Not a bad 96 hours. In some respects, a working holiday.
The Mad Men spec is finally done (for now) having essentially written the final act over the beginning of the mini-vacation. It hasn't been easy, striking the right balances, playing the unique game and push and nudge that Weiner plays with Don. Sometimes I feel like I've nudged him too hard and try to pull back, wondering if I've pulled back too far. It's a unique beast that show, from its act structure (the only one like that I know of) to just the whole tone. Very different from the stuff I usually find myself spec'ing, but there's nothing better than coming out of the other end of a challenge with a sense that you rose to meet it.
And I really have to give mad propz (as the young people say) to Jill Golick for her couple of posts about Mad Men, it kept me on track. I also have to give the mad propz to Wiener himself. it's not often I have the creator of a show give me a hand with my spec script. He got me a copy of a show script and it was indeed helpful. Now to get a little feedback on it.
Additionally, wrote a piece of Area Three. Area Three is going to be my venture into filmmaking. A series of short films (though I'm not much on that as a classification, they're really episodes.) It may sound daunting, but it's deceptive. It's really not as huge an undertaking for reasons mostly related to it's being devised based entirely on available resources. It's going to be some work though. The hardest part is the writing though, especially as I head into these next few episodes which stand alone, as they all do, but connect as well.
I have a target of six episodes. The second having been written this weekend.
While casting is still a bit off, save for my lead role, I did wind up tentatively casting the open role in the first script (probably the third episode). Attending a friend's birthday at The Edison over the weekend (all work and no play makes Jack an axe-wielding maniac), I met an actress. Someone you might even have heard of (especially if you travel in geeky circles) and she expressed interest in appearing. Revelations when more appropriate...or upon the breaking of the first seal.
We were having a conversation about computers and video editing software (she too likes to have fun with the cameras) and as I'm prepping my brain for some Final Cut Pro usage, we got onto the topic of Area Three and lo, a volunteer. It just so happened that the first written episode has a role perfectly suited for her I am pleased.
And if you've never been to The Edison, it's just awesome. All turn-of-the-century steampunky. The place, in fact, used to be an old power plant. It attracts a nice crowd and we all had a good time. And I'm not really even a club-going-type. If you're into expensive drinks and little black dresses as far as the eye can see and think Tesla was robbed, then head on down.
And Battlestar Galactica: Razor aired, and with it, the traditional podcast, which this time comes in the form of a writer's meeting. Ron Moore did this before with a breaking of a chunk of season two. If you entertain any notions of writing for TV and you don't listen to these, you are, quite simply, stupid. I'm not even going to bury it in a clever euphemism for being dumb. It's just out and out stooopit!
While the strike is on, there are writers writing. No, not breaking strike rules, but as was said in that great classic of cinema, "Writers write. Always. " When the strike of 1988 was over, it was apparent what those writers had been doing with their time, as it basically created the spec screenplay market.
So some writers are going home from the picket lines and writing novels, spec pilots, features, what-have-you.
Some are writing comics. Some are doing it badly.
I'm no professional comic writer, but I am not without various levels of experience with the form having, from time-to-time, tried to hook up with an artist and get something produced. I have written for various comics coverage entities (most recently and currently CBR) and interviewed many a comics writer. One of my best friends has been plying his writerly trade on intermitten issues of The Batman Strikes! (and even killed me in an issue of Batman Secret Files, my claim to fame). Even now, I've been engaged in producing a pitch proposal for a series based on my King Vs. Queen pilot.
By the way, while I'm working with the talented Marc Arnull on King Vs. Queen, I have other projects I'd like to get off the ground. Are you artist? Do you know one? Contact me!
The thing about comics is that it is a unique form. It is not like TV or film and it is a form of collaboration (unless you're a writer and artist) unlike the kinds you'll find in most other media.
Comics has peculiarities that can at first confuse those attempting to get into the form. The first one is the lack of a standard format. Unlike screenplays, there is no wrong way to write a comics script. Some do it screenplay style, others do something more akin to a play format, others use a a kind of column-like format. As I said, no wrong way.
Doesn't mean there aren't rules.
I've read graphic novel scripts by those converting their screenplays into the form and the most common rookie mistake is presenting someone undertaking a series of action in one panel. Nothing moves, people (but a good comic feels like it does). So your hero cannot turn a key, open a door and step into a room in one panel. In fact, you might consider if you need to show every step in that sequence.
