KidScreen Summit 2012

People have asked if I'll be at the KidScreen Summit in NYC, running February 7th to 10th.

Actually, I won't. While I have a number of projects in play at the moment (and the ultimate WICKED-COOL one that we're about to pitch) - none of my current shows are for... Kids.

Which doesn't mean that I'm not available to help get YOUR pitches and scripts into shape. You've still got a couple of weeks to put the final polish on your work. My clients had a very successful time at KidScreen 2011 with a couple of properties landing development deals.

So, if you're going to KidScreen and want to put the best face on your property, don't hesitate to contact me. And good hunting out there!

Ideas

Hey Steve...

How do I know if my idea is a good idea?

To be honest, that question is irrelevant. It's not the idea - its what you do with it that matters.

Case in point: The famous novelist E.L. Doctrow wrote a book called "The Waterworks".

Set in 1890's New York - The Waterworks deals with a series of grisly murders around the Croton Reservoir. There's a lot of political intrigue and the protagonist is a crusading newspaperman.

At about the same time, a little known writer named Caleb Carr wrote "The Alienist".

The Alienist is also set in 1890's New York City. It also deals with a series of grisly murders around the Croton Reservoir. And yes - there's a lot of political intrigue and believe it or not, The Alienist's protagonist is a crusading newspaperman.

Two identical books? They should be the same, right?

Hardly. The Waterworks is as boring as Hell. The Alienist is a gripping page turner.

Same idea. Same setting. Same time period. Same characters.

One is a failure, the other is a brilliant success. <-- my opinion - but you're welcome to check out the reviews on Amazon.com. I'm not on the minority.

Happy Reading!

30,000 Hits

Well folks, we hit 30,000 on the Sitemeter today. That's kind of amazing. Thanks!

Sorry that I haven't posted in a while. What can I say? I'm busy. That's a good thing.

With 30,000 hits come a number of letters, notes, requests, etc. Got one recently. A gentleman asked if I'd review his Pitch Bible. "Sure", I said. Send it over. Which he did.

In his cover letter, he mentioned that "another" pitch-bible expert had reviewed and liked his pitch. He wanted my thumbs up on it as well.

So here's the situation. Last year, someone asked my opinion of his pitch. I was honest - I said that it needed work and explained what I thought would improve his bible. He replied that (another writer) had reviewed his bible and thought it was fine.

I said, "fine" - accept the other guy's opinion and ignore me. But he wouldn't leave it alone. He called me from England and conferenced in the other writer from L.A. - so the two of us could "debate" the merits of this guy's Pitch Bible.

Excuse me?

My reply wasn't the least bit polite. If you disagree with what I think, you're welcome to find another opinion - but leave me out of it.

Getting back to the recent guy - collecting letters of "support" from Pitch Guru's means nothing. The only opinion that matters belongs to the production company or broadcaster who's prepared to option your property.

I'm always happy to lend and ear and give advice. But please don't go Guru shopping.

Thanks!

The Hollywood Paradigm in Action

Well, I'm back. Sorry for not writing in a while. I've been busy and on top of everything else, just got back from vacation.

While sitting on the plane, I had the opportunity to check out this past summer's "Captain America". It was fun. Mindless fun - and I enjoyed it. I'll be sure to see The Avengers movie that they plugged at the end of the film.

One thing that I noticed was that "Captain America" plotline followed followed Syd Field's paradigm - see my earlier post - to an insane degree. Case in Point: When Captain America raid's Red Skull's base in Norway and frees the captured soldiers - I stopped the film and checked the timeline. It was exactly - and I mean EXACTLY 1/2 way through - to the minute. When Bucky is killed, setting of the final confrontation, it occurred precisely where the second Plot Pinch indicated it should be. You could literally set your watch by this movie. Rarely have I seen a movie that was constructed (in the editing phase) to match the paradigm this closely.

To be honest, I didn't (I should have, but didn't bother) check to see if the inciting incident that starts the second act, hit at the 20 minute mark. I'm sure it did.

So, the end result - while it isn't Shakespeare, "Captain America" is a textbook example of Syd Field's paradigm in action. And it's a fun movie, too. I'd call it a "good renter".

"A" Story - "B" Story - Running Gags

How do you get more ZIP out of your story? Many early writers fall into the trap of writing single plot stories. They follow on group of characters throughout an entire adventure. But life isn't like that - people and events that affect your life come and go. If you can build that element (let's call it the "B" Story) into your story, it'll make for a better script.

Let's get started. You might recognize the diagram below as Syd Field's famous Hollywood screenwriting paradigm. The vast majority of movies and TV shows follow (consciously or unconsciously) this model.

From my own experience, I've found that when a story works - it's on model. If a story isn't working - the first thing I do is check it against this template.

For more information about SYD FIELD, the PARADIGM and all that other good stuff, please visit www.sydfield.com or buy his books THE SCREENPLAY or THE SCREENWRITER'S PROBLEM SOLVER. These books are essential reading. If you haven't read them yet - RUN TO YOUR LOCAL BOOKSTORE AND BUY THEM.

And now, on to MY paradigm... Which I've scribbled over top of Syd's. Hope he doesn't mind...

