if Taylor Swift can add 4.5 billion dollars to the economy while paying out 55 million in bonuses I think the studios can figure out a similarly viable business model
How did you guys learn structure?
Found these coffee-stained scripts today when cleaning! I learned how to write TV scripts by writing specs. Before speccing a show, I would watch every episode 2-3 times, summarize them, then get three scripts and break them down like so:
THREAD: A few years ago, a screenwriter who was giving me notes on a pilot asked me a question which totally up-leveled me as a writer...
He asked, what is the DRAMATIC QUESTION of your show?
Some news -- I have been staffed on my first TV show! Just finished my first few days in the room and still pinching myself. That's all I can share atm but I will say I did NOT do this alone and writer Twitter helped! 🥰
I once advised someone to not move to LA until they had at least 2 polished original pilots that and a full year of living expenses saved. they looked at me like I was crazy and I immediately started backpedaling.
I feel less crazy now.
Sometimes I see tweets like "I wrote 10 scripts this year!" and I feel really REALLY discouraged. Then I have to remind myself that some of us are sprinters and some of us are marathoners. So if you're slow like me...
You're still a writer.
When I decided to be a writer, people told me I needed to move to LA immediately. I couldn't and spent years feeling like a huge coward for not being able to. However, now that I'm here and working, I realize the game has changed. Here's how I think about it: 🧵
I signed with a manager! I am officially a repped writer! I am being managed! From what I understand this changes nothing but also this makes things way more interesting. So basically there is a lot of work to do?! I don't know! Onward!
Me: I want to write for television because being in a room sounds like so much fun
Industry: okay what you need to do then is write for years and years and years by yourself
Screenwriters: how I met my rep? well, I was drunk at a party and met a producer who rec’d me to a manager who read me but lost my email when...
*10 minutes later*
...struck by lightning and ended up on adjacent hospital gurneys and then he signed me!
Novelists: I queried
been reading a lot of scripts lately. there seems to be an order in which people develop their TV writing skills, and I can kinda tell where people are in their journeys (and where I am on mine!) based on which of these has been nailed and what still needs work: 🧵
THREAD: IMO most screenwriters don’t name their files in a useful or even consistent way. Weird considering how neurotic we are about screenplay format.
Good filenames can save you SO MUCH heartache, esp when you’re returning to old projects or sending stuff out.
My method:
while the other streamers are canceling shows and playing the short game, Apple is over there quietly brand-building and being the unsung hero of serialized storytelling by spending all their iPhone money on 4+ seasons of beautiful prestige TV. I see you, Apple.
A dramatic question (DQ) is, basically, a compelling question that you establish by the END OF YOUR PILOT that your audience has to watch the series to answer.
Some examples:
SUCCESSION -- Who will succeed Logan Roy?
STRANGER THINGS -- Where df is Will?
MAD MEN -- Who df is Don Draper?
I love the Mad Men one, especially, because that show isn't about a larger mystery or competition, but it still has a strong DQ from the jump.
THREAD: I've seen a few threads on this topic bouncing around lately, so thought I'd share my experience.
Three
@austinfilmfestival
's ago, I was at one of those roundtable things and received some wisdom from a screenwriter that totally changed my life. This is what she said:
It took me 6 samples to get reps and 11 to get staffed. I used to be a bit embarrassed of those numbers but now I’m proud of them. Everyone advances in this industry at different rates but no one can take the work you’ve put in away from you.
Okay, since some people are finding this helpful, here's an example of a slightly more sophisticated script breakdown from when I started doing them in Excel.
My agent is now agenting at a new agency! I've worked with Allie since she was a coordinator at CAA and am thrilled to be following her to WME. Excited for this new chapter but mostly proud of my superstar agent!
BAD GANDHI, my latest 1/2 hr, did NOT make the second round at AFF. For some perspective: that draft got an 8 and 9 on The Black List, led to a ton of meetings, and just got me staffed.
All this means is that 1-2 readers weren't into it. Nbd.
Contests aren't everything.
