Just Effing Entertain Me

Why a TV Meeting Is Like Sorority Rush

Hi, friends. It’s Lisa Takeuchi Cullen again from Wasabi Mama. Julie’s on her way back to LA following the loss of her brother, so I hope you’ll allow me to visit with you and tell you more about my TV staffing season adventures.

I could hear it the minute I got off the plane at LAX — a weird buzzing in the air, like a hovering swarm of worker bees. It’s the sound of agents and network execs and producers and writers, meeting and talking and negotiating. It’s the sound of deals being made.

Or maybe it was the breakfast burrito. You know what don’t mix? Airline food and that yogurt for ladies. Anyway, it scared me.

TV staffing season is nearing maximum velocity. I have my first actual meeting with an actual showrunner tomorrow. Up till now, all of them were what are called “general” meetings, or what in the real world we call informational interviews. It’s where the network execs check to make sure you don’t have neck warts or refer to yourself in the third person.

Here’s what happens at a TV meeting:

The agent’s assistant emails you an address, without driving directions but with parking instructions. You, the writer, battle traffic to a studio lot or production office. Someone tells you to sit and asks if you want any water.

Soon or not soon, you’re escorted into an office. There awaits a network or studio exec, or two, or three. After a few jokes and pleasantries, they sit back, or lean forward, and they say: “So tell us about you.”

You know what it’s like? Sorority rush. You put on a cute outfit, you smile a lot, you tell a funny anecdote about growing up, a moving one about your values and dreams, you hope like hell they remember you — then you head to the next place and do it all over again.

It’s actually kinda fun. Julie Gray says meetings are her “lifeblood.” Which might sound strange coming from a writer. But at some point we writers have to crawl out from under our rocks and actually try to sell our strange scribblings. Right?

Guest Blog: TV Upfronts!

Margaux Froley here, otherwise known as the TV Guide. Pitching in for Julie and getting down and dirty with upfront news.

Thursday is the last day of the major network advertising hoopla known as upfronts.

A crazy week in New York when networks bring their executives, stars, and showrunners to parade in front of advertisers. They show clips from newly acquired pilots, have their favorite celebs sing a ditty or two to wow the ad execs from Clearasil to AT&T to Goodyear. All in all, it’s a big butt-kissing week in network land.

So why is that relevant to us writers? The quick answer is, this is how your bills get paid. TV doesn’t exist, shows can’t hire staffs and go into production without advertising dollars. Also, if you’re a writer, chances are you’re not wired to do the song and dance to ask for money for your product. That’s where agents, managers, and network executives do us a huge favor.

Check out Deadline Hollywood for up-to-date info on each network’s schedule for 2010 – 2011.

For writers looking to get hired on new or returning shows, upfronts are basically a big job fair. Except the fair is in Los Angeles and it already started weeks before these official announcements. And it’s not a fair but really a total free-for-all, and I mean that in the craziest way possible.

Also, this is the time of year when fans and working writers find out whether or not their beloved shows are coming back for another season. “Melrose Place” bit the dust, but “Life Unexpected” survived at the CW. Those writers all now at least know if they have to look for another job.

Writers have finished off their new material for the year and agents and managers are manically sending it to all relevant shows, hoping to land their writers on another project, or renegotiate salaries for staying on returning shows.

What can we learn from this?

First off: The comedy is not dead. NBC is really trying to get back in the comedy game with shows like “Perfect Couples,” “Friends With Benefits,” and hour-long anthology “Love Bites.”

FOX revisited its old relationship with “Arrested Development” creator Mitch Hurwitz and picked up his new show starring Will Arnett and Keri Russell, “Wilde’s Kingdom.”

ABC is attempting to keep up its comedy streak with “Better Together,” a multi-cam show from “Friends” veteran Shana Goldberg-Meehan. And in keeping “Friends” together, ABC also picked up the Matthew Perry vehicle, “Mr. Sunshine.” Allison Janey co-stars with Mr. Perry, and it wouldn’t surprise me if she steals the show with her wicked humor.

And CBS became the first place to bring a tv series based on a Twitter account: “Bleep My Dad Says.” The fact that William Shatner plays the dad can’t hurt either. Plus, CBS worked its relationship with “Two And A Half Men” and Big Bang” creator Chuck Lorre to pick up his new show, “Mike and Molly.”