Less obvious is a screwed-up sense of pacing. Just because you're screenplay is well-paced, doesn't mean your comic is. A comic is odd in that your control of the timing is based on an entirely different set of perceptions. You can manipulate it though panel size, placement, image repetition, etc.
I'm not here to provide the lesson though. Jeff Parker has helped out in that regard, thus I point to his two-part posting "Writing For Artists"
The best advice I have is to remember that, unless you are an artist, you are not an artist. Be fluid in your sense of control because a good artist is going to be better at making the page work than you are. Listen to their ideas, a lot of them will be better than what you had in mind. Especially if you have a heavy dialogue scene. They'll keep it from turning into a bunch of talking heads. See the 22 Panels That Always Work for ways to avoid David Byrnism(Get it? talking Heads? Hah!) . Keep the communication lines open.
Writing a comics script is a lot easier when you have an artist in place. You're not writing a script to be used by a cast and crew of hundreds. It's going to be used by anywhere from one to four or five people. Don't write it for them...write it to them. I may not have the lesson, but I have examples.
His script are generally concise, but occasionally he steps out of the "all business" mode and speaks directly to the reader/artist as needed. I think it's a fine example for someone looking to get their feet wet.
Also noteworthy is that Ellis is very careful about layout and Fell uses a nine panel grid as basis and when things get violent, to reflect the chaos, leaves that format.
Here's another thing to consider. It turning graphic novels to films, many changes are often made to suit the new medium. Don't think it doesn't work the other way as well. (Though, honestly a lot of changes from source material to silver screen in comics movies are stupid. I'm sorry, I still consider Tim Burton's Joker to be an abomination for reasons I will expound upon only if so requested).
Lastly, here's some books to check out, if you're interested.
SO IF QUARTERLIFE GETS REINCARNATED TWICE, DOES THAT MAKE IT .75 LIFE?
So there's this show you may or may not have heard of. Originally titled 1/4life, it was a pilot from Zwick and Herskowitz's shingle, Bedford Falls, forever ingrained in my mind as the home of thirtysomething. As such, 1/4life struck me as a post-thirtysomething pre-thirtysomething. Know what I mean?
It was developed for ABC [no link]. They passed, and that was that...
...until it was recently resurrected by MySpace as a series of webisodes with the easier to read title of quarterlife (Bedford Falls, enemy of capitalization). Cool. Next Gen. Future of delivery systems, all that stuff that Bill and Rogers like to go an about (quite articulately).
Now, in today's Hollywood Reporter, it was...reported...that the webisodes will be compiled into one-hour episodes for NBC [no link]. Maybe kind of a strike contingency thing, since I'm sure they're all written and shot and in the can.
Remember when repurposing network shows to subsidiary cable channels was the new thing? Here's the new new thing.
And while were at it, where's the thirtysomething DVDs? Miles Drentell was one of the best characters on TV. It'd be fun to look at him and contrast it with Mad Men.
I got this book in a used bookstore some while back. Good reading. Great scripts in there, by names that have gone on to some things like My So-Called Life and, in the case of Winnie Holzman, the book for the musical Wicked.
I have a little thing I was told about Zwick once by someone I'll not even name here, but you might know of him (you do know of him). If you ever meet me, I'll tell you what it was. Nothing major or defamatory, but I thought it was cool at the time.
I don't know if this is just a reading or if they are really putting on a show in the barn (which I can't imagine with all the wild cutaways and what-not). Even if it was done as a minimalist, setless performance, there'd be lots of awkward jumping around.
Here's a not-money-making idea that some publishing house should pick up. A nice thick trade paperback of about a dozen of the best 30 Rock scripts. I know I'd buy it. I'd buy ten if there was a book tour. Well, not ten. Three or four, though. Surely.
I so wanna go.
Yeah, just an excuse to put up a picture of Tina Fey.
Apparently, the Lost writers negotiated a deal for the Missing Pieces and are getting paid, so...you know...do what you want. I'm still not gonna make with the clicky until the strike ends and, hopefully, this kind of thing is in the MBA and there's no need to make special deals.
