Rochee asks:
I'm a regular reader of your wonderful blog, and I have a question that is keeping me up late at night. I have developed a pilot for a tv show that I think is pretty awesome, but I just learned that one of the primary relationship dynamics in my teleplay is very similar to a relationship dynamic that is at the center of a feature script that is in development (Father Daughter Time).
Although my overall concept is very different from Father Daughter Time, my protagonist is also an unemployed recovering alcoholic with a complicated relationship with his ex-wife and his 11-year old daughter. My protagonist is also involved in illegal activities. Every other aspect of my pilot is different, but will these parallels hurt the reception of my pilot?
I doubt it. Frankly, for such a grounded, character-based story, I wouldn't be worried even if there was a passing similarity conceptually. There have been a lot of scripts, movies and TV shows over the years that have dealt with a recovering alcoholic who has a complicated relationship with his family. A broad character outline that bears some resemblance to another pre-existing character is hardly cause for concern.
How many lawyers have we seen on TV over the years who are zealous in pursuit of winning cases, even to the point where it leads them to skirt ethical and professional guidelines. How many young doctors have we seen who get emotionally involved in their cases? (And how often are these people depicted as brilliant in their professional lives, but struggling to maintain their personal relationships, be they marriages or friendships?)
Honestly, "recovering alcoholic who has complicated relationships with his family" probably describes at least half the alcoholic characters out there. I wouldn't worry about it. A parallel that broad won't hurt you, especially since FATHER-DAUGHTER TIME hasn't even been produced yet.
Thursday, October 31, 2013
Wednesday, October 30, 2013
Webshow: Casting
This week we turn our attention to something that I suspect a lot of writers fail to consider when they start writing: casting.
Tuesday, October 29, 2013
Reader question: can my idea in an overused genre work?
John asks:
I'm sure you've heard this before, but I think I've come up with a genuinely original take on the Die Hard sub-genre.
My question is if you'd consider this sub-genre of movie still viable or even attractive in this day and age, or whether they're an inherently dated form. I'm sure you get to read many such scripts and wondered if you had any advice, especially with a female protagonist.
If it's good, it's viable. It's true that it's possible for a particular flavor of sub-genre to wear out its welcome. But if it's a really good script, it'll sell. Don't forget that OLYMPUS HAS FALLEN and WHITE HOUSE DOWN both were variations on the Die Hard formula and they sold within weeks of each other.
The female protagonist thing is inevitably going to provoke the question, "Does it have to be a woman? Can it be a man?" It's ridiculous that that's still a common response in this day and age, especially when Gravity has been flying high at the box office, toplined by a 49 year-old woman. You'll probably be given some nonsense about how foreign sales will be easier with a male lead, but then remember that at least two companies that we know of are working on some variation of "Female Expendables."
My pet theory is that when executives resort to those easy (and outdated) reasons for passing on a spec, what they're really saying is "I don't like this enough to make it." They're not passionate about it. Maybe they see a few elements that could sell tickets, but the script just didn't blow them away. But they have to say something. They have to give a reason why the script isn't good for them.
I've you've got an idea that truly is that brilliant and writing that just leaps off the page, once you get it into a few people's hands, you'll probably be able to gauge their passion for it. I'm sure that within the next year, we'll see at least one sale of a script that can be described as "Die Hard in a..."
I'm sure you've heard this before, but I think I've come up with a genuinely original take on the Die Hard sub-genre.
My question is if you'd consider this sub-genre of movie still viable or even attractive in this day and age, or whether they're an inherently dated form. I'm sure you get to read many such scripts and wondered if you had any advice, especially with a female protagonist.
If it's good, it's viable. It's true that it's possible for a particular flavor of sub-genre to wear out its welcome. But if it's a really good script, it'll sell. Don't forget that OLYMPUS HAS FALLEN and WHITE HOUSE DOWN both were variations on the Die Hard formula and they sold within weeks of each other.
The female protagonist thing is inevitably going to provoke the question, "Does it have to be a woman? Can it be a man?" It's ridiculous that that's still a common response in this day and age, especially when Gravity has been flying high at the box office, toplined by a 49 year-old woman. You'll probably be given some nonsense about how foreign sales will be easier with a male lead, but then remember that at least two companies that we know of are working on some variation of "Female Expendables."
