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Posts tagged as “Characters”

Analyzing Great TV Characters: Case Studies of David Palmer (24), Lindsay (You’re the Worst), Michael (The Good Place) and Scorpius (Farscape) (PT72)

Alex and Nick break down four iconic TV characters to look at what makes them memorable.

The TV characters explored in this episode include David Palmer from 24, Lindsay Jillian from You’re the Worst, Michael from The Good Place, and Scorpius from Farscape.

What makes a great TV character? How are the characters introduced in unique ways? How do shows flesh out specific goals, needs and wants? What are key moments and decisions that can define characters?

Plus, we celebrate the new year.

The Paper Team sizes people up…

SHOWNOTES

Content

Paper Scraps: Happy new year! (01:00)
1 – The four TV characters (02:16)
2 – Why we picked these characters (05:12)
3 – Character introductions (10:10)
4 – Character traits (17:53)
5 – Character’s macro series arcs, wants, and needs (25:29)
6 – Key character moments (38:08)
Next Week On (50:16)

Links

David Palmer (24)
Scorpius (Farscape)
Lindsay Jillian (You’re the Worst)
Michael (The Good Place)
“Analyzing Great TV Pilots” (PT54)
David Mamet’s memo to his writing staff on The Unit
Scorpius costume designs
“All About That Paper” (2×04 – You’re the Worst)
“Try Real Hard” (3×01 – You’re the Worst)
“Day 2: 4:00AM-5:00AM” (2×21 – 24)
“The Trolley Problem” (2×05 – The Good Place)
“Nerve” (1×19 – Farscape)
“Liars, Guns and Money” (2×19 – Farscape)
“With Friends Like These…” (2×20 – Farscape)
“Farscape: The Peacekeeper Wars”

This episode brought to you by Tracking Board’s Launch Pad Writing Competitions

Use code PAPERTEAM to get $15 OFF when you enter a Launch Pad Competition

Special thanks to Alex Switzky for helping us edit this episode.

If you enjoyed this episode (and others), please consider leaving us an iTunes review at paperteam.co/itunes! :)

You can find Paper Team on Twitter:
Alex@TVCalling
Nick@_njwatson
If you have any questions, comments or feedback, you can e-mail us: [email protected]

Macro Storytelling: Writing Character and Story Arcs in TV (PT68)

Alex and Nick discuss macro storytelling in TV writing, from season-long narrative arcs to character development.

Why is it important to have character arcs across seasons? When should you write serialized narratives? How far in advance should you plot things out? Do you need to know everything before writing a pilot? What are unique TV examples of macro storytelling?

Plus, we talk about what “signing with an agent or manager” literally means.

The Paper Team sets things up…

SHOWNOTES

Content

Paper Scraps: Reviews and rep signing (00:53)
1 – Season and story arcs in TV (05:00)
2 – Story arcs in your writing: what to watch out for (16:16)
3 – Character arcs (24:59)
4 – Keeping the macro story relevant to the micro scale (36:32)
5 – Reinventing the show (40:08)
6 – Self-contained versus serialization (50:12)
Takeaways and Resources (54:34)

Links

“Daredevil Showrunners on How Punisher and Elektra Shake Up Season 2” – Collider
“Why New TV Comedies Are Choosing Plot Over Jokes” – The New York Times
“Lay Down Your Burdens” (2×19/20 – Battlestar Galactica)
“Final Five” Cylons
“Nerve” (1×19 – Farscape)
“Chain of Command” (6×10/11 – Star Trek: The Next Generation)
“6 Screenwriting Lessons from Parks and Recreation” – TV Calling
“Hitting the Fan” (5×05 – The Good Wife)
“Dance Dance Resolution” (2×02 – The Good Place)
“One Last Ride” (7×12/13 – Parks and Recreation)
“Serialized Television Has Become a Disease” – io9

Resources

Michael Schur 2011 interview on The A.V. Club

This episode brought to you by Tracking Board’s Launch Pad Writing Competitions

Use code PAPERTEAM to get $15 OFF when you enter a Launch Pad Competition

Special thanks to Alex Switzky for helping us edit this episode.

If you enjoyed this episode (and others), please consider leaving us an iTunes review at paperteam.co/itunes! :)

You can find Paper Team on Twitter:
Alex@TVCalling
Nick@_njwatson
If you have any questions, comments or feedback, you can e-mail us: [email protected]

Adapting Content for TV (PT65)

Alex and Nick share their experiences adapting preexisting material to television, from established novels and properties to historical events.

What constitutes an adaptation? How do you balance existing content and personal take? How close should you stick to the original source? How do you stay historically accurate while telling a compelling story? When should you spec an existing property without having the rights?

Plus, a new venue for feedback and an update on the Fox Writers Lab.

The Paper Team gets inspired by…

SHOWNOTES

Content

Paper Scraps: Voicemail and Fox Writers Lab Update (00:51)
1 – Defining what is an adaptation: IPs, properties, and real events (07:24)
2 – Choosing the right format, tips on adapting history and existing content (16:14)
3 – Speccing established IPs without having the rights (38:59)
Takeaways and Resources (49:15)

Links

“TV Writing Competitions” (PT33)
“TV Writing Competition Winners: What Happens Next?” (PT65)
Send a voicemail to TV Calling and Paper Team
“Inspiration vs. Stealing in TV Writing” (PT58)
The Wolf of Wall Street
Wall Street (Movie)
Spotlight
Kingsman: The Secret Service
W.
Band of Brothers
Rome
Revenge
The Count of Monte Cristo
“Why The Expanse is transforming TV” – Wired
“Rosencrantz and Guildenstern Are Dead” – Tom Stoppard
Star Trek: Terran

Resources

“Beyond Fidelity: The Dialogics of Adaptation” – Robert Stam (PDF)
DP/30 interview with Eric Heisserer (Arrival)
The Writers’ Panel with Eric Heisserer

This episode brought to you by Tracking Board’s Launch Pad Writing Competitions

Use code PAPERTEAM to get $15 OFF when you enter a Launch Pad Competition

Special thanks to Alex Switzky for helping us edit this episode.

If you enjoyed this episode (and others), please consider leaving us an iTunes review at paperteam.co/itunes! :)

You can find Paper Team on Twitter:
Alex@TVCalling
Nick@_njwatson
If you have any questions, comments or feedback, you can e-mail us: [email protected]