BBF

We might be bitching about the ridiculous price of the tickets (especially next year’s) or the hotels, but Comic-Con is ultimately a celebration of — well, I’d say comics but we both know that’s not true anymore, so, let’s just say, a celebration of pop-culture mostly for the fans (and the pros).

As this will be my first trip to the Con, I did a bit of research to find some tips and guides.
Needless to say, I found several very interesting ones:
– Kotaku ran an article last year not necessarily on tips about the con itself, rather tips about travelling to it (and in it). Still a very interesting read.
– Another “Top 10″ list to mention is the POVonline convention guide.
– If you’re a Flash fan, then you must know Speed Force. What you may not be aware of is that they published amazing suggestions “for making the most of comic conventions.” It’s all based on personal experience from the author and it has a lot of handy nuggets of information.
– I can’t list great Comic-Con guides without mentioning Shouting in the Wind’s own post. It pretty much answers most of the questions anyone has about attending the con. There’s usually an update every year, though I’m linking last year’s guide since, as you can guess, sadly no ’11 update has been made for now.

A lot of these tips may seem a tad redundant, but it’s pretty clear you can’t go to Comic-Con unprepared.
Three key suggestions seem to emerge:
Pack for the day with food and water, be ready to walk/stand in line with comfy shoes, and, perhaps most of all, have a hand sanitizer. I know I will.

With all of that said, I must also talk about one extremely exhaustive guide/tip-list stands out above all the rest.
I am of course referring to The Comics Reporter’s own 150+ Tips For Attending San Diego’s CCI 2011.
That’s right, the website has over 150 tips, and these are definitely not one-liners. Warning: given its extensiveness, the page is pretty long.
This is clearly a must-read for any attendee, especially the first-timers.

I also thought it’d be a good idea to link in this post several other websites which are great source of intel about the convention.
– First up is SDCC Blog, an unofficial SDCC blog self-described as “the ultimate source for all things SDCC.” Although it’s not as “ultimate” as they seem to think, it is still pretty comprehensive. The most notable part of the site is its dedicated off-site events page.
– A great “counter-point” to this website is Comic-Con Geek, which also provides news on the subject, often more extensively.
– Finally, we have The Beat which has a dedicated Comic-Con section and often brings amazing insight into the con and news around it.

You should also know that the official San Diego Comic-Con website is full of amazing guides, from maps of the convention floor and shuttle information, to exhibitor listings and schedules.

If you’re interested in what my panel schedule will look like (I know I am), here’s a link to MySched.
Some panels still interlap as I’ll probably be deciding last-minute for those.
Obviously, it’s mostly a wish-list, since you can never tell how everything is going to go down.

I’m also hoping for some kind of ‘LA TV Writers’ meet-up to be organized.
And if yourself are attending the Con, you can always shoot me an e-mail!
If nothing is ultimately planned, I’ll probably tweet up something around Saturday, maybe a screening of a crappy pilot — or an impromptu get-together…
After all, isn’t that the point of a convention?


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Today marks the third anniversary of this very website. Hard to believe it’s already been another year!
In 2010, we saw a huge design update. Although no such major shift happened in the past twelve months, I myself have gone through a big geographical change: a one-way trip all the way to H-Wood.

As expected, a lot has happened since my move (most notably getting a car, an apartment, a bed and a couch).
I won’t bore you with my personal details (that’s what Twitter is for after all), but I will mention that I have recently met some amazing and talented people from a couple other blogs and the LA TV Writers Group.

In November, #TheGreyBox was born.
It was somewhat of a success at first, but then went into a form of hiatus this past Spring.
Now is as good time as any to announce that I may resurrect this TV writing chatroom from its ashes this Summer. Well, depending on the interest.
It’s up to you to tell me if you’d welcome once more this place to discuss and exchange tips/ideas/stories/anecdotes in real-time with other aspiring writers and the like (plus no 140-character limit). Tweet, “like”, share, comment about this, and perhaps enough momentum will be created so #TheGreyBox can live once more!

