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So I did my sign-making shift at the Guild today, in lieu of picketing. Hard work, but fun. Guess who was there, working beside me, wielding both stapler and tape like a pro? Saul Turtletaub. Oh my god. I remember seeing that name on my television screen when I was a child — Love American Style and That Girl! and Sanford and Son. Wow. Count me as impressed. And he couldn’t have been nicer, either — funny and generous and up-beat. This strike isn’t just bringing fans together with writers, it’s bringing writers together. I love that.

In other strike news, I’m told that tomorrow the Battlestar staff is being moved back to the Barham gate of Universal. I never even got to see Gate 2! Anyway, I’ll be somewhere for the 6am to 10am shift tomorrow if you want to stop by!

And, if you can stand even more of me, check out the new interview about “Serenity Found” from the fine people at PinkRayGun.com! Thank you, Pink Ray Gun People!

All right. It’s been a while since I gave any real practical writing advice, and I’m feeling the lack. So let’s talk dialogue. Want to move a scene along quickly AND make your characters seem smart? Let them anticipate each other. Instead of this:

Try this:

By having Kayla anticipate the question, the relationship becomes just that little bit realer for me. Couples anticipate each other. The interaction also becomes more charged, since she’s more emotional here, more eager to defend herself. She’s a more active participant in the exchange.

Anticipation is not always the right answer. It’s possible that the whole point of this scene has to do with Dave hearing himself ask the question out loud — maybe that moment is the culmination of his journey in some way. But in the absence of special requirements like that, having characters get ahead of each other is more than just a fast and elegant way to accelerate a story.

You can use the same trick to elide information that the audience already knows, too. If someone is explaining a established plan to a newcomer, for example, let the newcomer pick up on it and cut them off. Letting characters be smart is a smart choice for the writer.

Lunch: cheese and apples

Strike update. I am volunteering to do a shift at the Guild offices tomorrow (Monday) instead of walking the line. I believe I will be making and repairing picket signs. It sounded easier on the feet, ya know? I have delicate little trotters. Anyway, I’ll be back on the line on Tuesday, but in a different location. I’m told that our picketing group is being moved to Universal Gate 2. That’s one of the big gates directly off Lankershim — it’s the big time, folks!

As you’ve probably heard, Tuesday is “cast day,” when stars of the various shows are being encouraged to join us on the line. I haven’t heard if we’re going to be joined by any Battlestarstars, but I’ll let you know if I hear anything. It certainly sounds like it’ll be worth coming out to visit picketers anywhere in town on that day. (Aside: When I was a very little kid, I had a dream once that there was a special event in my home town in which television stars had been sprinkled throughout the whole town and you could ride around and look for them. Sharpest moment of the whole dream was me spotting a Barney Miller star on my own street. That star? Ron Glass, whom I later got to write for on Firefly. Isn’t life wonderful?)

And, as you may also have heard, Friday is “Battlestar Galatica Day”!! Whoo! I’m going to get more details on this, but as of right now, Universal sounds like THE place to be on Friday for Galactica fans. This would be a great way to show your support — whether you’re a fan or not, actually. Let’s see if we can beat the turnout from the previous Friday’s rally!

UPDATE: The Battlestar Galactica day is tied into a fan convention in Burbank. You can get info about the convention itself here!

Lunch: leftover gnocchi from an Italian dinner I called in. Potato pillows!

Gentle Reader Amanda is working her way along the path toward a television writing career. She found an agent, and now she’s written a spec pilot that’s been getting some favorable attention. Here is how she writes about her journey so far:

The last few years I’ve been spending all of my time trying to duplicate the voice of other shows or develop other people’s story ideas on features…you know why? Because deep in my heart I felt like there might not be a place for me as an ORIGINAL writer. [The spec pilot] was just a writing sample. I had NO IDEA anyone would be interested in it. Endeavor just told me “hurry up and write a pilot ’cause that’s what everyone else is doing”.

