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Looking for tips and tricks to the art of writing for television? Welcome to the blog of experienced television writer Jane Espenson. Check it out regularly to learn about spec scripts, writing dos and don'ts, and what Jane had for lunch! (RSS: )
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Home » Archives » October 2008 » The Ultimate Puppy
[Previous entry: "Pitfalls! Don't Fall in the Pit!"] [Next entry: "Hot Cold Openings"]
10/18/2008: The Ultimate Puppy
Sometimes you think all the puppies are born and then there's one last puppy. Here's one additional thought for yesterday's litter of script errors. Fellowships that ask you to submit spec episodes of series that are already on the air often specify that you can choose any show currently airing, or words to that effect. In an effort not to be the four thousandth The Office spec that a particular reader has to read on that day, let's imagine that you decide to be more original. That might be a good idea, but try not to drift too far afield. If only one of the readers is familiar with the show you've chosen, then you're in luck, you only need one reader. But what if none of them are?
You're probably safe with off-net but critically popular shows. I mean, yeah, Mad Men is obviously totally spec-able, and you can dig deeper if you want -- I'm thinking of something like It's Always Sunny in Philadelphia. And shows that have been around a while, like Monk -- that's probably pretty safe. But in the television multiplex we now have some more obscure shows. It's very important that the readers know how to evaluate your mastery of voices that you did not create. Don't make it harder for them to do so. Don't drift too far off the ranch.
And if you go the other way and decide to go with The Office? Well, the show is packed with clear voices, which makes it, frankly, a lot easier to write than a show with malleable mushy characters. You should be able to feel it when you've nailed, for example, a Dwight line. Yow! But of course, all the other talented aspirings are out there pumping their fists too. So make your script memorable. Don't try to do so with a really crazy out-there concept that the show would never do, since the whole point is to be exactly like the show. Do it by making the concept precise, making the turns surprising but not random, and making sure that every joke is the best it can be. There's always another joke. Don't be afraid to think of an alternate for every joke in your script -- even the ones you like. You don't have to change to the new one, but what if you find something better? You'll only find the better joke if you look for it.
Lunch: scrambled eggs with salsa and French bread toasted in the oven
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