Ignoring is the New Stalking

So yesterday I had a truly weird experience with a fellow writer.

This person mentioned on their FB page that I was ALWAYS too busy to see them when they were in town, so I sent an email apologizing for working so much and just said that they should contact me and we can make a plan because that is what I do with my other friends.

Well, what happened? The person did a 180, got really angry, said that they didn’t know why I expected them to get in touch with me every time they were in town and this person wasn’t Shia Labeouf, or Brad Pitt, so why was I giving them so much attention?

What?? What?? Am I being Punk’d? First I am being told that I have been ALWAYS too busy to see the person, who by the way I haven’t seen since September, or talked to this person in MONTHS!

I was supposed to have coffee in like Jan, or sometime months ago, but was slammed with work, so I canceled. To be honest, I hadn’t thought about the person in a while.

Then I am told that I am expecting too much from this person, playing the victim and giving them too much attention???

I don’t know how someone goes from not seeing me in months and not hearing from me even once a month to thinking I am upset because I haven’t seen them?? I could care less.

Weird…really weird…

So I guess ignoring someone is the new giving too much attention?

UGH UGH UGH and I was feeling guilty for not actually spending time with this person when they came to town.

The end result is even worse, they deleted me from their facebook after sending nasty messages.

Here is the problem, this person works in the same industry? So why all the drama??

I don’t understand it, but seriously hope that this person learns how to communicate better because flying off the handle, accusing someone of not being around then yelling at them when they apologize and turning the situation around, is not the best “networking” or “politics” one could do in the biz.

I have some theories:

1) The person really was upset that I didn’t see them or talk to them that much, so they were embarrassed when I explained that I had been working, so they turned it around to make themselves feel better.

2) The person has split personalities or is in fact, Dr. Jekyll or Mr. Hyde.

3) I am being Punk’d in some new Facebook, social networking way

4) This person was using me to meet people since I was introducing them around at events in the early fall, and now they don’t need me anymore so they made up a reason to start a fight

Honestly…what is wrong with people?

Being completely unstable, a little bit insane, rude, unprofessional-all things that showrunners look for…*sarcasm*

How Many Acts?

Okay, so yesterday I was in a cheeky mood and was goofing off a bit about, and making fun of how many acts there are now in all television programing. It seems that it changes every year and there is no fast and steady rule.

A group of writers had this email thread going through about this and so I thought I would share some of the replies because I think the advice given to the writer who asked, “How many acts in a sitcom” was well written, smart and will help others who may or may not be in that group, but read my blog. So here it is.

THE ORIGINAL QUESTION:
Hey everybody!

Quick question: What is the most popular contemporary, single-cam sitcom act structure?

Is it:

3 Acts plus a teaser.
3 Act without a teaser.
3 Acts, but the first act is the teaser.
2 Acts plus a teaser.

If anyone knows, on good authority, I’d appreciate it!

SOME ANSWERS:

~~~~This is a good question. My thought is that this is the most common format:

Teaser
3 Acts
(Tag)

That’s the format for The Office, 30 Rock, Modern Family, It’s Always Sunny in Philadelphia, and Community.

~~~~
30 Rock is Cold Open/Teaser, 2 Acts, and sometimes a tag, and so is the Office

~~~~
It depends on the showrunner. Formats change. Network television comedies had been multi-camera formats for so long that some writers have stick to that form of storytelling. There should be one great act break. But, obviously, some storytelling has changed due also in part to advertising. For single camera, the general format is a simple three act structure. For multi-camera, it is usually a two act structure with teaser and tag. It’s pointless to get caught up in how many acts are in what. If you don’t have a strong story, it doesn’t matter what the structure is. Too many writers stifle themselves by all this worry. Have a strong story and make sure you’re as funny as possible on the page.

~~~~True, story is what matters, but we know that presentation is also crucial.

If you’re writing a spec, respect what the show is doing currently. True, some shows like 30 Rock have moved from 2 to three acts, without counting cold opens or tags. Don’t date a spec by using the old format.