And as for this very blog, in Square One I discussed how I would refocus it around television, writing, and specs. Hopefully, I held that promise through the multitude of articles that have been posted here, whether the annual spec list or more recently the big six television writing fellowships (a post which will undoubtedly be updated come August, when FOX announces its new format). I myself got to write these past few months primarily a Walking Dead spec for the fellowships (I guess that partially explains the scarcity of posts).

Like last year, I will do my best to continue this commitment and upward trend in informative writing-related content.
In the coming weeks, there is probably going to be as well some Comic-Con talk. This will be my first time over there and there’s no doubt that it’s going to be a great place.

It is now time for me to raise a glass to you, dear reader and fellow writer.
I hope you also enjoyed this past year, or at the very least felt it was fruitful.
Here’s to another one. Once more, with feelings.

Write on!


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Let’s take a breather from all the heavy stories going on around by looking at a few (very interesting) entertainment and writer-related articles and interviews.

First, in case you missed it, The Futon Critic has a minute-by-minute rundown of the anticipated Freaks & Geeks/Undeclared reunion that went on at the Paley Festival a few days ago.

We also have an article from the LA Times about the broadcast of “enhanced” version of serialized series; meaning an old episode with subtitles supposedly clarifying past plot-lines for the viewer.
A great lesson on how to destroy any subtext and condescend to the max everyone involved.
And it becomes pretty ridiculous when it hampers the enjoyment of the current episode. Following ABC’s tries (with Lost and Ugly Betty), DirecTV has now decided to use the same tactic for none other than Damages. Summing up a season’s worth of mythology, one sentence at a time. Lovely.

On the writing side of things, Jen Grisanti, who many may know from the NBC “Writers on the Verge” program, released a couple of weeks back another great one-hour podcast interview, this time with Matthew Salsberg, writer and executive-producer on Showtime’s Weeds. A must-hear.

Finally, it’s always nice to hear personal experiences from fellow (television) writers, and John August’s regular segment, “First Person,” provides just that with amazing in-depth guest articles. Allison Schroeder continues the trend by writing about her “big break,” from being a PA on Pineapple Express and Smallville, to moving up the ladder as writer’s assistant, and then followed by becoming a staff-writer on 90210.


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Upon my many back-and-forth with various companies the last few months, I was at one point sent by a film production company a script coverage reference guide.
Obviously, this is in no way as extensive as, say, the ICM Coverage Guide, and it’s certainly no replacement to The Bitter Script Reader’s wonderful blog. This is merely a loose reference guide.

I personally found it interesting, not necessarily because of its usefulness (debatable, since it’s for film scripts), but because of the way it breaks down the coverage process down to its finest points. A lot of elements need to be taken into account when one analyzes a script. And if you use it from the other vantage point, it becomes a great list of things to keep an eye for when (re)writing.

You will find this summary especially useful as a quick reference guide when writing your coverages. The main points of each coverage component are outlined here to jog your memory.

I. The art of reading
Look for:
1. The main points of the plot
2. The main and supporting characters
3. Aspects of the work pertaining to the purpose of your coverage
4. Visual value

II. The submission and script details
A. Copy info directly from the work itself when possible
B. Use “N/A” when information is not available

III. Writing a logline
Write a one‐sentence summary of the script.
Please note that this needs to be informative and is NOT a marketing tagline.

IV. Writing the synopsis
A. Stick to the main plot
B. Write as much as you can from memory
C. Capture some of the mood or tone of the work
D. Use evocative words (use a thesaurus)
E. Simplify
F. Show the work in its best light

