB is right (actually I know that he’s a lefty, physically, psychologically, and strategically), but just in case, here’z the latest writerz only info.

Oh, sorry Ms. Heigl, guess that means I can’t talk about the travesty of Firefly Lane cuz although you’re the star and executive producer (does the term “oy vay!” mean anything to you, my singular reader whoever you are?) you at least haven’t claimed to be writing this tale about, as Deadline.Com put it:

Tully, a force of nature: magnetic, ambitious, reckless, and fiercely loyal. Still bearing the scars of a traumatic childhood, she is dogged by inner loneliness, even as she goes on to fabulous fame and fortune as a journalist and talk show host. Her saving grace is her best friend and soulmate, Kate, with whom she shares an unshakable bond.

Why am I so sure you aren’t the writer? Mostly because even this facile trash seems way too deep for somebody who called her own starring vehicle, Knocked Up “a little sexist.”

I mean, little? Yikes.

So, moving on without her, munchaderamus is proud to present the latest about the following chazari (Um, that’s a Yiddish word for the kind of crap it takes one Acme Ton O’Chutzpah to ever mention to another human being.

Anyway:

THE MUCH LOOKED FORWARD TO (by cinema illiterates and utter morons in general) TV version of Snowpiercer seems to gathering, you know, steam, at TNT, most likely because Graeme Manson, co-creator of Orphan Black has been brought on to save the series from itself.

Gotta admit I’m more than a mite puzzled about how that’s going to be done, especially since the trailer shown at Comic Con seems to follow the abysmal original so loyally. Maybe all the characters will be clones of Tatiana Maslany? Now that’s something this munchhauser would watch!

SPEAKING OF HIGHLY RESPECTED WRITERS, the Stan Lee created series Restless is being developed by David Greenwalt and James Dalessandro. Greenwalt is a veteran of Grimm – a sort of not-too-bad series that lasted about a million and a half years (well, 5 years anyway) longer than it should have, so the dude must have some special writing powers, yeah? – and James Dalessandro known for the historical novel 1906 and the TV movie Citizen Jane, about a woman who goes after a brutal murderer even though he’s also her bf.

Will these guys turn Restless, a concept featuring a “Native American homicide detective [who]…begins to inherit the mystical powers of his…ancestors after his father’s death” remains to be seen. But like so many of us demented outsider, munchterbator lives in hope.

ANOTHER SHOW I’M PSYCHED ABOUT (yepperz, I’ve got a very soft definition of “psyched,” I admit) is Tina Fey’s unnamed series starring Ted Danson as “a wealthy businessman who runs for mayor of L.A. for all the wrong reasons.” Gotta love any show mocking zillionaire politicians, amiright? Especially when the mockingest bird I’ve ever met (yeah, and worked with, but that’s neither here nor there…or iz it?) Tiny Fey her consumate self, is the creator along with Robert Carlock of The Unbreakable Kimmy Schmidt reknown.

ROUNDING OUT THIS WEEK’S DELIGHTS is the newz that Greta Gerwig is co-writing and possibly directing a film based on everybody’s favorite advert for plastic surgery at the earliest age possible, Mattel’s deliciously inappropriate albeit delightful Barbie Doll herself.

I know that strictly speaking I’m not talking about TV here, but even with the genius Oscar nommed writer-director of Lady Bird in charge and the so often scatologically evil Margot Robbie playing the – ahem – titular role, let’s face it, boys and girls, moms and dads, and terrifyingly unctuous uncles and gramps, doesn’t it seem to you that no matter what approach Grets (yeppers, know her too and can call the lady what I damn well please) takes to this material it’s still going to be something more suitable for midnight showings at home than a MeToo fundraising permiere?


That’s it for now, munchalados. Here’s hoping I’m talking to more than one of you this week. Don’t let me down now. I’m looking forward to an avalanche of comments showing that you caught on to which of the above bragged-about relationships above I was being truthful about and which were outright frauds, lies, and boobymeisses.