Coverfly set me up with EIGHT pitches, generals, and manager meetings for this year’s pitch week (perfect timing too, since my room just wrapped 😅)
Keep your
@Coverfly
profile up-to-date y’all — they’re doing a good job connecting writers with execs and reps.
Feel like whoever first said “I don’t like writing, I like having written” ruined an entire generation of writers into thinking this job is supposed to be miserable slog. If you don’t enjoy some aspect of the process (besides being done) get out now. storytelling is not for you.
I looked at:
- number of scenes
- pages/minutes per scene
- scenes per act
- scenes per storyline (esp useful to see how writers collapse multiple storylines into one scene)
- actors per scene
- # of discrete locations in the script
- joke density (jokes/page)
- set pieces
A lot of pilots either don't establish strong DQs OR the DQ is just "wtf is happening?" which is not an actual DQ, it just means your story is confusing. Also, too many DQs seem to dilute the story. You want ONE good one.
Hollywood NOs:
"This is a good script!"
"you're such a good writer!"
"let's definitely stay in touch!"
Hollywood YESs:
"You are ready"
"I can sell this"
"Here is money"
after 2 years, I've officially parted ways with my first rep. I have a penguin-like sense of loyalty so this was a big deal for me, but if I've learned anything it's that results matter, and your reps need to be as hungry as you are, not just ppl who can see that you're hungry.
post strike, writers need to stop signing if-come TV deals with studios. not only does it force individual writers to de-risk their own product for billion-dollar companies (who can afford to absorb that risk) it also dilutes the market value of EVERYONE'S work. it's bs.
I'm a screenwriting nerd, but for whatever reason, I had not encountered this term before this moment, and I've never really heard anyone say it since. Maybe that's because people call it something else, or it's more of a theatre thing, but I really like it for film/TV.
The game has changed. Hone your craft. Get life experience. Save your money. And THEN move. And before that? Visit as much as you can! Use the Internet to make friends. And wait for confirmation that your work is actually good enough to get you paid!
And now that I know this, I see DQs everywhere. And I've realized that most good serialized shows (especially dramas, but also comedies) have a compelling DQ that is established by the end of the pilot.
I guess I could be mad about all the bad screenwriting advice on Twitter, but tbh I'm just too overwhelmed by all the good advice being given out by incredible writers
Every day
For free.
Can’t believe the studios let the most hot, famous, and charismatic people in this town take to the sidewalks and talk about shareholder capitalism. in public. at cameras.
Anyway, just something I've been thinking about lately. Maybe this is all super duh, but having it articulated to me in this way was really helpful so I figured I'd pass it along!
Only in screenwriting do people who’ve done nothing but sit in the bleachers their whole lives assume they’d do great on the court just because they’ve watched a lot of games.
People have no idea what this job is. I can literally be like “I’ve written on three shows” and aunties will be like “it’s okay beti, just keep trying.” 😂
Bitcoin broke 15K today and my reps (CAA, Affirmative) and I are going out w/ my one-hour bitcoin pilot, FINDING SATOSHI. It's HALT AND CATCH FIRE meets THE WIRE. Super inclusive cast. Got an 8 on
@theblcklst
. My hubs works in crypto. Plz RT & DM if you can help w/ this project!
Then, I'd try to write a spec that matched the show tonally and story-wise, but also structurally. It was total overkill, but I feel like I really get 1/2 hour structure now while I still struggle with 1-hr because I never specced them!
The DISADVANTAGE of moving to LA right away is that it is now so expensive here that you might not be able to hone your craft WHILE ALSO making a living. This is a HUGE downside because the cost of living has gone up while the bar for entry as a screenwriter has ALSO increased.
I got reps off a drama pilot about Bitcoin (of all things!) and staffed off a stoner comedy about Gandhi. Might not have written those ideas if I was in LA at the time, but I was in Austin, TX following my curiosity, writing my little heart out, and not knowing any better!🤷🏽♀️
this industry is sort of weird in that it breeds conformity while also punishing you for conforming. if you're brave enough to zig when people are zagging, that's the stuff that tends to move the needle.
