Golden Garbage Dump

Last year, I needed to crank out another original one-hour sample for a potential rep. Fast. I already had the show’s basic premise, characters, arcs, and theme in mind…but I knew I wouldn’t have as much polish time once I pounded out the first draft as I’m used to. And (as I’ve mentioned before) those rewrites are where I really find my scripts come alive.

So, once I hammered out that first draft, I opened up a special document where I’ve been stashing little pieces of awesome for close to a decade. Great stories I overheard, cool dialogue parted out from abandoned projects, unique characters I’d imagined but not utilized yet, etc. …it’s basically where I bury the babies I’m forced to kill – but plan on reanimating at the right moment.

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It Has To Be Bad To Get Good

I’m a serial rewriter – when I’m in the middle of a script, I can’t stop myself from reading back over what I’ve accomplished in prior sessions and doing a little polish work. Of course, this means I’m rewriting all of my scenes multiple times before finishing the first draft.

And it still sucks. Always.

This used to get me down because of all the work I’d put into that first draft. What I didn’t realize was that, despite it’s first drafty-ness, I’d done most of the heavy lifting. Which is to say I’d written everything down – front, middle, and end. Now, I can go about making it actually good.

Which is why I’m writing this post. Forget Hemingway, EVERY writer I’ve ever heard interviewed or spoken with directly has emphasized that the first draft is the first effort – and that it should never see the light of day. It’s quite simple to identify missteps when you have an entire story to contrast it against – not so much if you only have part of the whole and don’t know where you’re headed.

So I guess the long and short of this thought is: don’t be afraid to be bad. Because we all are. It’s how you work the rough shape that helps add a distinct voice and focus to the script you will show other folks.

Matt Weiner @ “The Treatment”

Although “The Treatment” usually deals with films, Elvis Mitchell occasionally interviews small screen folk. His recent interview with “Mad Men” creator Matthew Weiner is a superb look into the mind of a writer who’s working on a level that a lot of us never get to. His insight into character and truth in writing is worth a listen for anyone looking to sharpen their skills.

Running “Sons of Anarchy”

Another great post from Kurt Sutter about the responsibilities and mechanics of running his brilliant FX series, “Sons of Anarchy”.

Done Is The Engine Of More

I first came across this *brilliant* bit of inspiration on John Roger’s blog Kung Fu Monkey. It’s hanging in the writer’s room at “Leverage” and undoubtedly in many other places as well, but I’m not sure where it originally came from. (more…)

“Stiffing Staffing Season”

This is one of my favorite episodes of KCRW’s “The Business”. Although the show being discussed is no longer on the air, the story of its creators should prove inspirational to anyone trying to make it as a TV writer. The unconventional path they took is yet another example of there being no real rules in Hollywood…enjoy.

WGA’s Guide To Writing For TV

One of the cool things about writing for TV is the hierarchy built-in by the WGA. Unlike acting for instance, there are clearly-defined rungs on the way up to becoming a showrunner.

The WGA has a *great* resource detailing the different staffing positions, their salaries, and the specific responsibilities each job entails. Check out Writing for Episodic TV (it’s free) and you’ll not only get some great info but also some inspirational quotes from heavyweights like John Wells and Amy Lippman.

Websites & Blogs for TV Writers

TV Scripts & Bibles – The mother lode for anyone who needs (or just wants) to read TV scripts. Not only are there episodes of current shows, there are unaired pilots from *serious* writers. This is the first place to look when you’re getting ready to spec a show and want to see what their specific formatting looks like.

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Time To Get An Agent(?)

When I decided to dedicate myself to writing for television, I thought the first thing I needed was an agent. I subsequently learned that the first thing I needed to do was *write*. A lot. So that, when the opportunity presented itself, I had some sharp examples of my voice. Trying to get representation without a portfolio of writing samples is simply impossible. How are they going to sell you?
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Only Buy One Book

I’m not sure how many screenwriting books I’ve purchased/been given in the past decade. Dozens would be a conservative estimate but only a couple actually left an impression. The best thing I found about having this large library was their resellability – listed as a lot on Ebay, they sold quite quickly two years ago.
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