Seeya next week, munchadiddlehoppers, with more chazari about what the writers we’re all most envious of are up to! Unless LB pulls the plug–

Oh Christ, waitaminnit. He wouldn’t do that, would he?! Would you? LB, I love ya like a brother, you know that. LB–

Love & Money Dept – TV Biz Happenings for the Week of July 15th

TOSHIBA Exif JPEGLatest News About Writers & Other Mostly Living Things That Are Doing Better Than We Are
by Munchman

Whoa, first Love & Money since 2015. How time flies when you’re scaling the ladder to sucksess. Mama told me there’d be decades like this, but the Evil Angel of Ambition wouldn’t let yer friendly neighborhood munchero fly toward the light.

Well, wtf, this little muncher is still alive, well, and getting into as much trouble as possible. Now if only that $$$-grasping old gomer who calls himself LB would loosen his hold on the Amex Black Card he pretends he isn’t carrying and pay me now and then, all would be almost right in this world.

So. Onward and upward…and downward too. We shouldn’t go in that last direction because it’s the kind of commentary that attracts lawyers just when you need them least – i.e. most of the time – but munchacockaderio here always had a soft spot for being slapped in the head.

ONWARD

MOST POSITIVE TV related bit this munchperson has heard in awhile (like since 2015) is that The Fabulous Furry Freakbrothers, one of my grandpa’s faves back in the early 1970s when his brain still worked well enough to let him muddle through pretending to read underground comix in his college’s student union, has been given the go-ahead for eight TV episodes on one or another of the thousand and six streaming or maybe even broadcast channels nobody ever watches next year.

Why is putting something this  long past its prime selling date worth cheering about? Well, it’s a paycheck for writers Alan Cohen, Alan Freedland, John Altschuler and David Krinsky, who deserve to be working more than they’ve been. And of course there’s the Nostalgia thing . Now showbiz titans can wave this little green light around and say, “Who says we don’t make shows for old farts? Of course we do, see?”

AND HERE’S a positive thought for Stranger Things fans who’re crying in their CBD oil because Jim Hopper AKA actor David Harbour dies in Season three’s finale while helping close the gate between Upside Down and the real world. Harboureeno’s Stranger Things contract says they own him till the end of Season Four, which means a miraculous reappearance is in sight. At least till we read about him having been signed for a whole nuther Netflix series the Duffer Brothers are secretly finalizing Right This Very Moment.

What’s that you say? Munchenhaus should of warned you about the above spoiler? Fuck that. Real men don’t watch TV to be twiddled and twaddled around every badly plotted and unbelievable twist and turn of the storyline. We watch it so we can be amazed by how much better even the least impressive entertainment can be while we’re on pouring Johnny Walker down our over-aggressive throats. Man up, you snowflakes! (Heh, I originally typed “snotflakes.” Maybe I shouldn’t correct it next time.)

upward

A+E NETWORKS AKA The Networks Formerly Known as A&E has promoted Patrick Vien to Group Managing Director of International. What does a Group Managing Director of Anything do over at A+E? Smart question, mein freunde. Good thing you asked the right dood. After a little digging, munchenheimer has discovered that Group Managing Directors oversee strategy in specific geographical areas where whatever group they’re part of “holds sway.” Yeppers, that’s what the PR person said. “Holds sway.” So now you know and we’re good here, yeah? As long as nobody asks what kind of strategy and WTF holds!#@ingsway means.

If you’re saying to yourself, “My friendly neighborhood munchadoodledoo dodged a pretty tricky bullet there,” you’re right. C’est la vie, n’est pas?

SPEAKING OF people being named Bosses, Netflix has named Jackie Lee-Joe its (their?) Chief Marketing Officer. For those not in the know (yes, I’m so sad for you not being as inhipandfriendly as moi), Jackie Lee-Joe is in fact a woman (probably even a CIS woman) no matter what her name suggests. Another victim of POS – Parental Overcuteness Syndrome, not that other phrase this acronym usually means – perhaps?

Anyway, Ms Lee-Joe used to be CMO AKA Chief Marketing Officer at BBC, where quality instead of marketing or sales has always been the name of the game, so arriving at a company where despite all appearances insiders know damn well that marketingmarketingmarketing rulez definitely is a big step up for her.

downward

Chloe Dan is out as Senior Vice President of Drama at 20th Century Fox TV after two years on the job. Rumors say she was let go before her contract was up, but so many different reasons have been given for why she was shitcanned that the gossip seems as likely to be malicious as it is to be true.

