THE NAKED MAN COMEDY SERIES has been around for 4 years now, and it’s been a secret pleasure of this TVWriter™ minion all that time. I mean, what’s not to like? C’mon – it’s a naked man!
Here’s Episode 2:
Tag: Spec Scriptacular Contest
Adapting Magic: An Interview with TV Writer Henry Alonso Myers
Everything you want to know about the process of adapting YA novel THE MAGICIANS for TV. And, considering the great revews this show has gotten, y’all need to know it:
by Sarah Mesle
HOW IS WRITING a book different than writing a TV show? How is reading a book different than watching TV? It’s a commonplace now that the current moment is not only a golden era of TV, but also a golden era of television criticism. But how does the making of TV align with the discussion of it — and what should critics know about the medium they discuss?
Sarah Mesle, LARB’s Senior Humanities Editor and a writer for LARB’s “Dear Television” column, recently sat down with Emmy-nominated TV writer Henry Alonso Myers to discuss exactly these questions. Myers, who has previously worked on shows such as Ugly Betty, Covert Affairs, and Charmed, is a writer and Executive Producer for SyFy’s new show, The Magicians, based on Lev Grossman’s critically-acclaimed 2009 novel of the same name. Grossman’s novel famously crosses the bounds of literary and genre fiction, telling the story of Quentin Coldwater, a young man in contemporary New York who suddenly discovers that magic is real. As Meyer discusses, the novel, lauded for both its riveting story and its sophisticated prose, posed both opportunities and challenges for adaptation.
The 8 Worst Kinds of Fictional Romances
Why does “romance” in fiction get such a bad rap? This is why:
by Katharine Trendacosta
Romance abounds in fiction—and science fiction and fantasy are full of epic romances, too. But sometimes a romance feels less like something that’s true to the characters and more like a plot device the writers threw in at the last moment. Here are eight kinds of romance that we don’t ever need to see again.
Look, we all know that writing believable romance is hard. Maybe, just maybe, it’s time to admit that not every story needs a relationship as its A-, B-, or even C-plot. A story without romance is better than one with a bad one. It’s never good to have an audience thinking, “Hey, these characters are solid, the story’s fun—oh, oh no. Stop it. Where’d this relationship even come from?!”
Are You Addicted to Criticism?
Nope, we aren’t talking about giving criticism here. We’re talking about getting it? Here’s what we mean:
by Tara Sophia Mohr
It’s happened to all of us: feedback on our creative work has, at one time or another, caused us to get stuck. Maybe a client hated your designs, and your confidence was shaken for the months that followed. Or a client hated your designs, and you wasted hours arguing with them in your head. Or maybe it’s the quieter criticism of no response at all—to blog posts or a new offering in your business—that has you feeling demoralized.
All of these are ways we get “hooked” by criticism – caught by it in ways that limit us. What we want instead, of course, is to be able to hear and incorporate useful feedback, without the personal wounding or creative blocks that so often come with it.
John Ostrander’s Guide To Writing Secrets
by John Ostrander
Once again I’m a JohnnyO-come-lately to a pop culture phenomenon. I don’t know why I avoided watching Downton Abbeyon PBS outside of general cussedness. I get like that. Even something I think I might enjoy I’ll not watch or read because everyone else is doing it. Perverse.
Mary decided she wanted to watch the show so we bought the disc of the first season just to “sample” it. Well, that done it. We’ve gotten all the others and sort of binge watched right through the current and final season. Yes, we’re now ahead of friends and relatives who have been fans of the series right along, but don’t worry. I’m not actually going to reveal the upcoming plot twists and turns.
Rather, I want to consider the use of secrets in the series. We all have secrets at varying levels – things we don’t share. If true with us, so it should be with our characters.