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Posts tagged as “BBF”

Another Year

Another Year

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!

Tips and stories from around the Web, Part 4

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.

Script Coverage: A Brief Reference Guide

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 with various script coverage tips (and a broad template).
Obviously, this is in no way as extensive as, say, the ICM Coverage Guide, and it’s certainly no replacement to other resources like The Bitter Script Reader. This is merely a loose reference guide on how to write script coverage.

I personally found the following tips interesting, not necessarily because of their usefulness (debatable, since it’s for film scripts instead of TV script coverage), 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. So, here’s how to do script coverage:

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.