Television and Screen Writing

From Concept to Contract

Richard A Blum

• Publisher: Routledge
• Year: 2013
• ISBN:
  9781136050336
• Edition: 4
• Topic: Media & Performing Arts
• Subtopic: Film & Video

Now in its fourth edition, Television and Screen Writing: From Concept to Contract is a classic resource for students and professionals in screenwriting and television writing. This book will teach you how to become a creative and marketable writer in every professional arena - including major studios, production companies, networks, cable and pay TV, animation, and interactive programs. Specific techniques and script samples for writing high-quality and producible "spec" scripts for theatrical motion pictures, the sitcom series, one-hour dramatic series, longform television, soaps, talk show, variety, animation, interactive and new media are provided. Television and Screen Writing: From Concept to Contract, Fourth Edition also offers a fully detailed examination of the current marketplace, and distinct strategies for marketing your scripts, from registering and copyrighting the script to signing with an agent. This new edition has been expanded to include the most up-to-date creative and professional script samples, marketing resources, and practical information possible. The companion website (www.focalpress.com/companions) offers a wide range of contacts and resources for you to explore, and Internet links to professional resources. There is also an Annotated and Selected Bibliography for your reference

1

Introduction

When I was asked to revise the fourth edition of Television and Screen Writing: From Concept to Contract for the new millennium, I was reminded that it was one of the best-selling books in the field and a classic resource for students and professionals. I knew that this revision was an important opportunity to include the most up-to-date resources and practical information for screenwriters and television writers in the twenty-first century and beyond. I also wanted to make the book more accessible for screenwriters and television writers, by focusing first on screenwriting techniques and then on television writing techniques.

No producer, executive, or agent will pick up a script unless it's in the proper format. Not all worthy projects will be produced—in fact, most scripts won't even be read—but if the project is well-written in concept, style, and format, then it stands a much better chance of being evaluated. Technique and format are essential for writers who seriously intend to enter the mainstream of the profession.

After working in the industry and analyzing industry requirements, I've concluded that writing for motion pictures and the small screen share these needs: the development of producible stories, appealing and castable characters, credible dialogue, expert structure, and skillful visualization. This book shows how to fulfill each of these needs for theatrical motion pictures, the sitcom series, one-hour dramatic series, long-form television, soaps, talk shows, variety, animation, interactive and new media, and nonfiction entertainment.

This book gives you specific techniques for writing high-quality and producible scripts. It reveals the secret of creating a driving force for characters in the premise and demonstrates how that is the core of all successful motion picture and television scripts. It discloses how to become a creative and marketable writer in every professional arena, including for major studios, production companies, networks, cable and pay TV, interactive programs, screenwriting contests, and national and state funding agencies.

One of the most important skills for writers is to learn how to develop spec scripts (“speculative” means you don't get paid for it). That script serves as a consummate sample of your ability to write for film and television. It markets you as a professional to agents and producers.

In motion pictures, the spec script serves a twofold function. First, if you get a lot of interest and create a “buzz” on a script, then it may generate that rare but headlined million-dollar spec script sale. In 1999, two of my students, Chris Skinner and Brad Keene, sold their first spec screenplay, “Gravediggers,” to Artisan Entertainment for $200,000. The project script is a horror film and generated a lot of interest. The screenwriters got exclusive representation by the William Morris Agency. On the basis of that “buzz,” they were invited to set up a few pitches to various studios. A new deal might be on the horizon for them.

Artisan is also the same company that purchased the rights from five former University of Central Florida students, including Daniel Myrick, Eduardo Sanchez, Robin Cowie, and Michael Monello, for “The Blair Witch Project.” It cost around $35,000 to produce. In its first two weeks of general release, it earned more than $50 million in profits.

That same year, 1999, on the basis of his spec script, a former student, Duane Adler, was hired to write a screenplay titled “Save the Last Dance” for Paramount and the Cort/Madden Company. Robert Cort and David Madden are the producers. It is an interracial love story about a 17-year-old white girl and an 18-year-old African American boy, a dance movie in the tone of “Saturday Night Fever.” It took three years for the project to reach production. At that point, he was officially hired to write another project, and this one is an ensemble, coming-of-age story in the tone of “American Graffiti” and “Rebel Without a Cause.”