If you instead spent that time doing something else while also honing your craft, you might not know as many people in LA when you do get here, but your unique perspective and skill level will be a commodity that's hard to replicate, and I think it gives you an edge.
I know I'm a broken record about this, and perhaps I'm just trying to justify my own choices, but it irks me when people glamorize the idea of moving here without a plan and no $$$. IMO, not only is that advice classist, but it's also dated and reinforced by survivorship bias.
Start a WRITERS GROUP --
1. Keep it SMALL. ~5 people.
2. Meet EVERY WEEK to workshop each other's writing.
3. Everyone submits at least ONCE A MONTH.
4. SHUT UP AND LISTEN while you're getting feedback.
And
5. Don't go to draft until the GROUP APPROVES THE OUTLINE.
But there is also a third thing to consider: the OPPORTUNITY COST of moving here too early. What do you LOSE by getting here early? I think it's lived experience. And as TV gets more sophisticated, specialized, and competitive, that opportunity cost is climbing.
The ADVANTAGE of moving to LA is that you meet a TON of people. If you're cool, this might get you an entry-level, writing-adjacent, industry job, but your contacts won't really be able to help you until your scripts are ready, which brings me to--
It's SUPER annoying when writers ask for notes when they don't really want notes. It takes twice as long to read a script with notes in mind. If you think the script is done and just want to be read and complimented, don't waste ppl's time! Just ask for a read. That's a thing.
It's internship season and I’ve been getting a lot of emails lately from people asking for advice, or jobs, or people asking for jobs under the guise of asking for advice, and I’m starting to feel like something needs to be said: This career, um, isn’t like a normal career…🧵
had my 1st showrunner meeting last week! I did NOT get the job. it definitely stings and is tough not to take personally, especially since I know they loved my script...but not me.
anyway, I failed. enjoy my sadness. 😊
#failurebow
But if you major in film and then move to LA when you're in your early 20s, unless you work really hard to distinguish yourself or had a crazy childhood, you often end up with a perspective and background that's really similar to all your peers (at least according to other ppl)
I wish great writers could post the 1st page of a script they broke in with to prove how varied writing style can be, but I’m 104% sure someone on here will roll their eyes and go “THAT got you REPPED?”
So in conclusion, don’t do that.
But I wish you could.
#PipelineWriters
My now-husband and I spent a decade sleeping on different beds when we visited parents because we "weren't married" and now, when my family goes camping, my little sister gets to SHARE A TENT with her bf of eighteen months. wtf.
It's hard (perhaps impossible) to tell someone whose only dream is to make TV and movies to NOT move here right away. To do something else first. To have a different career. To develop their background. To nurture their voice...
getting a lot of notes can be demoralizing, but when it happens I try to reframe because a lot of notes, especially really specific ones, often mean the script is actually pretty good. there's nothing harder on giving notes on a bad script!
someone once told me that the difference between comedy and drama is that the protagonist is uniquely qualified to achieve their goal in drama and uniquely unqualified in comedy and this is by no means a perfect heuristic but it's true like 90% of the time.
I have by no means "broken in" but things feel possible now and that feels dope. Forever grateful to that AFF screenwriter who inspired me to get my shit together!
So if you're thinking of starting a writers group...DO IT! DO IT AND BE HAPPY! (not advice. just enthusiasm.)
This industry can feel so opaque but, if you’re truly open to feedback, people will just tell you how it’s gonna go. The script I was told would get me signed did. Same with the script that got me staffed. Sometimes others can see you more clearly than you can. Listen.
HUMANITAS is thrilled to announce the 2020-2021 semi-finalists for our New Voices Screenwriting Contest. Up to 7 winners will be chosen to receive a $7,500 (USD) prize, VIP mentoring, honors at our awards gala, & submissions to our network executive & studio partners. Congrats!
Grieving a bit today.
The last few months have been a whirlwind. I got signed, wrote a bible, took out a pilot, optioned another script, quarantined, started two new projects, and finally paused long enough to realize...this will probably NOT be my year.