V. Address comments to:
A. Concept
1. How original it is
2. Whether it’s high concept or a soft story
B. Premise/theme
1. Strength
2. Universality
C. Plot
1. Predictability
2. Obstacles, complications, reversals, twists
3. Believability
4. Subplots, if any
5. The hook, if any
6. Continuity
D. Main and supporting characters
1. Background
2. Range of emotion and expression
3. Motivation
4. Fatal and other flaws
5. Evolution
6. Consistent development
7. Rooting interest
8. The spice of life: variety of characters
9. The proof of the premise: the right hero for the story
10. In general, what kind of talent would be appropriate
E. Dialogue
1. Reveals character traits
2. Reveals essential information
3. Flows or flounders
4. Is over‐ or underwritten
5. Sounds like people talking
a. Is appropriate for the various characters
b. Is appropriate for the time period and culture
F. The stakes
1. What is at stake?
2. How crucial is it?
3. How dangerous is it?
G. Structure
1. Use of back story or ghost (a beginning that is really the middle)
2. Proper setup of main character and conflict in the beginning
3. A middle that smoothly follows character development and pursuit of the goal
4. An ending that resolves the conflict presented in the beginning
H. Pace
1. Fast, slow, or varied
2. Appropriate for the tone and theme of the piece
I. The writing itself
1. Mastery of the craft
2. Individual style
3. Concept and execution
J. Audience
1. Age
2. Sex
3. Race / Culture
K. Does the work succeed in its objectives?
1. Realization of the premise
2. Evokes the intended emotional response
L. Comparisons
1. Refer to genre
2. Refer to similar films if appropriate
M. Overall reaction
1. Mention anything unique about the work
2. Is it a good blueprint for a movie?
N. Check that you have considered all of the following and include where relevant:
1. Characterization
2. Dialogue
3. Story line/plot
4. Setting/production value
5. Structure
6. Theme/concept
7. Writing ability
8. Budget
9. Recommend, consider, pass

VI. Editing
A. Organize your thoughts
B. Be clear and concise
1. Cut out unnecessary phrases
2. Beware of redundancies
3. Use verbs instead of nouns to express action
4. Use verbs in the active voice instead of the passive
5. Keep subject, verb, and object close to each other
6. Express one thought per sentence or clause
C. Refer back to the project itself as necessary for accuracy
D. Check spelling, punctuation, and grammar
E. Use running heads
F. Keep a copy of each of your coverages.


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Post image for Around the comedy spec

Around the comedy spec

by Alex on August 31, 2010

in TV Analysis,Writing

I am not a specialist when it comes to comedy specs.
After all, I’m no funny man.
With that said, I did want to shine a light on several very interesting articles that can undoubtebly be helpful to fellow comedy/sitcom speccers out there (and actually everyone else too).

Let’s start with one of the masters of classic sitcom, Chuck Lorre.
He recently did an interview for Esquire entitled ‘How to Make a Successful but Critically Ignored Sitcom.‘
Though you might not be interested in creating the next Two and a Half Men, don’t let the title of his article fool you. Chuck Lorre does give some helpful advice that every aspiring sitcom writers should, if not follow, then at least know of.

Over at the [eventual] sitcom writer, Evan has made a must-read in doing an extensive ‘Spec Script Toolkit’ for not one or two, but three sitcoms (and he’s keeping them coming).
Community
Modern Family
The Big Bang Theory
Pick your poison.
All of them are broken into several parts; namely Homework (Part One), Story & Structure (Part Two), Characters (Part Three), Numbers (Part Four), and I’m guessing other stuff to come.
This reminds me a bit of my Spec Flashpoint series (way back when), only this time for sitcoms, and better.
Currently Community is the farthest along in the breakdown, but Evan is much more awesome than I when it comes to updating his blog. So don’t go far.
And even if you’re not planning to break a sitcom spec, there are tons of things to learn from this process.
This is pretty much the same state of mind you should be in before starting a spec (based on a TV show), that is: research, research, research.
You’re not getting into the head of the writers or the characters if you’re not first trying to find a way inside.

Last but not least, HWAS interviewed writer Ron Rappaport in a piece called ‘From Assistant to Sitcom Creator: Writing for Tweens.‘
Who cares about tweens you might say.
Well I always like linking interviews of writers because, whatever their field, you will always learn something new and will always get a piece of life experience. After all, everyone has a different H-Wood experience.

And to borrow Evan’s ‘Lesson learned while writing this blog entry’:
It is never a bad thing to be open to new things, regardless of your genre of choice. Read, listen and be aware.
What’s the worst that could happen? You learn something new?


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