JaneEspenson.com

UPDATE: I got word back from the guys at the ABC/Disney program about the web site. They say, “We are a bit behind with the updated application, but are hoping to get it posted no later than Friday of this week.” So there you go.

Wendy in Reseda wants to know if she can submit a re-worked version of the same script she submitted last year to the ABC/Disney Fellowship this year. I don’t see a problem with that. If it’s read by the same reader, they might notice that it’s familiar, but they should be good enough at their job to realize that it’s well-written. It’s possible that it might give the impression that you’ve only got one idea, but if that’s their concern they will simply request a second script to make sure you’ve got the goods. If you’re really proud of this new version — if it genuinely sparkles — use it.

Lisa in Indiana is working on a “Lost” spec, also for ABC/Disney, and she’s worried that by focusing on a less-commonly featured character, she’s creating something that will be seen as an atypical episode. “Lost” is, of course, a bear of a show to spec. Many people will tell you not even to try. But Lisa is passionate about the show, and since (as she points out) the show does experiment with different types of tones and structures, it’s not clear that the “atypical” criticism even makes sense anymore. Just as I told Wendy, if you’re confident that the script sparkles, use it.

R.A. in Phoenix is checking in to make sure the ABC/Disney program is continuing at all, since apparently the web site (see sidebar over there –>) is in need of updating. Yes, it is, and the site should be updated soon.

Other Gentle Readers have written in with other ABC/Disney questions, that I plan to get around to shortly. I’m so pleased that interest in this program continues. It gave me my start and it continues to attract and nurture aspiring writers and turn them into colleagues.

Lunch: Shabu shabu with Kobe beef. Then I took home the leftover raw beef and cooked it up to make a superlative steak sandwich.

I have recently received mail containing requests to post links to a couple of interesting sites. First off, Gentle Reader Claire suggested that I should post a link to the Battlestar Galactica podcasts. Not only will you find Ron Moore’s personal accounts of each episode there, but also a series of recordings made in the writers’ room during the breaking of the “Razor” Battlestar movie. I wasn’t on the staff yet when Razor was being conceived — I was hired almost immediately following that point — so you won’t hear my voice, but you will get to eavesdrop on a actual working session. This should be invaluable for those of you who’ve always wondered about the dynamics of a room, or who are aspiring to work in one and wonder now what you’re getting yourself into. I think you’ll find it fascinating — I listen to these podcasts myself, and I’m startled to realize I never directed you to them before, Gentle Readers.

But we’re not the only show with cool stuff going on. There is also a very nifty blog that takes you behind the scenes of Eureka, Sci-Fi channel’s other hit. Check it out as well, especially if you’re a fan of the show.

Lunch: tri-tip, cauliflower

Gentle Reader Claire in Massachusetts writes in with a great question. She notes that a lot of drama series are launched with two-hour pilots and wants to know if that means it would be a good idea to write a double-long spec pilot.

It is true that this is happening more and more. One reason for this is so a pilot that is never ordered to series can still be aired as a television movie and recoup some of its cost. I suspect we’ll see more and more of this.

Notice that it also allows writers more time to tell a story despite the fact that they have to do so much character-introducing and world-establishing.

And yet, I wouldn’t recommend writing a two-hour spec pilot. Specs are writing samples and when someone is looking to staff a show or even find a new client or select a contest winner, they usually have to read a lot of samples all at once. In their haste, they’re gonna be grabbing the slimmest scripts, not the fattest ones. And this holds true across genres. Even if you’re writing something with a sci-fi flavor (Sci-Fi network loves the two-hour pilots).

Comedies don’t generally have over-long pilots, but they do sometimes have those extra-long episodes. Don’t take that as an excuse to make your Office spec come in at 50 pages. Shorter is better, in comedy specs even more than in drama.

Lunch: egg foo yung from the commissary. It’s never quite as good as you’d hope.

I was asked by someone — dear me, I’ve mislaid the note or email — to check with the ABC Fellowship people about a very specific question. The writer needed to know if they could still submit a spec script for the show Moonlight, a show that has only just very recently been canceled. Well, I checked and was told, as I’d suspected, that they’re going by the letter of the law here. The program accepts scripts only for shows currently on the air, and recently canceled is the same as canceled. Now, you might get lucky — after all, there’s no reason to think that all the readers for the program check the day’s cancellation news, but is that a chance you want to take? (It isn’t.)

This should also stand as a warning about specing first-season shows in general. It’s very hard to tell, early on, what’s going to be a hit (remember Commander-in-Chief) and you’re taking a real gamble in assuming that any particular new show will survive. I think you should spec a first season show only if you have connections at that show and think you can get someone there to read it. Then you’re taking the gamble of writing a show for the (sure to be hyper-critical) writers of that same show, but at least it’s a different gamble.

UPDATE TO A PREVIOUS STORY: Today I received a gorgeous orchid from my new best friend Ringo. Or, I suppose, from the very charming Ringo-assistant I met the other day. I assume this is a thank you for returning the box of clothes. The note says “Peace and Love, Ringo,” which is simply too cool for words.

Lunch: matzo ball soup and a cookie

Part of returning home involves being handed a big stack of blogmail that piled up while I was gone. Let’s take a peek inside:

Amita, in Ontario, wants advice about applying to the ABC Fellowship. (First off, I don’t know for sure that you’re a Canadian, but your letter comes from there, so you’d better check the application, Amita — I think the program might now be limited to US citizens — WHOA — I just checked and it looks like now the only requirement is US work eligibility. Is that new? Is that hard to get? Aren’t you glad you wrote to an expert, Amita?)

She asks about the resume and Statement-of-Interest parts of the application. She’s got interesting (and slightly conflicting) concerns: fear that her resume isn’t enough like everyone else’s, and fear that her statement is too much like everyone else’s. Well, set aside the fear over the resume. A pre-med background and living experience in Europe is far cooler (and more marketable) than any film/tv degree. The program isn’t looking for a fat resume, but for talent and diversity — diversity of background and experience. You’ll do beautifully.

In terms of the Statement of Interest, she fears she’ll be writing the same “I wanna be a writer” statement that everyone else will write. What other interest would someone express, after all, if they’re applying for a writing program? Here, I’d venture to guess that the key isn’t content as much as enthusiasm and expression of motivation. In other words why do you want to write for television, and what inspires you about it? Are you trying to accomplish something through what you write? Or is it about fulfilling something more personal to you? Just like when you write a character, you don’t just have to know what they want, but why. Tell them about the why.

There are always a few letters that I simply don’t know how to answer. Please enjoy the following non-answers:

John in Hong Kong asks about how established British writers can pitch a children’s show to US producers. Sorry, but that’s a totally different world from my own. I guess I’d try to set up a pitch at Nickelodeon if I were you? Are they still the big kid-tv provider? I’m not even sure. But I hope you get to the right people and that you have the best of luck!

Richard in Maryland is looking for a co-writer. I don’t want to become the writers’ matchmaker, so I’m not sure how to help. Perhaps those networking sites like Facebook or Livejournal would be a good place to start?

And a thank you to Kelly in Ontario, Canada, who writes in with a success story about selling a comic book series after a career in film and TV. I love to hear that people are taking the creative path in that direction too. Congratulations!

Lunch: That chicken and heirloom tomato dish from the “nice side” of the Universal Studios Commissary.

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