The pros are still around:

Shonda Rhimes: “Off the Map”
Cindy Chupack: “Love Bites”
Chuck Lorre: “Mike and Molly”
Mitch Hurwitz: “Wilde’s Kingdom”
Shawn Ryan: “Ridealong”
JJ Abrams: “Undercovers”

Spin-offs of “Criminal Minds” and “Law & Order” were picked up too.

It just goes to show you, when you have the network’s ear, use it wisely.

Everyone knows that “Lost” is over: Networks are trying to replace the gap left by “Lost” by putting in tentpole series.

NBC is attempting to reel in wayward “Lost” fans with its new show, “The Event.”

ABC brought back “V” for another season.

FOX? Well, FOX has “Glee” so they don’t have to do very much.

Originality ain’t dead:

Yes, there is yet another “Law & Order” coming to our screens. And yes, CBS thought we needed a remake of “Hawaii 5-0,” and the CW is bringing the classic “La Femme Nikita” to TV as a remake.

But FOX has “Lonestar,” an extremely well-written and dark “Dallas”-type of dramatic soap.

CW ventured out of its remake comfort zone with “Hellcats” – about competitive cheerleading.

ABC is combining crime solving with family drama in “No Ordinary Family.”

And “Love Bites” at NBC is attempting to show us mini-movies about relationships with a weekly revolving cast.

This just proves that the cream does rise to the top. Well-written characters set in interesting worlds never go out of style. Networks might worry that audiences can’t keep up with serialized storylines, a la “Lost,” but if we fall in love with the characters, audiences will find the show.

And for tv writers, writing spec scripts of existing shows won’t cut it anymore. All tv writers are expected to be delivering original material these days, mostly in original pilot form. You should always try to stand out from the crowd, and more and more, that’s not just a suggestion but a requirement.

Anyone want to take a bet on which show is the first to be canceled in the new season?

Staffing Season is Almost Here!

Hello, everybody! Many of you have heard me tell of my wondrously smart and talented business partner and friend, Margaux Froley. She’s more than a confidante and inspiration, she is my go-to gal for all things television. Margaux penned today’s blog about staffing season, which to us in LA is much like grouse or moose season. We take it very seriously and wear much protective orange hunting gear.

Enjoy Margaux’s blog:

Television writers, start your engines!

If you’re not working on a script right now, you should be! Staffing season happens in May, so if you think you’ve got all the time in the world to put the finishing touches on that Dexter spec, or start playing with an original pilot idea, you should think again. If you really want to be ready when May rolls around, you better make sure you’re productive NOW.

February is amazing lull before the chaos that is television staffing season. Pilots are being ordered, cast, and maybe starting to shoot. No one is reading new writers just yet, but they will be soon.

Writers who are productive in February will be prepared for staffing in May. Mark my words.

Let’s say you want to have an agent and be the belle of the ball by the time all the major networks are staffing for the new fall season. What will you need?

An agent? The old equation of “fancy agent = fancy new television job?”

Actually, no. Getting an agent does not mean you’ll get a job, and amazingly, what you’ll find in Hollywood these days is that the equation is more like this:

“Fancy new job = fancy agent.”

Getting the job is actually what gets you an agent these days. As the agency business has contracted, so has their ability to take on writers who aren’t bringing in the dough. So, if an agent isn’t going to get you a job, what will?

The right script.

I am a firm believer that “If you write it, they will come.” The most important thing a television writer can do to ensure future success is write a good script. And then do it again. And again. As long as it takes to make someone fall in love with you.

As my favorite mentor once told me, “Write ‘em good, and write ‘em often.”

Television writers are often required to have a wide array of sample scripts in their arsenal. February is the perfect time to take stock of the scripts you’ve already completed and figure out where to diversify. Don’t sit back on the laurels of a great CSI spec. What else can you write? Your comedy pilot is getting rave reviews from your mother? Great, come up with a cable comedy too.

So, what should be in your arsenal? While there isn’t an exact formula, I would recommend casting a wide net. Your samples show potential showrunners, executives, agents, and managers your strengths. Don’t write something that doesn’t appeal to you, but also don’t aim too small and write something that is an applicable sample for only one type of show.

I would recommend having one to two spec scripts of current shows. Your old Gray’s Anatomy or The Office might be outdated, and your My Name Is Earl definitely needs to sit this one out. Should you add a Modern Family and/or The Good Wife this year? I would say yes.