Ah, Hollywood! A place where everybody’s a high school mean girl regardless of age, gender, job description (or acronym), or personal preference. Consider yourselves warned, children! Stay on the interwebs, where nobody has any reason to try and screw with you because you work for free just like me!

According to various sources, Edward Sabin of A+E Networks (you remember them, yaz?) has decided to leave his gig as Co-Executive Managing Director, International, his partner in co-ness having been none other than Patrick Vien, whom you also should remember considering that his name came up only about 700ish words ago.

The press release about this event seemingly having been written by the A+E powers that be, all we know is that Monsieur Sabin has departed to launch a new business. Sounds like a dood who could need some cheering up. Whaddaya say we all chip in and take him to The Original Pantry? After all, Google gives the place 4 1/2 stars. Have your people contact my people to make this fine thing happen.


That’s it for now, munchalados. Don’t forget to write in and tell yers truly of any and all showbizjj-related positional changes in yer life. Cuz yer fave TVWriter™ Influencer can’t wait to writewritewrite the next episode of this column on accounta I lurves me every chance I get to work for -goddammit – free!

Diana Black: TV Writing Checklist Part 5

EDITOR’S NOTE: If you haven’t already read Part 1,  Part 2Part 3, and Part 4, now would be a good time.


by Diana Black

You’ve done it!

You’ve completed the Script in probably half the time you’d normally take. (You might take even less if you employ LB’s GDD – see his article on “Writing the Dreaded Outline.”)

And what’s more, the IP you now proudly own is yours and it’s unique; no one can take this accomplishment away from you. Register your work and ensure that you have multiple electronic copies stored on external hard drives and on the Cloud.

Think of this hard work as a solid investment in your future career as a screenwriter. If you’ve worked through all these steps, you ARE a screenwriter and one who’s wisely adopted professional standards; you simply haven’t got paid yet.

Now do individual Passes – one at a time the whole way through the Script.

For each Character, is he/she consistent across the narrative arc in terms of their dialogue? Do another pass for that same Character in terms of their action. ‘Rinse and repeat’ for every Character.

Check ‘your voice’ – have you made it strong and discernible in terms of style across the entire narrative arc? The next pass (in no strict order) is to tighten the ‘big print’ – shorten descriptions and actions, ensure there’s not an adverb in sight and everything is in active, present tense e.g. “He walks…” not, “He walked…” etc.

Next pass, you’re a formatting Nazi. The beauty of that Tabled Outline is that you can ensure that the Slug-line for the same location is consistent throughout.

Have you done a Scene Analysis for each scene? Is each flat or superfluous, or are they all totally necessary, intermeshed elements of a script that’s a real roller coaster ride, and serious actor, director, and producer-bait?

If the scenes still have problems, now’s a good time for one more rewrite. If they don’t have any you can find, then now’s a good time to conduct a Table Read with REAL actors.

Feed your actors well and after the read, ask for anonymous feedback – have scrap paper and pens on the table between the dip, carrot sticks and chocolate. Have someone who’s not reading record the proceedings so you can re-listen to the energy levels across the narrative, sometime later.

Have someone else listen for culturally inappropriate word usage. This may not be a problem for you, but I’m an Aussie by birth and upbringing, so even being married to an American for a very long time and living on US soil doesn’t guarantee that I won’t stuff-up occasionally.

If you can, instead of sitting at the table with the actors, sit across the room, script in hand, and just listen; although mark aspects needing attention on your Script.

You’ll hear/sense slow spots and others where the actors are ‘lifting it off the page’ – evidence that the pace and action are awesome – you’ll literally sense the ‘energy in the room’.

Afterwards, refer to the anonymous ‘notes’ they did for you. Be honest, brave and know when to follow your instincts… ONLY adjust/rewrite if a comment resonates with you. Your script is not a punching bag. Does the comment make logical sense; is it in keeping with the narrative arc?

If you have the $$, send it out for professional Coverage. If it comes back with a “Recommend” get it off to market asap; they may even offer to ‘open doors’.

