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Posts tagged as “Comics”

The 2016 Paper Team Holiday Special (PT25)

Alex and Nick celebrate the holiday season and the end of 2016 by taking a look at their favorite TV holiday episodes, the best media of the past year, and some stats about the first six months of Paper Team.

What makes a TV Christmas special? What are some of the best holiday specials? What was the best thing of 2016? What gifts did Nick and Alex give each other?

The Paper Team settles down in front of the fire and grabs a cup of eggnog…

SHOWNOTES

Content

1 – What makes a TV Christmas special? (00:30)
2 – The best holiday TV episodes (11:12)
3 – Best of 2016 (27:10)
4 – A look back at Paper Team’s first year (47:45)
Gift Exchange and Outro (52:45)

Links

Jingle All the Way
It’s a Wonderful Life
Christmas Episode (TV Tropes)
List of U.S. Christmas television episodes
EastEnders
Downton Abbey
Doctor Who Christmas specials
A Charlie Brown Christmas
Rudolph the Red-Nosed Reindeer (TV special)
Home Alone
Die Hard
“Simpsons Roasting on an Open Fire” (1×01 – The Simpsons)
“Marge Be Not Proud” (7×11 – The Simpsons)
“Xmas Story” (2×08 – Futurama)
“Mr. Hankey, the Christmas Poo” (1×09 – South Park)
“Amends” (3×10 – Buffy the Vampire Slayer)
A Christmas Carol
“Merry Mayhem” (6×10 – Dawson’s Creek)
“The Best Chrismukkah Ever” (1×13 – The O.C.)
The OC Insider Shop
Yamaclaus
“The Strike” (9×10 – Seinfeld)
The Get Down
The People v. O. J. Simpson: American Crime Story
BrainDead
Atlanta
The Good Place
“Marcia, Marcia, Marcia” (1×06 – American Crime Story)
“San Junipero” (3×04 – Black Mirror)
“Fish Out Of Water” (3×04 – Bojack Horseman)
“Category 55 Doomsday Crisis” (1×05 – The Good Place)
Travelers
We Bare Bears
The Hamilton Mixtape
Immigrants (We Get The Job Done)
“Conscious” – BROODS
“Sprained Ankle” – Julien Baker
Moonlight
Arrival
Eric Heisserer
Lights Out
La La Land
“Bitch Planet” – Kelly Sue DeConnick
“Sprint: How to Solve Big Problems and Test New Ideas in Just Five Days” – Jake Knapp, John Zeratsky & Braden Kowitz
The Influence of TV: Scratching the Surface (PT11)
Diversity in TV and the Writers’ Room ft. Francesca Butler & Kelly Lynne D’Angelo (PT14)
The Writers Guild Foundation Podcast
Time Timer
Pomodoro Technique
Aaron Sorkin’s Trump Letter
YearCompass
Home Alone: The Authorized Coloring Book
Die Hard: The Authorized Coloring and Activity Book
Aqua Notes Water-Proof Notepad

Special thanks to Jason J. Cohn 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]

TV Budgeting and Line Producing ft. Maggie Herman (Bosch) – On the Road at SDCC 2016 (PT10)

Alex goes on the road at SDCC 2016 with Maggie Herman, assistant to the Executive Producer/Line Producer on the Amazon series Bosch, to discuss every TV writer’s favorite topic: budgeting. How much does an hour of television cost? And how do scripts get broken down into money?

It’s a double Paper Team first, as we welcome our very first guest-star, and have our very first “On the Road” episode while Alex drives up from San Diego Comic-Con 2016 with Maggie (and another surprise guest).

What is the real cost of an hour of TV? What is the process of breaking scripts into producible selection of scenes? Why would anyone want to become a line producer? What was Maggie’s favorite cosplay of the con?
All these questions and many more are answered in this special edition of Paper Team.

NOTE: I (Alex) recorded this podcast while literally on the road (riding shotgun in Maggie’s car). There should be minimal background noise after the post-production work done since I fixed it in post–but just in case, prepare your ears.