My pet theory is that when executives resort to those easy (and outdated) reasons for passing on a spec, what they're really saying is "I don't like this enough to make it." They're not passionate about it. Maybe they see a few elements that could sell tickets, but the script just didn't blow them away. But they have to say something. They have to give a reason why the script isn't good for them.
I've you've got an idea that truly is that brilliant and writing that just leaps off the page, once you get it into a few people's hands, you'll probably be able to gauge their passion for it. I'm sure that within the next year, we'll see at least one sale of a script that can be described as "Die Hard in a..."
Monday, October 28, 2013
Jeff Willis's Creative Rights advice for Screenwriters
If you follow me on Twitter, you've probably seen me retweet quite a bit lately from Jeff Willis. Jeff is an executive currently working at the Weinstein Company in business affairs, but he's also a screenwriter/producer who co-written a feature due to start production next year, as well has having finished two commissioned rewrite assignments.
Jeff has recently begun doing long Twitter lectures of DOs AND DON'Ts. There's some very useful information there and I hate the thought that the ephemeral nature of Twitter means that it will quickly be difficult to find without doing much legwork. So I reached out to Jeff and asked if he'd allow me to post his advice to writers about knowing their creative rights. He was more than willing, so I'm reprinting them here, with the only difference being that I have reformatted them into paragraphs.
Jeff also did a fantastic Q and A over at the The Black Board forums. It's worth a look. Follow him on Twitter. You won't want to miss out on other great advice like this.
WGA CREATIVE RIGHTS
Writers, are you a member of the WGA? If so, know your creative rights.
Such as:
A prodco can’t distribute critiques/synopses of your script to outside companies w/out permission unless they already optioned/bought it. (Except for companies with whom they have a business relationship… first look deal, financing arrangement, etc.) Don’t waive this right lightly, and definitely don’t do it unless you’ve seen and approve of the coverage they’re sending. You have the right to restrict how much a company can shop your material around by providing the prodco with written notice.
It’s a $750 penalty for each party the prodco submits to outside of your written instructions. That said, don’t be a jerk about it. No prodco is going to deal with a writer who wants approval over every submission they make. Find the middle ground. Know that you can prevent them from blanketing the town, but also give them freedom to do their job. And once a prodco options or buys your script, they can send it to whomever they please.
If you option/sell your work, you have the 1st opportunity to rewrite. DO NOT WAIVE THIS RIGHT. A. It’s money. B. Your fringes depend on it. If a prodco wants to replace you, they’re supposed to meet with you first to discuss whether you can find a way to stay on the project. If a prodco changes an element (hires a director, attaches an actor, etc.), they have to give you 1st opportunity to address script notes. In other words, a director can’t come on board the project and hire their own writer to address their notes without first giving you a shot. This right expires three years from the date you turn in your final set of revisions, unless you negotiate for longer/no expiration.
If you’re asked to pitch something, you are allowed to ask the prodco approx. how many other writers are also being asked to pitch on it. Prodcos are supposed to notify you if a writer is hired to rewrite you. Prodcos are also supposed to provide you with a list of previous writers on a project before you start your revisions.
A title page should include ALL writers on a project. Don’t take off the names of previous writers even if you’re starting from scratch. Not all companies abide by all these rules all the time. Some are inadvertent omissions and some are deliberate avoidance of responsibility. And what the guild doesn’t know, it can’t enforce.
That said, choose your battles wisely. Don’t be that inflexible/difficult writer who runs to the guild every time there’s a problem. But don’t let a prodco walk all over you. Know your rights, know what you’re entitled to. Stand firm on things that are important to you. Remember that the threat of guild action can often be more impactful than actually taking guild action.
Everything I’ve posted is free and available on the WGA website: http://www.wga.org/subpage_writersresources.aspx?id=81
Don’t be ignorant of your rights. If you’re a WGA writer, the guild has worked hard to negotiate an MBA that gives you certain rights. Know those rights. They give you power and they give you leverage. They keep you from being taken advantage of (more than usual).