You could also put it into Competition but be mindful that there are biases out there amongst Competition hosts and amongst the Readers they employ, so take a win or loss with a grain of salt.

However, if it does well, put it into another competition and if it does well again, add that positive feedback to your calling card when you begin seriously marketing.

For stories in ‘pitch mode’ you must develop a Strategic Plan. The mission objective to generate interest and make a sale.

Do your research and take a systematic approach – don’t just throw your work against the proverbial wall to see what sticks.

Develop your data base of prospective Producers and do your homework – is the potential ‘suit/s’ currently or recently working with this genre, does it fit within their budget range, are they open to reading material coming from an unrepresented, unpublished writer?

Is your Query Letter (QL) well crafted, grammatically correct and using simple language? You do have one, right?

Even with a well-crafted QL, many recipients will refuse. Expect greater than a 95% rejection rate, but by the same token, don’t necessarily take that first “No/Pass” as the final answer – they may be testing your determination and whether you believe in the IP enough to put your neck out on its behalf – so be brave.

Your story and the Characters therein are counting on you. If rejected, offer to present them with something else – they’ll then know you’re not a ‘one-show pony’. Those of you who are actors know that the ‘job’ is to audition, not necessarily ‘book’ the job. Same applies here – our job as emerging screenwriters, is to create quality material and pitch away.

If you get a foot in the door via your QL and a, “Let’s talk” interview, know and rehearse how to pitch intelligently by keeping the language simple and direct.

According to Stephanie Palmer’s, Good in a Room, show empathy and interest in them. Have the Leave Behind (TV) or the One page (Feature) on hand – don’t have them hanging/waiting for anything. Show professional awesomeness.

If it looks like an Option Agreement is looming, research what the Producer has produced beforehand (you’ve probably done that already – determining whether to pitch to them).

Think long and hard before allowing a rookie Producer to take your IP ‘off the grid’ for goodness-knows how many months. Have Legal Counsel review any agreement – it’s worth the investment. If this potential Producer respects you and is professionally legit, they’ll expect this. If they baulk/protest, look elsewhere and fast.

By having read this series of articles and taking actionable steps, you’ll have realized that creating a narrative, regardless of the medium, is hard work.

There’s no way around that, so work smarter.

And don’t give up! This venture has kept you off the streets for weeks if not months, it’s saved you a bucketload of money you’d have spent on frivolous outings, and you’ve travelled into an entirely different world for free… no one-way mission to Mars for you – the Universe is yours – enjoy!


Diana Black is an optioned screenwriter who has placed in competitions with features and teleplays.  She’s also a professional actor with a Bachelor of Creative Arts – Drama, Film & TV and a regular contributor to TVWriter™.

Diana Black: TV Writing Checklist Part 4

EDITOR’S NOTE: If you haven’t already read Part 1,  Part 2, and Part 3, now would be a good time.


by Diana Black

Regardless of what type of project you’re writing, or whether you wrote a Treatment prior to this step (Storybook version of the narrative), the Scene Outline is mandatory.

IF this is a TV Pilot, Telemovie or Limited Series, the Outline must follow strict formatting guidelines. Regardless of whether, you plan to write up a story-book version (Treatment), I suggest you read LB’s article “Writing the Dreaded Outline” – not only is a great informative read, the GDD method really works, especially when you’re up against the clock.

But let’s assume you do have your potential novel/story-book Treatment in hand and you’re wanting to transform it into an Outline… all you need do is simply break the Treatment up into individual scenes. The ‘big-print’ for each scene, should only be a few sentences long and if it’s more than that, break it up into two (2) sentences per paragraph…. the more ‘white space’ on the page the better.

If you’re not having to submit an ‘industry-standard’ Scene Outline, because it’s not a TV project but a Feature instead, I’d advise you to create the following document… it’s a ‘multi-tasker’… why create more work when you can create a killer document that does so many things at once…

Create a Table (computer… ‘Landscape’). The number of columns depend on how many sub-plots you have besides your main plot (A). Let’s say you only one sub-plot (B)… create a table with five (5) columns… an Act # Colum (I, II and III, or if for TV -TEASER, I, II, III, IV, and TAG); Scene & Page #; A-plot Scene – containing the Slug Line and ‘Big print’ (description incl. action); Scene & Page# column for the B sub-plot, and the last one, the B sub-plot Scene details….

