Tag: TV writing and social responsibility

TV Writing & Social Responsibility – Can They Ever Live Together? Part 2

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Inclusive Writing
by Diana Black

Inclusive television is not a new concept with television programs over the years attempting to address the ‘inclusive’ issue through ensemble casting; as mentioned in ‘Part One’ of this article. So how successful and how serious has that effort been? Greg Braxton of the Los Angeles Times (2007), maintains that to a large extent the big networks have done poorly when it comes to ensuring television programming is inclusive beyond that of tokenism.

The question for us as writers seems to be, can artistic expression happily flourish and coexist with commercial viability beyond the ‘honeymoon period of the successful pilot?’

A review of the casting for long running sitcoms such as Friends (David Krane and Marta Kauffman, 1994 – 2004) and more recently Lost (Jeffry Lieber, J.J. Abrams and Damon Lindelof, 2004 – 10) seems to have addressed gender balance, but have they substantially addressed ethnicity? Both television series seem to have been tokenistic in that regard with the overwhelming majority of cast members ‘white’, ostensibly middle-class. read article

TV Writing & Social Responsibility – Can They Ever Live Together? Part 1

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SOCIAL-RESPONSIBILITY-facebook

corporate-social-responsibility

by Diana Black

For us as the new generation of intrepid screenwriters attempting to write the next great spec pilot, what key elements do we consider in the creative development process – most likely a ‘What If’ session that focuses our deep fascination for a concept in relation to character and/or situation; such has been integral since the time of Aristotle. When it comes down to the nitty-gritty of realizing that glittering premise into a story-world rich with intriguing characters and hooks to entice the ‘suits’ into ‘talking mode’, does ‘inclusive writing’ figure in the ‘brainstorming’ stage and if so, in what way? Equally, do the terms – business, commodity and product come to mind?

It is probably safe to say that the #1 grumble of many a TV and film writer – regardless of their tenure, status in the industry or lack thereof, is the onerous task of having to pander to the ‘suits’ while trying not to compromise the original artistic vision. Somewhat galling considering that if it weren’t for writers creating amazing pieces of fiction, ‘big show business’ would most likely cease to exist. However, we’ve all received the warning from anyone willing to advise us, “Ignore the concept of commercial viability at your peril.” So it would seem we are beholden to serve and beyond that of just the story, if we want the writing gig. Perhaps our degree of compliance and sense of professional fulfillment will depend on what changes those with the cash want to make and why.

We are reminded by our esteemed tutor, Mr. Larry Brody, in Television Writing: from the Inside Out that television is indeed big business and that should we succeed in ‘breaking in’, we’ll have achieved the status of ‘team player’ with what makes it to the screen being a collaborative effort on behalf of many (p. 4). These various stakeholders, especially in free-to-air television and no matter where they are in the chain of command, they’ll demand substantial results and quickly because their professional careers are on the line. What’s driving this frenetic desire? read article