Another former student, Malcolm Johnson, whose spec script won an African American screenplay competition, just landed an assignment for Warner Brothers, who are doing a remake of the 1970s film “Superfly.”

Many others optioned their feature screenplays to the major studios and production companies, including every genre. In fact, most spec scripts are optioned, rather than sold outright.

The second purpose of a spec script is to have your agent submit your script as a sample of your work to a producer who is actively in preproduction. That producer may hire you to “fix” a screenplay in rewrite. That has also happened to my students.

New television writers can shine with a spec script showing an understanding of the existing story structure and character relationships in a current series. Freelancers who deliver producible scripts often find themselves hired as staff writers. If they're successful on staff, then they move up the ladder to become show runners (writers-producers). Show runners are worth their weight in gold, earning millions per series.

In terms of developing new series, over the years the costs of pilot and series production have escalated wildly, and networks, cable, and pay TV fought for survival in a raw competition for viewers. As a result, networks are much less likely to want to launch a new show, especially if they do not know the writer. In the late 1990s, however, a new phenomenon called “put” pilots occurred, in which the developers are guaranteed a slot in the competitive schedule. So, there is a section on how to develop new series in this latest revised edition.

There is something very gratifying about developing new motion picture and television projects. Perhaps it relates to the writer's eternal fantasy of creating something that will have an impact on an audience. Think of the frustration you feel seeing a movie with characters that are wooden or a plot that is a bomb. Think of the television viewer, who is bombarded with banality every night. In a real way, this book is about how you can affect the quality of that barrage. Knowing the ground rules for success can help you improve the quality of what millions of viewers see. It's a worthy fantasy to pursue.

The fact is that the writer who stands the best chance of making it is one with industry awareness and contacts, coupled with talent, technique, and indomitable perseverance. If you're willing to confront incredible odds with highly professional scripts, then your perseverance might pay off. The industry consumes thousands of stories and scripts every season. It requires a horde of talented writers to keep the home fires burning and to draw audiences to see a box office smash.

This book can provide you with certain writing techniques, but only you can provide the essential ingredients of talent and creativity. Once you know the format, the demonstration of imagination and style is up to you. Why not put them to work and see what happens?

Part One details how to create marketable premises for motion pictures and TV. It explains how to create a driving force for characters in the premise and analyzes successful motion picture premises, including high concepts, loglines for current script and pitch sales, successful independent film loglines, and other successful motion pictures. The challenge of adaptation is also explored. This section also scrutinizes all aspects of television, including loglines from successful sitcoms and dramatic series. It covers developing projects for television films and movies of the week, as well as animation, interactive and new media, and nonfiction entertainment.

Part Two analyzes the creative process of story development. It shows how to develop a marketable story. Chapter 3 examines genres and themes, and plot patterns that are most recognizable in film and television. Chapter 4 explores how to write the story. It explains where to begin: how to choose the story area and the lead character, and how to advance the story effectively. There is a discussion of strategies for developing convincing treatments and step outlines, with a sample narrative treatment and sample step outline, as well as storylines for television. Chapter 5 examines dramatic elements and act structure in motion pictures and television. It deals with the issues of dramatic elements in a story, classical three-act structure, structure in motion pictures, plotting audience interest in your story, and sample audience interest curves.

Part Three is centered on character development and dialogue. Chapter 6 details the most effective devices for developing castable characters. It also demonstrates how “Method” acting techniques can be used to create dimensional characters in the script, as “The Method Writer.” This chapter illustrates how character arcs are used to effectively build characterization in film and television. It also discusses the importance of setups and payoffs for lead characters. Chapter 7 reveals how to write realistic dialogue. It unravels the top-ten worst dialogue problems and solutions—how dialogue problems can be identified and corrected in the script phase of writing.

Part Four is centered exclusively on motion picture screenplay format. It unravels all of the techniques of spec screenplay format, including details about formatting a screenplay and how to prepare it professionally. This chapter also examines the latest screenwriting format software and software for script development. Chapter 9 details how to write effective scenes in screenplays. It offers eight pitfalls in scene descriptions, and how to solve them. It also highlights the importance of writing effective opening scenes and provides samples from screenplays. Chapter 10 is short but important because it provides a checklist for script revision and tips on how to apply the final polish to your screenplay.