Even if your deal is not a guild deal, understand what’s standard. If what you’re getting is not standard, ask why not. Call the WGA w/ any questions. The WGAw Contracts Department phone # is 323-782-4501. If you have questions, ASK THEM. They will help you. You don’t even have to be a member of the guild to ask questions. Anyone can call and ask them any MBA-related questions.
Don’t let ignorance prevent you from getting what’s fair. Don’t just go with the flow. If you’re uncertain about something, GET AN ANSWER. The guild isn't perfect, but it is there to help you. USE IT FOR THE RESOURCE THAT IT IS.
You don't have to be a WGA writer to start thinking about this stuff. Non-guild prodcos are mostly about the money and the fringes. There's no reason non-guild prodcos can't give you some of the basic MBA rights or use the guild MBA as a template for their deal.
Don't be afraid to ask for this stuff. Screenwriters SELL THEIR COPYRIGHT when they sell a script. You need to benefit from the deal somehow Guild, non-guild, professional, aspiring... wherever you are in your career, FIGHT FOR YOUR CREATIVE RIGHTS.
Jeff has recently begun doing long Twitter lectures of DOs AND DON'Ts. There's some very useful information there and I hate the thought that the ephemeral nature of Twitter means that it will quickly be difficult to find without doing much legwork. So I reached out to Jeff and asked if he'd allow me to post his advice to writers about knowing their creative rights. He was more than willing, so I'm reprinting them here, with the only difference being that I have reformatted them into paragraphs.
Jeff also did a fantastic Q and A over at the The Black Board forums. It's worth a look. Follow him on Twitter. You won't want to miss out on other great advice like this.
WGA CREATIVE RIGHTS
Writers, are you a member of the WGA? If so, know your creative rights.
Such as:
A prodco can’t distribute critiques/synopses of your script to outside companies w/out permission unless they already optioned/bought it. (Except for companies with whom they have a business relationship… first look deal, financing arrangement, etc.) Don’t waive this right lightly, and definitely don’t do it unless you’ve seen and approve of the coverage they’re sending. You have the right to restrict how much a company can shop your material around by providing the prodco with written notice.
It’s a $750 penalty for each party the prodco submits to outside of your written instructions. That said, don’t be a jerk about it. No prodco is going to deal with a writer who wants approval over every submission they make. Find the middle ground. Know that you can prevent them from blanketing the town, but also give them freedom to do their job. And once a prodco options or buys your script, they can send it to whomever they please.
If you option/sell your work, you have the 1st opportunity to rewrite. DO NOT WAIVE THIS RIGHT. A. It’s money. B. Your fringes depend on it. If a prodco wants to replace you, they’re supposed to meet with you first to discuss whether you can find a way to stay on the project. If a prodco changes an element (hires a director, attaches an actor, etc.), they have to give you 1st opportunity to address script notes. In other words, a director can’t come on board the project and hire their own writer to address their notes without first giving you a shot. This right expires three years from the date you turn in your final set of revisions, unless you negotiate for longer/no expiration.
If you’re asked to pitch something, you are allowed to ask the prodco approx. how many other writers are also being asked to pitch on it. Prodcos are supposed to notify you if a writer is hired to rewrite you. Prodcos are also supposed to provide you with a list of previous writers on a project before you start your revisions.
A title page should include ALL writers on a project. Don’t take off the names of previous writers even if you’re starting from scratch. Not all companies abide by all these rules all the time. Some are inadvertent omissions and some are deliberate avoidance of responsibility. And what the guild doesn’t know, it can’t enforce.
That said, choose your battles wisely. Don’t be that inflexible/difficult writer who runs to the guild every time there’s a problem. But don’t let a prodco walk all over you. Know your rights, know what you’re entitled to. Stand firm on things that are important to you. Remember that the threat of guild action can often be more impactful than actually taking guild action.
Everything I’ve posted is free and available on the WGA website: http://www.wga.org/subpage_writersresources.aspx?id=81
Don’t be ignorant of your rights. If you’re a WGA writer, the guild has worked hard to negotiate an MBA that gives you certain rights. Know those rights. They give you power and they give you leverage. They keep you from being taken advantage of (more than usual).