If you’re writing a pilot, it might be better to go with the new trend of 3 acts as well, but I think you have more freedom to structure your own pilot the way you see fit.

~~~~The other thing to keep in mind, the “I liked it, but…” comment usually comes from either the “I want to help you and this is all I noticed” camp, or the “something in my gut doesn’t like something, but I can’t put my finger on it so I’m gonna comment on structure” camp. Hopefully yours is of the former.

But whenever I have been privy to comments/feedback on my own or other writers’ work, and the comment is about format or structure or some measurable thing that’s supposed to have rules in Hollywood but really doesn’t, it’s usually because the person critiquing can’t put their finger on the problem or doesn’t know how to express it…so they resort to “the act structure’s wrong,” or “you’ve formatted this improperly,” or “you should be using the ____ template in Final Draft.”

Blech.

So if you’re only getting this comment from one person, toss it out (depending on who it is, of course). It’s your pilot anyway. But… if you get it from more than one, or variations of comments on the theme, you may want to just look at your act breaks…if your act breaks are good, no one’s gonna have a problem with how many act breaks you have…unless you have ten or some craziness like that. Focus on making your act breaks solid. Ultimately, this is one of the more important elements people use to analyze your writing. And if you have solid breaks and a compelling story, no one’s gonna have issues with how many acts you have.

But, it’s your pilot. Yes, you should follow the trends so people know you can play in the current sandbox (sit-coms: 3 + teaser/tag; dramas: 5 + teaser/tag), but also be aware that criticisms about structure and format are rarely about structure and format. They often have to do with something that’s not working on the story level.

Happy writing.

MY TAKE:

My experience has been a lot like what people mention up here. True I don’t know as much about sitcoms as I do with dramas. I took a class with a well known showrunner and he said that the standard is always a teaser/cap and two acts, but even his shows don’t follow that anymore.

I know in DRAMA the standard is 4 acts with a possible teaser and or cap. It does really depend on the show.

I believe that story is the most important factor. Case in point. I wrote a spec of a popular ABC show, a drama 3 summers ago and at the time knew nothing about TV structure, so I did a 3 act with a teaser. They liked my story. They said my characters were well developed and I got work on that actual show-which is rare from a spec because no matter how brilliant you are, it is nearly impossible to do it even close to right in the eyes of the writers that do it every day. They also passed my work along to other shows at the network. I didn’t get work from it, but was read by a lot of people over there, and I learned a lot. The only comment I received about structure was that I should learn it.

My advice, take it or leave it, is to get copies of the show you are writing and follow it, get the latest episodes you can. Shows change over the seasons so you are doing yourself an injustice if you follow something from a few years ago. The WGA library has almost everything you need if you can’t find it elsewhere.

If you are doing your own pilot, then if it were me, (and it is actually), I would follow a show that I love as a model, or a show that is close to what I am writing.

It is amazing to me that we all grew up learning that it is always 3 acts, and to be fair, it really is still, just will some act breaks throughout.

Have fun, write a killer story and the rest you can learn.

New 9 Act Structure Coming Soon!

Okay, do any other TV writers feel that all the acts are getting ridiculous? Or, am I the only one?

Grey’s is doing 6 acts, Vampire diaries, How I Met Your Mother is doing 4, and a teaser and a cap?
WTF? Seriously, that show is 28 minutes long, with commercials?

What ever happened to old fashion 3 acts. Beginning, middle and end? I mean, is it that hard?

Does something exciting or plot twisting have to happen before every commercial break?

When I was new to TV writing about 3 years ago, I wrote a spec episode of a popular ABC show, and had no idea about the 4 Act structure and so I wrote 3 acts, a solid 3 acts, and they liked it, it lead to some work and tons of connections. They did say to me, “you need to learn TV structure” and pointed me in the right direction and after feeling like an idiot, because it never even crossed my mind that there would be more than 3, I understand 4 acts. In screenwriting, there are 3, but really there are 4. (Thankfully, my storylines, characters, plots and arcs all worked within the rules of that show.)