Part Five deals exclusively with television scripts. It unravels the specific techniques of television sitcom writing. Chapter 11 details TV sitcom format and offers vital professional format samples from current hit sitcom series, including “Frasier,” “Friends,” and “Ally McBeal.” It also provides a sample cast and set list from “Frasier” and a sample tentative production schedule from “Becker.” Chapter 12 analyzes how to write professional scenes in sitcoms. It demonstrates the significance of sitcom characters and dialogue, and it provides professional script samples and analysis of scenes from “Frasier” and “Becker.”

Chapter 13, which is new for this edition, encompasses the latest trends in animation, interactive and new media, and nonfiction entertainment. It provides animation script format professional samples from current animated series, including “King of the Hill,” “The Simpsons,” and “South Park.” This chapter also deals with interactive and new media, and presents a sample for multimedia script format. It also offers samples of the latest interactive and informational program contracts.

Chapter 14 examines television drama format. It analyzes spec TV drama script structure and provides essential professional format samples from current hit drama series, including “ER,” “Law & Order,” “NYPD Blue,” “Star Trek: Voyager” and “The X-Files.” Chapter 15 examines how to write professional scenes in TV drama. It analyzes action, characters, and dialogue in TV drama. It also provides vital professional samples from “Star Trek: Voyager.”

Chapter 16, which is another new addition for this edition, encompasses soaps, talk shows, and variety. It covers soap opera writing format and offers professional format samples from current soaps, including “Days of Our Lives,” and “General Hospital.” It also offers a sample song segment from a late-night television talk show.

Chapter 17 details how to create new television series. It examines how TV series concepts are developed and the impact of “put” pilots. It differentiates series concepts, presentations, and series bibles. It demonstrates how to create marketable television series concepts, explains what makes an effective TV series concept, offers a sample concept from “Coach,” and details how to write original TV series presentations. The art of pitching ideas—and personal ingredients necessary for successful pitching—is also revealed in this section.

Part Six details every aspect of marketing and selling your script. The odds against selling a new project are staggering, but without knowledge of the marketplace, there's no glimmer of hope for success. This section provides the answers every writer should have to key questions, as well as a fully detailed examination of the marketplace and distinct strategies for marketing spec scripts.

Chapter 18 examines how to sell your motion picture screenplay—what you should know before marketing, how to register and copyright your script, joining the Writers Guild of America (WGA), the release form, writing query letters, the synopsis, how to prepare your script for submission, submission status reports, and how to get an agent. This chapter also helps you analyze the marketplace, with information on major studios and production companies, script sales by studio in 1999, spec screenplay trends, sources for top grossing films in 1998, spec screenplay trends in 1999, script sales by genre for 1999, script sales by source material for 1999, the million-dollar spec script, pitching, development trends in theatrical motion pictures for 1999–2000, and sample going rates for “star” screenwriters for 1999–2000. It also includes business deals and contracts for spec screenplays, including the Writers’ Theatrical Short-Form Contract, screen credits and arbitration, and a closing section on writing violence in films.

Chapter 19, also new for this edition, details how to sell your television script—what you should know before marketing, how to register and copyright your script, and how to get an agent. This chapter helps you analyze the marketplace, with marketing trends in television and the television writers’ marketplace. It includes information on writing professionally for television, pitching TV series concepts, long-form television, business deals and contracts in television, and credits and arbitration.

Chapter 20, the final chapter, investigates national funding sources (CPB, PBS, NEA, NEH) and state funding sources, as well as private foundations and corporate sources. It explains how to write grant proposals and how projects are evaluated.

The Appendixes offer a wide range of contacts for you to explore and contain the most up-to-date resources. Appendix A, located at the back of this book, includes Portions of the WGA 1998 Theatrical and Television Basic Agreement Schedule of Minimums. Our companion website, available at www.focalpress.com/companions, offers information and links to major studios and production companies, television production companies, state film/television commissions, state art...

Table of contents

• Cover
• Halftitle
• Title
• Copyright
• Dedication
• Contents
• Acknowledgments
• 1. Introduction
• Part One: Creating Marketable Premises for Motion Pictures and TV
• Part Two: Story Development
• Part Three: Characters and Dialogue
• Part Four: Motion Picture Screenplay Format
• Part Five: Television Scripts
• Part Six: Marketing and Selling Your Script
• Appendixes: Where to Go Next
• Index