Mistake 5: Don’t be precious about your script.
Mistake 6: Don’t “dis” the culture of the staff.
Mistake 7: Don’t work on a series that’s wrong for you.
The Good Staff
A Slice of Life
The Staff Ladder
1. Freelance Writer
2. Staff Writer
3. Story Editor / Executive Story Editor
4. Producer
5. Supervising Producer
6. Creative Consultant
7. Executive Producer / Showrunner
Summary Points
SPOTLIGHT ON “UNSCRIPTED/REALITY” SHOWS
GUEST SPEAKER: SCOTT A. STONE (The Mole, The Joe Schmo Show, Top Design)
The rules:
Write what you love.
Don’t spec the series you plan to pitch.
Ask the right questions about a series.
Have the right tools.
Have representation.
Be in Los Angeles.
The secret of success
Summary Points
What’s New?
LIFE AFTER FILM SCHOOL: CAUTIONARY TALES AND SUCCESS STORIES
The Class of ’97
Three Years Later
Seven Years after Graduating
Fourteen Years after Graduating
GUEST SPEAKER: DAVID GOETSCH (The Big Bang Theory, 3rd Rock from the Sun)
A TOUR OF THE FUTURE
Internet Drama Series
Webisodes
The Web is Dead
HOME IS THE WHOLE WORLD
Right Now
PREFACE TO THE THIRD EDITION
In times of great change, the question is: what remains?
In 2005, when the First Edition of Writing the TV Drama Series was published, the rules of TV were knowable and clear. Hour dramas had four acts with commercial breaks every 13 minutes or so. A network TV season was usually 22 episodes that ran from September to May. And viewers sat on living room couches to watch their TV sets, tuning in to their favorite programs at the times when the programs were scheduled for broadcast.
Back then, I wanted to tell you how to get into this field and do good work once you’re here. That much remains.
By the Second Edition in 2007, many of the rules had changed — but the rules were still clear. On broadcast TV, hour drama shows went to five or six acts; basic cable was offering scripted series that followed traditional paradigms; on premium cable, HBO and Showtime always won the critical awards, and their commercial-free model had become a distinct form of its own. Pilot opportunities for new writers had blown open, but the pilots themselves were written and made the same way they’d always been.
Back then, I wanted to tell you how to use the new rules to write well and succeed. That remains also.
For the Third Edition, I initially thought I’d update the major shows, add a few fresh interviews, and reflect more of what’s happening in alternative forms and on the Internet. But as I researched this edition, I discovered that almost everyone — from showrunners to struggling writers to industry executives to new media creators — were no longer merely adjusting the rules. Now they were asking basic questions: What is television? What is drama? What is a series? What are the delivery options? What are our obligations to the audience? Does a mass audience exist? Even what is reality?
And yet, after the smoke clears, more remains than appeared at first. No matter whom I asked about the future of television, the name of Aristotle, the ancient Greek philosopher, kept being invoked, not only by writers of great drama series, but by someone doing Webisodes and someone else making “Unscripted” shows. Though Aristotle set out the principles of drama thousands of years ago to describe archetypal tragedies in the plays of his time, those essential dramatic principles remain today.
The writer’s skill at storytelling, understanding what drives human beings, the guts to touch the passions, fears and aspirations of viewers, and honestly portray the universal issues of our lives — that content still relies on the art, craft, and insight of people who write.
So this Third Edition