How do I know which shows to write? First think about a show that fits your voice and your style. Are you an hour-long writer or half-hour? You don’t have to commit to this forever, but having an inclination here will be helpful. Then, check out the recent round of awards from the Golden Globes to the Writers Guild awards. Which shows are getting consistent critical acclaim? Is any new show breaking through? The Good Wife is definitely one to watch. Are you daring enough to attempt a spec of Glee? Can you be wild enough to be on par with True Blood?

A word of warning: Modern Family looks to be a hot spec this year. If you are brave enough to enter those waters, you better be funny and memorable. You will have competition. Also, if you want to take on Mad Men, you better be ahhhh-mazing. That is the kind of show (include Friday Night Lights in this category too) that relies on a lot of subtleties. If these shows aren’t written perfectly, all of your writing flaws will be glaringly obvious.

Those of you new to television writing, do yourself a favor and start by writing a spec of an existing show first. Television writing has a great learning curve because you can essentially do a paint-by-numbers script of an existing show to learn the ropes. Also recommended are any of the USA shows. Burn Notice and White Collar look like they’ll stick around awhile. Learn what they’re doing right before you venture into your own pilot world.

After you’ve got a spec or two under your belt, then and only then would I recommend jumping into the deep end of pilot writing.

When it comes to pilots the key word should be MEMORABLE. Have a fantastic concept. Maybe it is something that would never sell; it doesn’t matter. Will your pilot make executives stop and take notice? But also make sure you don’t bite off more than you can chew. You want to be known for NAILING your concept, not as the writer with a great concept but bad delivery.

Make sure your pilot puts you in the arena of shows you’d like to write for. Don’t write a sci-fi pilot expecting that to be a sample for Brothers & Sisters.

Can you get all this done with enough time for notes and revisions? Don’t forget to factor in generous time for your executive or manager friends to read you. Just because you finished your script doesn’t mean it automatically goes to the top of anyone’s pile. Reading your script may take two to four weeks.

Plan wisely, my writing friends. May is coming.

To make sure your scripts are as good as they can be, check in with The TV Guide.

Check out more TV writing advice and stories from the trenches at: This Is Your Pilot Speaking.

To make sure your scripts are as good as they can be, check in with The TV Guide.

Check out more TV writing advice and stories from the trenches at: This Is Your Pilot Speaking.

The TV Guide

Hello, everybody! I have a great recommendation for anyone looking for a tv writing mentor. Margaux has been in such demand through The Script Department that she’s branching out to offer her mentoring services on her own. Take it from me, she is the best. In addition to being an amazing mentor and incredibly plugged in (ha) to the landscape of what’s on television and what’s going to be on television, Margaux is a USC grad with chops and major industry relationships. I know she’s who I call when I need an introduction, believe me.

At any rate, here are the services she’s offering – hope you can take advantage. You won’t regret it.

- THE TV GUIDE -

Are you interested in writing for television, but need help getting started?

Or, you’ve got a few spec scripts written, but want to take your writing to the next level?

Work one-on-one with television writer Margaux Froley.

A graduate of the Warner Brothers Television Workshop, and most recently staffed on a CW show, Margaux will help you navigate the television world in constructive one-on-one sessions.

Writers of all levels will benefit from Margaux’s guidance on breaking down television structure, finding shows that suit your talents, and helping you write memorable and relevant scripts for the television world.

Want to be ready for staffing season next year?

Start now!

Margaux will help you clarify your goals as a television writer and set you up with specific tasks and exercises to accomplish those goals.

Margaux can build your arsenal of TV scripts, from advising you on writing a spec script for an existing show, how to choose which shows to spec, how to make your spec stand out from a crowd, or getting a finished spec to a professional level.

Already finished a spec script?

Margaux can work with you to write an original television pilot. From concept to outlining to execution, Margaux will help you create a script that will entice agents and bring your voice and strengths as a writer to the forefront.

Have an idea for a reality show?

Margaux will show you how to turn your reality show idea into a finished pitching document that will clearly convey your concept.

thetvguide@me.com

Rate: $150/hr. (2 hr. minimum.)

“From thought to finish she helped me outline and polish a solid TV drama spec to submit as part as my writing packet.  Soon after working with her, it was clear that this script would be the strongest sample in my arsenal of scripts. Margaux’s positive energy and encouragement greatly improved my writing skills, making the process of writing even more fun and exciting. Her drive, confidence and enthusiasm are infectious.” – M. Perri