Yeah, I still like Lost for the most part. I don't care if they have a so-called plan or not because, for the most part, when stuff comes to light it fits together like there was a plan. Some episodes do suck, yes. Some don't. Some are a lot of fun.
Today, ABC is putting up a series of webisodes, ostensibly as a means of providing some video crack to the Lost-addicted. It's new stuff, featuring the main cast (not castaway #38) and specially shot for this purpose (as opposed to being deleted scenes).
And you're out of your fucking mind if you think I'm going to watch them.
And yes, I have linked to it, but you know what...DON'T CLICK IT. Not today.
The biggest sticking point of the writer's strike is about this stuff and the fact that they don't get paid for them, either to write them or a piece of ad-based revenue. While I don't know for sure that the writer didn't get paid to write these 'sodes, I don't imagine that the attitude Universal has taken with regards toThe Office and Battlestar Galacticacontent isn't pervasive (Don't you hate when people use double-negatives intentionally).
Okay, I had one of somebody else's ideas. This is a concept defined as a an idea for a film or tv show or book or somesuch that I don't want to write because I'd like to have the experience of watching it purely for entertainment.
Also, I might not be able to do it justice...or sell it...and mostly likely don't have time between working on Area Three, an unspecified rewrite and carefully making my way though my Mad Men spec.
Somebody take this and have it. Do it. Just invite me to the premiere (and maybe a From An Idea By credit). It's Britney's comeback vehicle. By my count she's on her third one. Fourth? Whatever.
THE UNREDACTED BRITNEY - Which explains all the stooopid shit Britney does on a daily basis by showing her double life as an agent of an uber-secret covert action agency. Why'd she run that red light while texting? Cuz' she's a dumb bunny (I'm not really thinking the word bunny)? No. Because she got a call that the noted Scandanavian mad scientist and would-be world conqueror Hax Killstrom need to be taken down! Right fucking now!
REMEMBER REMEMBER THE FIFTH OF NOVEMBER AND THE WRITERS WHO MAKE UP THE PLOT...
...and I have only one reason why I cannot, this season, join the line down at the lot.
Christopher Bosley, I curse your name. Only for beating me to the Guy Fawkes/V for Vendetta reference.
I haven't posted about the strike before and I'm not likely to again. Many others are doing better and with much more at stake. United Hollywood and Artful Writer being right at the top of that list.
I just wish I could take some time off from work right now so I could go down to the line and lend some support.
I'd even make up a clever sign of some kind.
With V on it.
Here's hoping for a speedy and...well, acceptable resolution.
Twin Peaks. A damn fine cup of TV, and allow me to be heretical for a mo', but I liked the second season (Agent Cooper Vs. Windom Earle) much more than the still fantastic first (Who Killed Laura Palmer?) season.
Find a song that inspires you to write something, whether it gives you an idea for a script or just puts you into a better frame of mind. AND/OR (don't you love choices) peek into the lyrics and find a stanza that sums up the theme of whatever script you're working on. It's quite uncanny how the two circumstances go together.
If possible, post a video of the song to really get people into the mood.
I'm about to start working on something that's not exactly TV. It's tentatively titled Area Three. It's the twenty-eight mutation of something I've been wanting to do for a while, but now I'm finally hooked into exactly how to do it and, suffice to say, it's nothing like I thought it would be.
For me, it's a return to form after writing Best Possible Dave, which not quite as abrasive or violent and most of my other original works.
And the weird thing is, it was partially inspired by Bill Lawrence. Don't even try to figure that out. Can't get there from here.
Anyway, I've starting working this thing out in detail just this week. At the same time, Saul Williams has release his new album, "The Inevitable Rise and Liberation of Niggy Tardust". Track 8, entitled "WTF" is the stand out for me and it just happens to have a stanza that speaks to what I'm trying to do with Area Three. As seen in the image.
Just like the MeMe demands.
Alas, I cannot comply with the video aspect of the MeMe because there isn't any, the thing has only been released into the wild for a few days.
And when I say released into the wild, I mean it. Williams, like his collaborator Trent Reznor, has thrown off the shackles of the record labels and has released his album in lossless form for five bones or in 192 Kbps mp3 format for the typing in of an email address (i.e. nothin'). I think that alone is worthy of recognition.
I expect there will be updates as to the progress of Area Three. It''ll be a little involved. Either way, when it's done, you'll know it.