You'll see that I've scribbled some lines in pink and green marker. Sorry, they're all that I had available. The Pink lines represent that "A" Story and the Green lines represent the "B" Story (or the secondary characters).

I'm going to use a gross simplification for demonstration purposes. In the FIRST ACT - the main and secondary characters are going about their business together. There's even a GAG or short joke about their situation.

At the PLOT POINT which begins the SECOND ACT - the Primary Characters (A Story) and Secondary Characters (B Story) separate and go about their businesses. Throughout the Second Act, we cut back and forth between the two groups of characters, to keep up with what they're doing.

Likewise, there are situational GAGS - called RUNNING GAGS that mirror the "A" and "B" stories. There's an "A" Story Running Gag and a "B" Story Running Gag.

The "A" and "B" Stories should MEET at the SECOND PLOT POINT or CLIMAX of your story. Then in the resolution or THIRD ACT - if you're very good (and lucky) you get to write a climax for your RUNNING GAGS.

This structure works for a simple short 11 or 22-minute adventure. If you were to write a longer piece, you would add more Stories - "C", "D", etc.

And no - I don't sit in movies counting the number of stories going on. But next time you watch your favorite sitcom, check it out.

Animaniacs Bible

The previous link to the Animaniacs Bible is down. However, I've located a new link, which you can find... HERE.

As noted before - this appears to be a writers guide, rather than a pitch document. Either way, it's fun reading.

Cheers!

S

A Typical Day

A potential client contacted me about writing a pitch bible for him. Only one problem: After speaking with him, I knew that what he wanted me to write, wouldn't sell.

The core idea was okay, but his format was way off. It was confusing - so much so, that anyone reading it would be left scratching their head, unsure what the project was about.

Which left me with the moral dilemma; "Should I take this guy's money and deliver the product that he wants, but which I absolutely believe will fail? Or, should I argue with this man - and get him to see things my way?"

The problem was - if we did it my way and forever reason, it didn't sell - then I'd be to blame.

It was a no win situation. I wished the guy luck with his project and I've moved on to other things. But in the interests of Public Service, here AGAIN are some Things that a Broadcaster looks for in a Pitch.

Ignore them at your peril:

1. A solid proposal must demonstrate:

   • A strong understanding of Network X's audience and schedule;(Hi. This is me, here in the italics, commenting on their notes. About the "Strong understanding of Network X's audience and schedule: In all fairness - don't waste their time. If your show is really not what they're looking for - a knitting show for "The Hunting Channel" - you're wasting their time and your efforts.)
     
   • A strong overall fit with Network X's programming needs; (If they show 1/2 hour episodics, round the clock - don't try to sell them on a Movie of the Week. They've got nowhere in their schedule to run a one-off.)
     
   • Originality in subject or treatment; (This is a bit of a... I dunno. On one hand, they always ask for ORIGINALITY, while on the other hand, they really want "tried and true" - meaning SAFE programming. If the show tanks, "you know who's" job will be on the line.)
     
   • Clarity of approach and focus; (Meaning - Know Your Stuff. If your show is about sea creatures, you should have a pretty good knowledge of sea life.)
     
   • Creativity and imagination; (Goes without saying.)
     
   • Top-quality writing, research and presentation; (Ditto again. Don't go in with some half-baked idea scrawled on a napkin. It ain't gonna fly.)
     
   • Credentials of production personnel including a proven track record with professional and creative broadcast series production;(This depends. When I got my first development deal, my credits were really thin. If you have THE GREATEST IDEA IN THE WHOLE WORLD, the broadcaster may require that you partner with a more experienced producer. Don't let this stop you.)
     
   • A thorough budget and financing scenario, if requested. (You should have a realistic idea of what it will cost to produce the show. Do your research and have it ready if needed.)
     

   Please submit the following with your proposal:

   • Summary of show concept, series focus and treatment; (Hey! They want a Pitch Bible! Go figure...)
     
   • Outline of its relevance and appeal to Network X's core audience;(In your words, why will people watch it?)
     
   • Show format and sample rundown (if applicable); (Ya know? In all my years, I've just done my first one of these. And it was only after I'd done it - that anyone asked. Its a good exercise and it helps you to prepare for the pitch.)
     
   • List of key creative personnel and complete resumes. (Good to have on hand - but the truth is, if you get your show up and running, you can buy all the creative people you want. Make up a "such as" list. Example - "This character will be played by an actor such as Tom Hanks". The reality is, you'll never get Tom Hanks - but it gives them a taste of what you have in mind. Same goes for artists.)
     
   • Corporate profile with credits; Have your resume handy. ( Or, if you're more experienced, a link to your imdb page.)
     
   • Video samples of your past work and, if applicable, of proposed host (Makes sense. It's always good to have a demo reel. I'm sure that I sold Freaky Stories on the strength of the 5 minute pilot that I made in my basement.)
     
   • Signed RELEASE FORM (Yeah, yeah, yeah... They might make you sign one of these to protect themselves. You might have an idea similar to something they already have in development. This actually happened to me - I pitched a show to a network and it was EXACTLY what they had just shot a pilot for. They told me that my pitch was better - incidentally... but no sale...)