Let’s break it down. In screenwriting, you have act one, which is usually 19-25 pages long, then you have act two, which is usually 45-60 pages long and then you have the final act, act 3, somewhere between what? 15-20 ish? So one could say that act two is really two acts, hence a 4 act structure.

What is with 6 acts? Why? Can someone explain it to me? I don’t like it, I don’t get it. It seems silly to me. Will I do it? Sure, but to me it just seems like it is still a 3 act structure just broken up more for commercials.

In sitcoms, 4 acts? Really? In a show that is so short. There seems to be no fast rule on that as well. I took a class with one of the masters in television today and he said that for me the sitcom should be, a teaser and and end cap with two acts in between. That made sense, but I have seen even episodes of his show going into 4 acts with the teaser and the end cap. It is so confusing.

How many acts???

I have decided that I am going to write a new show with 9 acts just to be silly. I am not kidding. Stephanie’s 9 act structure changed sitcoms forever. Look the commercials will get all there air time and my sitcom will run the full hour. Every 4 minutes there will be a 2 minute commercial break. It will revolutionize television and the way we watch. For dramas, I am going to do a 12 act show…

Seriously you all just wait.

So Much to Do! Never Enough Time

OMG! Silly girl that I am, I thought I could manage having a novel writing career-Micheline McAllister is my nom de plume-check her out on Amazon, she has two novels out-and a TV writing career-which I love, but wow, it takes a lot of time-and no one is getting any younger, AND a screenwriting career. Well to be fair. I wrote a treatment for my first screenplay in 1996 so I could pitch at Disney. They had a “gong show” for artists to pitch film ideas, and I worked for a year on an animated feature, but since then didn’t really think about screenwriting so much.

Then one day last year, I met Blake Snyder-and to be fair, I had already taken a Syd Field workshop, so it wasn’t like I didn’t want to write films, but I was focused on TV. Blake said to me, “why aren’t you writing a screenplay? You need one, write one” so I did. Oddly enough, the screenplay is getting great response and is in a deal right now, and yes I have been asked over and over, what else do you have?

Well I have a gazillion tv spec scripts, three new pilots, an original daytime drama, two published novels, a hand full of short stories (both published and not) and am working on dat dat dat….

Oh. My. God.. I have no time!

Seriously, how does one work on two full time projects-you know for that pesky thing called money that we all need to keep a roof over head-so I can write the next Oscar winning screenplay, Emmy winning TV show, Best selling novel, and or just get full time work as a writer?

I am currently working on a commercial in animation, drawing all day every day and am on a feature film-also in animation and between the two, I hardly have time to think.

That said, I completed a new novel in Nov that people are interested in, yay! I have a couple agents interested and a couple major publishers-so that is awesome, but just like film and TV, I get, “what else do you have?”

I have so much partially done work it is hard to know where to turn! EEK!

So here is the current plan, which could change at any minute.

I am writing my Big Bang-yes moving from drama to comedy-
I am writing my sitcome spec pilot
I am finishing my spec cop pilot
I am finishing my 4th novel
I am writing my RomCom screenplay

I am blogging as much as possible and trying to make sense while doing so-it is hard managing 5 blogs! Yes my alter-Micheline has three of her own-

In any case, I better go do some drawings because, wtf? It is already 11 am and I have done nothing today!

It All Started w/ The Big Bang! (Theory)

I have decided to spec one of my new fav comedy shows, the Big Bang Theory! After finally admitting, or being made fun of by my friends more like it, that I am sort of a little bit of a comic book and SyFy geek, I realized that this is right up my alley, or well I hope it is.

I was reading a blog about the show a couple weeks ago where this guy was slamming it; saying that Penny would never go out with Leonard and complaining about the stereotyping of the whole show. It is what it is, and what it is, is funny. I always laugh out loud and that is pretty much all I require from a show like this, so I move forward into comedy this summer!

Can’t wait! Have pitched my idea to a few folks and am feeling good, so when I am a famous comedy writer I can say, “I was writing drama after drama and while getting great feedback, I wasn’t getting hired, until one day, I decided I’d rather laugh then cry; and BANG! I decided to try my hand at TBBT.”

Rejection Sucks

I am always trying to see the silver lining, not get down, find a reason to believe it is for the best, but to be honest, rejection really sucks.