And then, there’s the writer’s strike. Not my favorite timing, obviously. But I understand it. The bright side is: when else will all of my favorite writers be snuggled up on one city block with nothing better to do than talk to me?! Silver lining! Silver lining!!

Yay, Amanda! Isn’t this inspiring? This is why you strive, Gentle Readers! This is why your pour your little hearts into those specs!

By the way, I read something somewhere about how young writers should be discouraged from using the picket lines as networking opportunities. Oh, I disagree. Don’t force a script into anyone’s hands, but I see nothing wrong with coming out, wielding a picket sign for a few hours, and talking with working (well, you know what I mean) writers about what they do. It’s not just networking, it’s smart career research coupled with support of a kind that actually means something! Follow ordinary rules of courtesy, and you should do fine.

Strike: Today was the big Fox rally. It was crowded and wonderful and possessed by a unity of resolve such as I’ve never felt. I was pleased to meet many of you, Gentle Readers! Thank you for coming out! Stay tuned about more possible special events next week!

Lunch: a veggie burger at Houston’s in the Century City mall. The best part was the side dish of acorn squash, a personal fave of mine.

CORRECTION: The 10 a.m. Friday rally mentioned in this post will actually be at Fox Plaza 2121 Avenue of the Stars, Century City

I got a chance to talk today to a writer who recently moved from a very dramatic one-hour drama to one that is much more comedic, and is staffed with lots of writers from the half-hour world. This writer is discovering that their pitches — even ones that have to do with the logical structure of the story — are getting shot down if they aren’t pitched in such a way to emphasize the comedy of the situation. This is a common feature of comedy rooms.

In fact, I’ve often seen stories that make no sense defended simply with, “it got a laugh at the table.” End of argument. You can’t argue with a laugh.

So if you find yourself in a comedy room, adjust your pitching style accordingly. Watch, listen, observe what is being valued in the pitches made by the other writers. Pay attention to what “sells” — i.e. gets in the script. If the currency in your room is made out of funny, make sure the bet you slide forward is made out of funny.

Strike: many hearty thanks to Friend of the Blog Kate, who came out to march with me today! Also, to Gentle Readers Lila and Megan, who also showed up to march. Megan even brought delicious turkey sandwiches to share. Yay, Megan! Kal-el and Chris also walked with us again. I’m so proud of my crew and I hope to meet more of you on the line! Do not drop by Universal tomorrow, however, as I will instead be at Fox studios – 10201 Pico – for the huge Guild-wide picket and rally starting at 10 AM. It’s going to be big and wild and everyone is invited! There will be famous actors and (probably) snacks and (certainly) every writer you’ve ever wanted to meet! SEE YOU THERE!

Lunch: delicious Megan-made turkey sandwiches

Hi all! So, how many of you have been singing “Werewolf Barmitzvah” to yourself since you saw it on 30 Rock? I certainly have. It is, as I’m sure you’ve noticed, available in a full version here. I’m not just mentioning it as a good example of solid comedy, which it is, but because it also provides an excellent example of a comedy writers’ room term. Listen to some of the chatter running through the song and you’ll hear an exchange that goes something like this: “I don’t know if the idea of this song can sustain itself for this long. It seems a little sweaty now.” “This whole premise is sweaty!”

“Sweaty”! I’ve actually been looking for a chance to discuss this term, but I hadn’t come up with the perfect way to explain it. Well, here it is. A scene, a joke, or especially a comedic premise is called “sweaty” when the writer has to labor to keep it going, when they have to over-extend a metaphor or make characters say unlikely things to propel a comedic situation. Not every comedy room uses the term, but some do, and it’s a favorite of mine. Add it to the little writer-to-English dictionary you carry with you to your first week on a show!

Strike: A hearty thank you to Friends-of-the-Blog Kal-el and Chris, who brought cheese and cold-cuts and crackers and fruit to the picket line today. It was much appreciated by the hungry hungry writers!

Lunch: cheese and cold-cuts and crackers and fruit

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