The MeMe calls for the tagging of five others. Some, I know. Some, I don't. None do I honestly expect to do it, but if they do, it should make for some good reading and listening.
Sunday morning, I slept in a bit. I knew I could because I didn't receive a phone call from CS Open mastermind Jim Cirile informing me I had to drag my ass back down to the hotel at 9AM because I progressed to the third round. Thusly, either way I felt like a winner. Though the other way, I'd have felt more like a winner.
I picked up my scored scene from the second round, and despite not moving on, I was pleased. I scored much better that I had expected. As the prompt was read out the previous night I just kind of sank. I knew right away I was going to have trouble clicking with this one. It was much more detailed and just the specific situation, in the broadest sense, wasn't really clicking with me.
It was at this point, though, I realized that I had a strategy for these things, whether I knew it or not. Each time, I started with setting and then developed characters and plot to go in that setting. And the setting was to be as unpredictable as possible. Each one, a little weirder than the one before it.
I finished it after sixty of ninety minutes. I didn't review it in any way, I was getting pretty damned tired (I'd been awake for some 27 hours at this point for reasons passing uninteresting). And even if I came up with some wild blink of an idea, I wasn't really going to have time to go through and redo the whole thing. I had resigned myself, for good or bad. I got to the end, turned in my scene and went home.
Here is that scene.
INT. CORRIDOR - THE ALAN BEAN COMPLEX - OCEANUS PROCELLARUM - THE MOON
Look on the bend of an "L" shaped corridor, we see BRAXTON (late 30's) come around the corner, making the sharp turn by bouncing off the wall.
BRAXTON
Where? Where is it?
Following behind him is JENNY (about 10). She's small enough to make the turn without a ricochet.
JENNY
Up there. The one that says airlock.
Braxton grabs Jenny by the arm and runs, pulling her behind him. Suddenly, he's jerked back.
JENNY
Owwee!
Braxton looks back to see SLICK, a black-furred werewolf, has grabbed her other arm.
JENNY
Let go!
Braxton keeps pulling her, like a tug of war, dragging her into...
INT. AIRLOCK - CONTINUOUS
Braxton has her almost all the way in. He makes eye contact with Slick and hits a big red button. A huge bulkhead slams shut. Slick releases Jenny's arm as it closes. Braxton's momentum snaps them back, clear of losing a limb in the door. Slick claws at a window in the door. Other werewolves arrive.
JENNY
You totally suck.
BRAXTON
I just saved your ungrateful little ass.
JENNY
I'm the one saving you, dummy. They sent you to get me? You don't even know how to get around in here. And now we're stuck in an airlock.
BRAXTON
Number one, shorty, they didn't send me to save you. They tricked me. They said "go pick up the girl before the Moondoggies take over the base." Nothing about them already being here and having had the security team for crunchy, meaty treats. And number two...that's what comes after one, I dunno if they covered that in your kindergarten class--
JENNY
I'm not in kinder--
BRAXTON
Don't care! Number two is I'm not a soldier.
JENNY
Duh!
BRAXTON
I'm the nitrogen maintenance dude, which means I know that there is an automated swap-shuttle that's gonna come to this airlock in twenty minutes.
JENNY
The Moondoggies can open the airlock. They're not stupid. They used to be real guys.
BRAXTON
Then we put on E.V.A. suits, open the door and let the Moondoggies suffocate.
JENNY
That's kinda mean.
BRAXTON
As mean as playing fetch-the-bone with Larry McKaskey's femur?
JENNY
Huh?
BRAXTON
Look, just put on one of these E.V.A. suits.
Braxton opens a locker built into the airlock wall. There is one suit and helmet and one empty hook.
JENNY
Eenie-meenie-miney-mo-I pick the suit that is still here.
BRAXTON
Ah, Sweet Viking Jesus!
JENNY
Looks like your not going to make it.
BRAXTON
Me?
JENNY
I'm just a kid. A kid that's supposed to be rescued. You're just the nitro dude.
BRAXTON
Yeah, well I figured if I could pull this one out, maybe I could get a step up from nitro dude.
JENNY
How about if we wait for the full moon to...uh
BRAXTON
Yeah, finish that sentence. We're on the moon. It's always full.
Braxton and Jenny each slump into a corner to try and think of something.