SHOWNOTES

Content

1 – How was Comic-Con 2016? (02:23)
2 – Everything you wanted to know about line producing, budgeting for television, and breaking down scripts into money (04:53)
3 – What Titus Welliver smells like and how amazing his crew gift was (58:19)

Links

Bosch – Available exclusively on Amazon
Maggie Herman’s Twitter
Chelsea Crane’s Twitter
Transmetropolitan – Warren Ellis & Darick Robertson
Sorkinisms – A Supercut (Video)

Maggie HermanMaggie Herman posing for the podcast

Bosch LP Schedule AugustMaggie’s fancy post-it-notes scheduling board for production

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]

Writing an original TV pilot similar to a show vs. speccing it directly (Readers’ Mail)

On this edition of Readers’ Mail, BettySpinks asks:

Hi Alex– Congratulations on the Paper Team podcast! Gonna listen to the Spec v. Pilot episode after I ask you this question…
I’ve written an outline for a pilot with similar bones to Preacher. Should I write my pilot? Or should I funnel the ideas into a spec for Preacher?

This is a great question that can really only be answered on a case-by-case basis.
I’ve definitely been through similar “parallel thinking” moments, and there are steps I do to gauge whether to continue or not with a project (or transform it) —

One of the first things I’d ask is: What is the purpose of this new sample?

On the Paper Team episode you mention, I do bring up that (IMO) writing spec should be done primarily for the exercise of TV writing (akin to being a staff writer), rather than purely having it as a usable sample (beyond fellowships and contests).
If you create a Preacher spec out of your outline, it could be an awesome episode, but it would still be “limited” to the reach of, well, a spec.

Flash-forwarding to something you’ll be asking yourself six months from now–
Are there any other shows that you would be interested in speccing? If Preacher is the only one worth it to you, maybe it could be good to consider it.

A pilot would be the way to go if you’re primarily trying to showcase your writing style, your “voice”, and overall building a portfolio for representation/staffing.
If your story is unique enough to you that you need to get it out and puts your own stamp on the world, then the choice should be simple.

Another important question would be: How close is the pilot/outline to the existing show?

In this case, this is something only you would know based on:
1) The pilot/season 1 of Preacher;
2) Your own script and plot beyond the pilot;
3) Future stories of Preacher (based on published comics/educated guesses).

Is your pilot, literally, about a preacher in a small southern town seeped in supernatural elements?
An interesting litmus test could be to pitch your story to friends familiar with Preacher and see what they think of the similarities (and if they’re dealbreakers).
Maybe even pitch both shows to people unfamiliar with Preacher, and see if they feel they’re distinctive enough on their own.

Keep in mind this isn’t just about the concept itself, but the execution of it (we’re still talking about an original pilot).
How many shows did we have about people coming back to life a couple seasons ago? What about the amount of cop procedurals still on the air?

You shouldn’t sell your pilot short just because it has similar ideas to something produced.
Go back to your perspective and the themes you’re trying to explore.
The battle between faith, superstition, and the fantastic can be approached in vastly different ways through so vastly different characters.

Last (but not least), I would wonder: How much of a sacrifice is it if I’m never writing this pilot?

You have already done the work of outlining your pilot.
That means (hopefully), you’ve already gone through the mindbend of figuring out your characters, your structure, your acts, your scenes, your world.
This is so much of what goes into a pilot script that it could be a huge loss if you simply discard it.

Also, are you saying something unique to you in that pilot/story which cannot be done through another script?
When making those important binary decisions, remember why you were writing this pilot in the first place. Probably something evocative that you wanted to tell through these characters, or that world, or that setting.

On the flip side, if it’s already extremely easy to replace your characters in the outline with those of Preacher, maybe you were already subconsciously writing a Preacher spec over a truly original piece.

Most times, a unique execution of a pilot, even within an ambiance similar to your existing show, would still make it worth the write. In fact, it could be a powerful sample to be staffed on that very show (over a spec of it).
It all depends on the goals of your script, and similarities to what you’re going to be compared against.

If you’re a reader with a question of your own, feel free to send me a message!

Write on.