Fill the table in as you work through the Treatment and mark with a numbered asterisk e.g. *1, if it’s set-up #1 or mark with a numbered check e.g. ?3 if it’s paying off set-up #3 and so on… this way you’ll easily keep track of the set-ups and ensure you’ve paid them off correctly. The pay-offs are not likely to occur for a while, or if it’s a TV Pilot, the pay-off may not occur until the next episode, but you’ll know where they are in an instant and whether in the end, you’ve addressed them.

Outlining the entire narrative arc in this manner enables you to not only identify whether a scene is the main plot or a sub-plot, you’ll also be able to determine the timing and relationship between them. It lets you chart the energy dynamics and pacing of the narrative… cutting back and forth between A & B will likely quicken the pace.

You can also indicate whether it’s a Flashback (FB) scene… but most importantly, you can locate scenes a lot faster than flipping through an entire script. If you add or delete scenes (rows) on the Outline, be sure to re-number them. By numbering the scenes at this stage on both the Outline and the Script (a no-no on your spec submission), it makes it easier if you’re working in collaboration with multiple writers on a project or conducting a Table read. Having to say, “Let’s look at Sc.#30” is far easier than saying, “Let’s look at Hotel Room – Night er… page 53”, don’t you think?

Act
Sc/Pg
A – Main
Sc/Pg
B – Sub-plot
I
1/1
INT. HOTEL ROOM – NIGHT
The PROTAGONIST closes the curtains – watches the street. He turns to the POLICE OFFICER behind him – hands over the box. (*1)

2/1
EXT. ALLEYWAY – NIGHT
BEAGLE BOY ONE throws the gun to BEAGLE BOY TWO – he FIRES up at the hotel window.

3/2
INT. HOTEL ROOM – NIGHT
Glass shards spray the room – Protagonist and Police Officer hit the deck….

Doing your Outline this way, helps you restrict the big print down to the bare minimum; this should reduce ‘over-writing’ … leave that for the novel. And remember it’s, ‘show not tell’. Elaborate on the script itself, if you must.

Okay, you’re now finally onto the Script. Refer to that wad of rough scene notes that you’ve been scribbling – at 2:00 a.m., in the shower, walking along the beach, in the rest room at the restaurant on ‘date night’ etc.

Having done so much work in the foundation stage, you now know these characters intimately, they’ve been present for quite a while in your life and now they’re not only talking, but surprising you with the choices they make and events that are seemingly coming out of left field. Now sit back and enjoy the process of just simply writing.

Scenes should adhere to the principle, ‘arrive late and leave early’ in relation to the characters, as to what’s just happened prior to the scene, and they’re leaving long before the ‘welcome mat wears thin’ – don’t slow/labor the pace. The scene should clearly address the scene objective without being ‘on-the-nose’ description and/or dialogue.

Beats are a way to amp up the pace and explore subtext, there should be underlying conflict and tension between characters, and with only one of them winning by the scene’s end. This is indicated by the character via word or action; achieving their objective via the dialogue or the action. If none of this is making sense to you, read my article: “Actor-Writer? No! Writer… No…”

On a technical note, as you’re writing the Script, have you got something compelling on the bottom of every page so that it’s a ‘page turner’? Supposedly, J.K. Rowling’s strategy. Go and check out one of the Harry Potter books and the adapted screenplays – see if this holds true. If you’re writing a teleplay, have you got something amazing just prior to an act break in the form of a cliff-hanger?

Take a bow. You’ve worked hard!

See you in the next article… TV Checklist – Part 5


Diana Black is an optioned screenwriter who has placed in competitions with features and teleplays.  She’s also a professional actor with a Bachelor of Creative Arts – Drama, Film & TV and a regular contributor to TVWriter™.

Diana Black: TV Writing Checklist Part 3

EDITOR’S NOTE: If you haven’t already read Part 1 & Part 2, now would be a good time.


by Diana Black

We’re now ready to step into the story-world and start seriously playing, but we do have some decisions to make first…who said screenwriting was easy…

Determine the Design Principle – how will you tell the story and through whose lens? I suggest you refer to Jonathan Truby’s Anatomy of Story. He maintains that most stories, while they’re much in need, don’t have a Design Principle.