I got a rejection letter on Friday about my novel, and today I found out I didn’t make it into the top 25 in a TV writing contest that I really wanted to advance in. I know they liked it because I got a phone call with suggestions of where to submit this show-which never happens, so I know that some of the readers liked it, but it didn’t advance. I am a little bummed.

I am not the type of writer that has a lot of self doubt, but sometimes it is so hard to take. I just want to write and get paid to write and I see so many bad films, and read so many bad novels that I wonder, “shit, they got published/produced – I must really suck” but I know that isn’t true.

It still sucks, and I am feeling a little defeated, that said, moving on!

Vampire is a Deal Breaker

Okay ladies, what is it with Vampires? I personally love The Vampire Diaries series, and The Vampire Chronicles, but they are novels, stories, fiction, something that isn’t real. Twilight is okay, the first three books were good; the films, meh, but I enjoyed them.

Here is what I really want to know is how is it that these women in these stories think it is okay to date a vampire? Honestly, being a vampire is some scary shit and if they do exist, (who am I to say they don’t?), would ya really want to be involved with one?

Aren’t relationships hard enough without adding that your boyfriend may kill you if his desire is too strong? How stupid are these women?

The amazing thing is that, we all watch these films. We read the books. We tune in every Thursday to watch the Salvatore brothers duke it out, and we fall for the love story.

If he is dead ladies move on.

This all said, I love these stories. I don’t care if they are unbelievable. I love vampire storylines, I even endured it when Port Charles had vampires running around the city. Tortured souls in love with mortals? It’s great.

I hope the CW allows the Vampire Diaries to get as dark as the books and kick Twilight’s ass back to Arizona.

Here are some of our newest fav vamps, and thankfully, they aren’t real.

Top Sitcoms?

So I am curious, what sitcom do you love? Can’t live with out?
For me it was and is Friends. I love that show, and can watch all of them over and over. It worked, something about it just worked. It was magical somehow.
Another one that I used to love and still watch is Frasier. I love the characters, Marty, Niles, Daphne, & Eddie. LOL. The show was pure sitcom, in that, the situations made it funny.
Three’s Company is still one of the best shows written, the Honeymooners of course and The Dick Van Dick Show.
Nowadays there just isn’t that same spark, but Modern Family is pretty funny. I also love The Big Bang Theory, not only because I work in animation and personally know all these guys-well guys exactly like them, but because it is simple and just makes me laugh. Okay I admit that whenever they get into arguments about something geeky, not only do I know what they are talking about, I have an opinion LOL! How I Met Your Mother holds it’s own and had earned a spot in my DVR cue.
I used to love Mad About You, until they had the baby. Will and Grace is one of my favs and Family Ties was sheer brilliance in it’s day.
So I am wondering which ones you like or love-we can do hate later-but since we are all writers, we don’t want to offend or piss off any of our potential bosses.. LOL.. maybe keep those in our own heads.

Save The Cat ~ A Great Site

Hey everyone, I am sure you all know about this blog, but just incase you don’t, go here:

http://www.blakesnyder.com/2010/04/14/stc-beats-out-how-to-train-your-dragon/

Blakesnyder.com has great information. Today it is beating out, How To Train Your Dragon.

There is always tons of helpful info on the website, and even though Blake is gone (sniff sniff) his spirit will continue to shape and inspire writers all over the world. Check it out!

Also get all three of his books, you don’t have to follow exactly, but they will inspire you and let’s face it, when we aren’t inspired, we don’t write as well.

What NOT To Do In Writer’s Room by Ellen Sandler

I pulled this from my friend, and mentor, and all around amazing woman, Ellen Sandler. The suggestions still hold up-3 years later, so I thought I would share :0)

What Not To Do In The TV Writer’s Room
Ten surefire tactics to lose that plum TV-writing job you finally landed
By Ellen Sandler – March 27, 2007

Aspiring comedy writers spend years grinding away as assistants, pounding out spec script after spec script and dreaming of that holy grail: a staff writing position. Finally, one day they get the job! But then something happens. They do the craziest, boneheaded things. One can only wonder… What are they thinking? Do they want to get fired? Is the money too good? Are they being paid more than they’re worth so they have to self-destruct? Is it too much pressure, and they have to find a way out before people discover they’re a fraud? What’s the deal?