JENNY
Can we let the air out of everywhere but the airlock?
BRAXTON
We can. There's a control that does that?
JENNY
Where?
BRAXTON
In the hall with the loopy, bloodthirsty werewolves.
JENNY
Where?
BRAXTON
Right out there. Big blue button in the glass thing.
Jenny nods, jumps to her feet and opens the door. She runs out into the hall, using her small stature to dodge the wolves, break the glass and hit the button. Airlock door automatically recloses, beheading one werewolf lunging for Braxton.
BRAXTON
Oh, crap!
Hurriedly gets the E.V.A. helmet and airpack on, glancing out to see Jenny pass out and the werewolves struggle for air. He gets the suit on as the last wolf, Slick, falls down. Opens the airlock, dissipating the remaining air with a HISS. He dashes out to Jenny.
INT. CORRIDOR - CONTINUOUS
Arrives at the still-only-unconscious Jenny.
BRAXTON
C'mon! Don't be brain dead yet.
Pulls off the helmet and airpack and straps it on to Jenny. He passes out just as she coughs back to consciousness.
Comments: Good action, great tension. Liked Jenny a lot - thought Braxton felt a little one-dimensional. Some funny dialogue int he midst of tense situation - nice work!
So not bad.
I then went forth to what would now serve as the highlight of the Expo, Tim Minear's Breaking The Story session. Participants of the session act as the writing staff to Tim's showrunner and break an episode ofAngel, Wonderfalls or Firely (or maybe even Drive). Or rather we would have. I turned the corner, and there in blue marker was the same word I'd scene on a great many other session signs that day. CANCELED.
Maybe they just shouldn't schedule things on Sunday.
I just hope the reason he missed it is because he was working on something and trying to beat the strike deadline. Minear for the masses is a good thing. If he was just lazing by the pool, then I gots a problem. I'll give him the benefit of the doubt and go with the former.
Since I got my ass down here, I was going to do something before I left and had one task to complete (telling Emily how she affected the Rossio & Elliott talk the day before).
On Saturday, I sat in on Terry Rossio & Ted Elliott and Bill Lawrence as they had their talks (and while Lawrence said his wife, Christa Miller was not there, I was transfixed by a young lady who was her spitting image and was there). So I did more of that and saw Scott Frank.
Also, while Bill was talking about the next wave of comedy writers coming from YouTube, I finally hit on exactly what kind of short film series I can make with an extremely limited number of actors and even more limited equipment. More on that after I write the damn things.
After that, Emily and I attended the well-packed William Goldman talk. She then forced me (Emily: You should stay. Me: Yeah, OK.) into sticking around for drinks with the likes of a good chunk of the Scribosphere (Fun Joel, Emily herself, Shawna Benson, Bill Martell, Julie of Rouge Wave, and more. I think I waved to Elisabeth Fies as she was leaving. It looked like her (Was that you?). She waved to me. For some reason.
There was a laptop at the table. So there was though of starting a scribomeme that would spread though all the blogs in, literally, a couple of minutes. I thought maybe if we all had camera phones we could all take pictures of each other taking pictures of each other and all post it at once.
Nonetheless, good things came out of that hanging around, so thanks E.B.
Oh, and Boston CRUSHED Colorado, leaving no doubt as to their baseball superiority. Hiram wanted to celebrate with chowder, but alas...t'was not to be. Hiram's quite the character.
The Mad Men spec is finally done (for now) having essentially written the final act over the beginning of the mini-vacation. It hasn't been easy, striking the right balances, playing the unique game and push and nudge that Weiner plays with Don. Sometimes I feel like I've nudged him too hard and try to pull back, wondering if I've pulled back too far. It's a unique beast that show, from its act structure (the only one like that I know of) to just the whole tone. Very different from the stuff I usually find myself spec'ing, but there's nothing better than coming out of the other end of a challenge with a sense that you rose to meet it.
While the strike is on, there are writers writing. No, not breaking strike rules, but as was said in that 
In 
So there's this show you may or may not have heard of. Originally titled 
I got
I wish I was gonna be in New York on Monday.
...and I have only one reason why I cannot, this season, join the line down at the lot.
Anyway, I've starting working this thing out in detail just this week. At the same time, 
Previously on Red Right Hand...