Having a modus operandi on a card in your daily line-of-sight, will ensure that the story stays ‘clean’ in terms of its execution. Your narrative doesn’t have to be linear to follow a Design Principle.

Whatever way you want to tell the story, it just needs to be consistent.

You could go straight into writing the Scene Outline, but I’d suggest you write the story-book version of the narrative first, in the form of a Treatment. Think of it as telling a ripping yarn around the campfire. It’s useful if you’re writing a feature; especially if you want to novelize it later (but it works for both features and teleplays).

A story-book version will free you up from getting tied up in formatting issues associated with the ‘big print’ (description/action) of the script. We’re not even thinking about the dialogue at this point and by doing this before you start writing the script, you’ll be free to just see the ‘film’ in your head and your job becomes one of simply noting down the details of what you see unfold.

If you know the ending, from the get-go, which is a great idea, you can ‘reverse engineer’ (work backwards – determining how the characters came to that end – be it sticky or not). Make sure the ending is climatic, stupendous and surprising in a big, out-of-the-box way. Think back to the lead-up and finale of Breaking Bad (AMC, 2008 – 2013).

If it’s a TV series you’re writing, not only will you be considered awesome when you can rattle off what going to go down in later episodes in the pitch meeting, whether they follow your lead or not, you’ll have clearly demonstrated that it’s a cohesive narrative and that you’ve thought about its longevity – this beastie is alive and rattling its cage!

Have you thought about generating buzz? As you’re writing the Treatment, especially as you get closer to the ‘back-end’, deliver one pay-off after another such that, assuming the series gets picked up and airs to plan, viewers – especially binge-watchers – will have multiple sets of clues and “surprises” to keep them glued to the screen.

Essentially, you’re attempting to, and, we hope, succeeding, in generating buzz, AKA marketing gold!

Once you’re done writing up the Treatment, then you can think about structure… if it’s a television series, determine where you think the Pilot is going to end in that narrative arc and for both formats, go back and identify the Act breaks and the structural components therein.

If you’re not sure what I mean by that, pick up a copy of Syd Field’s Screenplay and if its strictly television that your writing for, LB’s Television Writing from the Inside Out.

Identifying the structure (after the fact*) is always a good idea because you don’t know the background, quirks and modus operandi of the gate keepers and suits who might read this document.

*I would strongly suggest at the outset, you don’t impose stereotypical plot points associated with a specific genre onto the narrative, otherwise you may end up with a formula-laden, generic mess.

If it’s a TV show and you’re really on the ball, you’ll have a cliff-hanger at the end of each Act break and a humdinger at the end of the Pilot.

Word of caution, it’s a slightly different ball game for television procedurals wherein the characters have come to us from the beginning of the Pilot, as relatively fully-formed individuals – their Character arc in terms of growth, is minimal. At least in comparison to a Feature or a character like Walter White in Breaking Bad.

We see ‘character growth’ in dramedies as well, such as Girlfriends’ Guide to Divorce (Bravo, 2014 – 2018) via the character Abby McCarthy (played by Lisa Edelstein). Yet we don’t see it so much in the character of Sheldon (Jim Parsons) in The Big Bang Theory (Warner Brothers, 2007 -).

Having fully-fledged individuals in a procedural is a marketing decision. The police procedural, NCIS (CBS, 2003 -) has stood the test of time and has fully developed characters who’ve changed very little across the narrative arc, but we do see new characters arriving and some established characters leaving. But being a procedural, it means we can just focus on a new plot each week AND viewers can be recruited at any time within the season and not be lost/confused.

Now that you have your Treatment done, ask yourself, is it a fast read? Get industrial-level coverage if you can’t tell. Your aim is to create a fast, fluent organic read, rather than something that is stereotypical, cliché shlock.

See you in the next article… TV Checklist – Part 4


Diana Black is an optioned screenwriter who has placed in competitions with features and teleplays.  She’s also a professional actor with a Bachelor of Creative Arts – Drama, Film & TV and a regular contributor to TVWriter™.