In my years of experience at the writer’s table of many shows — hits you’ve seen and flops I hope you never will — I’ve collected 10 surefire tactics to tank a career. You may think no one would be clueless enough to do any of these things, but I swear that every one of these is something that I’ve actually seen done by a real writer on a real staff of a real TV show.

1. Make sure everyone knows how smart you are
Read The New York Times at the writer’s table, (especially important if you’re in Los Angeles), and be sure to do the crossword puzzle in front of everyone — in ink. If you think they need more proof, brag about how good you are at Scrabble.

2. Bond with your showrunner
That’s your boss, the head writer, the guy (yep, it’s still usually a guy) who hired you and can fire you. Despite being a decade (or more) younger than him, show you can relate by referring to pop culture icons from his era. Make a point to mention how much you loved Seinfeld too, especially because your mother let you stay up late to watch it.

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3. Correct everyone’s punctuation
Grammar too. Be sure to add “-ly” whenever anyone uses an adjective when they should be using an adverb. If your showrunner says, “Let’s do that different,” quickly trill “ly” with a bright smile.

4. Impose your self-improvement on everybody
Don’t just complain about how much weight you’re gaining from all the unhealthy food on the craft services table. Be proactive, and suggest the name of a high-priced nutrition guru who could evaluate the menus and recommend healthy alternatives, or better yet, recommend them yourself. People may resist at first, but assure them that they and their cardiologist will thank you. If even this fails to get the Krispy Kremes and the Pringles off the table, have your own Zone Diet food delivered for lunch, and be sure to “ooh” and “aah” over its health benefits as you consume it.

5. Overdo your enthusiasm!!!
Use at least five exclamation points on every page of your script. So what if it’s not professional? Your dialogue will look funnier!!!!!! And more exciting!!! And how about those interrobangs ?!?!?! Huh?!

Demonstrate your savvy by badmouthing TV whenever you can. Be sure to throw in that TV writing is not “real” writing.

6. Prove you care more about the script quality than everyone else
Shoot down any and all ideas you know are weak, even if you don’t have a fix. Question the logic of a story point, even if it means sacrificing one of your showrunner’s jokes. He’s got to appreciate that you’re not a “yes man,” right? Right.

7. Line up your next job while you’ve still got this one
Nothing tells a showrunner you’ve got a competitive edge like letting him know you’re looking for your next job. If you can manage to have your cell phone ring in the middle of a runthrough, you’ll get his attention. That way, he’ll be sure to overhear you betting with your agent about how many more episodes the show has before it’s canceled.

8. Re-pitch a joke, a line or a story, no matter how often it’s been rejected
Maybe nobody heard it. Keep re-pitching it, louder, and if they still don’t go for it, take plenty of time explaining how good the joke/line/story really is. Sure, the other writers may become impatient, but can you really live with yourself if you don’t fight for your artistic vision at every turn?

9. Agree with the network executive’s notes, even if they decimate your work
This one works, especially if your showrunner is irritated by the notes. Your efforts to soothe ruffled feathers, and your advice on how easy it will be to incorporate the exec’s suggestions will not go unnoticed. How it sits with your colleagues, well…

10. Denounce TV at every opportunity
Everybody knows TV is a stepchild to the film business. Demonstrate your savvy by bad mouthing TV whenever you can. Confess that you never watch TV. Be sure to throw in that TV writing is not “real” writing, not like your one-man show about your crazy family.

Bonus Point: Set your boundaries. In stone.
Work expands to fill the time available, and showrunners are notorious for working the staff overtime. Tell everyone you have theatre tickets, and you just have to be out of there by 7:00 pm. Don’t sacrifice your personal life for your job, because you’re going to need your other interests — a lot of them — to fill the all the hours once your contract isn’t picked up, also known as getting fired.

I did some of these things — okay, many of them, and friends of mine did the ones I didn’t. Yet, we still managed to have careers. You will too, if you learn from your missteps, and more important(ly), if you can laugh about your own failings.

One real tip: That laughing at yourself part? Make it happen sooner rather than later.