And that's okay.
If someone asks what kind of show you want to write for, try and be specific. I get the instinct to cast a wide net, but if you say you'll "write for anything" you'll never be top of mind when an actual opportunity comes up.
Amazing writer alert! I have read two wildly different pilots from
@shrutesnladders
that share the most important things in common: emotional insight, humor from character, and crisp, clever, damn great writing. She's looking for her first staff job -- hire her before I can!
I guess I kinda just want real people to make art. I want stories to be the result of humans synthesizing their life experiences. I want the writing to take time. I want the result to be proof of work. I don't want it to be easy. I want it to be imperfect. I want less noise.
Then, she delivered THE CLINCHER, which imprinted itself immediately onto my brain...
She told us that FOUR out of the FIVE writers in her group, which had been doing this for the past nine years, had WON The Nicholl.
NAME_PROJECT-PROJECT TYPE_DATE_VERSION
This is a contained, informative file naming convention that organizes your work for you.
I chose this particular order bc, when sorted alphabetically, I want my projects to self-organize by NAME, then PROJECT, then DATE, and then VERSION
Stowe Story Labs is thrilled to announce the admitted participants to our 2020 programming now in our 8th year. The screenwriters and filmmakers listed have been selected through a competitive process to 5 distinct programs. You can find the list here: .
As a newly minted staff writer, I'm seeing firsthand how mission-critical our support staff are. Hollywood should be investing in its below-the-line workers and future creatives, not abusing them in order to save pennies. It's dumb AND it's bad for business.
#IATSESolidarity
My crypto drama pilot, FINDING SATOSHI, was selected as one of the top 20 unproduced Asian-inclusive scripts on
@theblcklst
. Thank you,
@CAPEUSA
!
#CAPEList2020
When rewriting, I create a 'dead babies' doc for every project and move cuts to this doc instead of deleting them. Helps my brain because I don't have to "kill" darlings, just move them. Also, my dead babies docs are always longer than the actual script. Writing = Rewriting
writer twitter: You are a writer. Don't let Hollywood get you down! Industry validation does not determine your worth as an arteest!
also writer twitter: HOW DARE THIS UNPRODUCED PERSON GIVE SCREENWRITING ADVICE
Happy New Year! 2021 was a pretty profound year for me — I got staffed, moved to LA, and finally embraced my natural curls. Grateful and excited for 2022 but gonna take a lil’ break from this app bc it is muddling my brain. Off to read some actual books and unmuddle! 🥰🥳
I went from writing in a vacuum and being constantly worried that my dreams were delusional to being a repped writer who is pitching original ideas, getting paid to write (a little!), and starting to get put up for staffing, etc. Other people in my group are on similar journeys.
this industry is sort of weird in that it breeds conformity while also punishing you for conforming. if you're brave enough to zig when people are zagging, that's the stuff that tends to move the needle.
every working screenwriter I know sacrificed something (usually other career opportunities) to get to where they are. it's tough to tell people not to have a plan B, but sometimes I think that's what it takes.
My writers group: This so good. You’re so close. Almost there.
My writers group the following month: What happened? You fucked this up. Are you a dumb?
Not only are Justin Kuritzkes (CHALLENGERS) and Celine Song (PAST LIVES) married in real life (which makes Justin the husband in Past Lives!!!) but they both wrote their own version of a movie in which two men are in love with the same woman and I just wanna talk about it.
loved seeing Fran radicalize over the past few weeks as she engaged with the AMPTP. She went from publicly stating that SAG’s priorities were not the WGA’s to realizing that the studios want to use AI take everything, from our likenesses to our thoughts, to make our replacements.
You don’t work your way up some corporate ladder and then eventually get “promoted” to writer. You sustain yourself, somehow, while also building relationships, until your work becomes good enough to grant you writing opportunities. That’s it.
I HATE feeling like I might be bothering people, so I’m incredibly grateful to the few champions I have in this industry for making it REALLY clear that they don’t mind being contacted by me, because this shit is hard and we all need support.