Even if your deal is not a guild deal, understand what’s standard. If what you’re getting is not standard, ask why not. Call the WGA w/ any questions. The WGAw Contracts Department phone # is 323-782-4501. If you have questions, ASK THEM. They will help you. You don’t even have to be a member of the guild to ask questions. Anyone can call and ask them any MBA-related questions.
Don’t let ignorance prevent you from getting what’s fair. Don’t just go with the flow. If you’re uncertain about something, GET AN ANSWER. The guild isn't perfect, but it is there to help you. USE IT FOR THE RESOURCE THAT IT IS.
You don't have to be a WGA writer to start thinking about this stuff. Non-guild prodcos are mostly about the money and the fringes. There's no reason non-guild prodcos can't give you some of the basic MBA rights or use the guild MBA as a template for their deal.
Don't be afraid to ask for this stuff. Screenwriters SELL THEIR COPYRIGHT when they sell a script. You need to benefit from the deal somehow Guild, non-guild, professional, aspiring... wherever you are in your career, FIGHT FOR YOUR CREATIVE RIGHTS.
Friday, October 25, 2013
Interview with film and TV writer Jeffrey Lieber - Part 6: The Bitter Questions
Parts 1 and 2 - How did you get an agent? and First sales and going into TV.
Part 3 - The early genesis of Lost
Part 4 - The process of developing a show
Part 5 - Cable TV vs. Network TV
Our week-long interview with Jeff Lieber (Lost, Miami Medical, Tuck Everlasting, Crash and Burn) concludes as Jeff takes his turn in the hot seat with "The Bitter Questions." Learn what Jeff considers his proudest and his most self-indulgent moments in writing, among others.
And if you're curious about how other writers handled the same questions, check out this handy playlist that houses all of those segments.
Part 3 - The early genesis of Lost
Part 4 - The process of developing a show
Part 5 - Cable TV vs. Network TV
Our week-long interview with Jeff Lieber (Lost, Miami Medical, Tuck Everlasting, Crash and Burn) concludes as Jeff takes his turn in the hot seat with "The Bitter Questions." Learn what Jeff considers his proudest and his most self-indulgent moments in writing, among others.
And if you're curious about how other writers handled the same questions, check out this handy playlist that houses all of those segments.
Thursday, October 24, 2013
Interview with film and TV writer Jeffrey Lieber - Part 5: Cable TV vs. Network TV
Parts 1 and 2 - How did you get an agent? and First sales and going into TV.
Part 3 - The early genesis of Lost
Part 4 - The process of developing a show
Our talk with writer Jeff Lieber (Lost, Miami Medical, Tuck Everlasting) continues. In this segment, Jeff talks the difference between developing a show for network TV vs. cable networks. He also discuses how he goes about developing a show that draws on real life events and people versus shows with more fantastical elements.
Find Jeff on Twitter at @JeffLieber.
Part 6 - The Bitter Questions
Part 3 - The early genesis of Lost
Part 4 - The process of developing a show
Our talk with writer Jeff Lieber (Lost, Miami Medical, Tuck Everlasting) continues. In this segment, Jeff talks the difference between developing a show for network TV vs. cable networks. He also discuses how he goes about developing a show that draws on real life events and people versus shows with more fantastical elements.
Find Jeff on Twitter at @JeffLieber.
Part 6 - The Bitter Questions
Wednesday, October 23, 2013
Interview with film and TV writer Jeffrey Lieber - Part 4: The process of developing a show
Parts 1 and 2 - How did you get an agent? and First sales and going into TV.
Part 3 - The early genesis of Lost
In this segment, Jeff Lieber discusses the process of pitching a TV series and what he feels goes into making a successful pilot. By way of explanation, he tells us a little about his new series "Crash and Burn," coming soon to FX.
Follow Jeff on Twitter
Part 5 - Cable TV vs. Network TV
Part 6 - The Bitter Questions
Part 3 - The early genesis of Lost
In this segment, Jeff Lieber discusses the process of pitching a TV series and what he feels goes into making a successful pilot. By way of explanation, he tells us a little about his new series "Crash and Burn," coming soon to FX.
Follow Jeff on Twitter
Part 5 - Cable TV vs. Network TV
Part 6 - The Bitter Questions
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