I really should write a long piece on How to Get Away with Murder.
Not since Frank Underwood on House of Cards have I been so drawn to–and terrified of–a fictitious person.
Annalise takes the cake. As my friend Mischa said, she “needs Jesus”.
And it’s not just her. I swear. Every character is flawed in just the right way to keep me hooked!
Just last week I was thinking, “If these people weren’t so fascinating, I would be completely disgusted.”
Here’s what’s coming next week:
The spoiler, I mean?
Well…Forget it. I’d made an assumption. The truth is, things look like they’re worse better weirder than I thought.
I’m not going to reveal anything for now. Instead, I’ll encourage you to keep watching. Here’s the promo for the third episode:
Ah, Murder. Every time I see that shuttle captain from Star Trek Annalise’s lover, I get nostalgic…
This post contains a major spoiler. If you don’t want any, don’t read it.
Lately I’ve been trying to take better care of myself. Part of my improved routine involves getting to sleep–or at least into my bedroom–at a decent hour.
In light of this, if I want to see a show that airs after 9, I try to tape it.
This week, I set my PVR for How to Get Away with Murder. I finally watched the pilot, and I have questions. See this post by Sarah from The Social. (She pretty much covered everything I was wondering.) When the show finished, my brain was somewhere between, “Give me more!!” and “What was THAT?!?”
“Every year I choose four students to come work for me…” And kill someone.
I’m convinced that there’s a special place in hell for people like Annalise. This week I hope to find out how much closer she is to getting there.
Happy Saturday!
You were good to me. Sort of.
What have I learned? What can I share?
I drafted this post last night, and my sense of pride has overtaken any fears I may have had about posting it. I’m a total n00b, but I know what I’m made of.
Ultimately, success in television writing, as with any field, is up to you. You get what you give. And if I want to have the career I dream of, it’s become more than apparent to me that I’ve got to work my ass off.
But what about you? What if you don’t want to go school for television or film writing but want to get into the business? Do I have any practical tips?
As a matter of fact, I do.
Among other things, I suggest you…
1. Get a life. The best writing comes from living. I’m a firm believer in making changes to make yourself happy. And I’ll tell you the truth, Dear Reader. A good 90% of the reason I wound up in TV school is because it was in Toronto. As sweet as my hometown is, my quality of life is different when I’m in an urban environment. Even when I’m doing next to nothing, I love the sights and sounds of the city. Overall, I know the type of stimulation that I need in order to stay inspired. As do you, hopefully. Don’t be afraid to do what it takes–go where you need to go, see what you must, just LIVE, dammit!!–in order to keep your motor running.
2. Read. Writers are literate people who possess sharp minds. Books and various herds of words keep our brains trained.
3. Get your formatting game tight. The structure people use to write scripts is different from what you’ve been using since 9th Grade English. Even before last fall, I knew that if a script reader so much as smells that your work isn’t set up correctly, it’ll wind up in the trash. Font matters. So do margins and rules on things like capitalization. Thankfully, script formatting software exists.
They say that Final Draft is the one to beat.
I also suggest books such as The Hollywood Standard. (There’s a pic of the cover above.) It explains certain things that Final Draft can’t teach, like how to handle quirky transitions and use foreign languages in your dialogue.
Of course if all else fails, there’s always Google. đ
4. Consider more than just how your work looks on the page. Beware of other things, like how to pace your story. I once bought a copy of Your Screenplay Sucks. It’s a decent read—rife with common-sense advice on things to avoid when you write. Long ago I also picked up a copy of Lew Hunter’s Screenwriting 434, and one of my instructors swears by Save the Cat.
Mind you…
As often as I wanted to kill the cat…There are certain storytelling conventions that need to be followed for a successful script. Knowing what they are can only help you.
5. Learn about pitching and other demonic rituals. Do you know what a log line is? Do you know how to write a script outline? What’s a beat sheet? And what, pray tell, is a series bible? Know the answers to these questions. As a writer, I realize that sales might not be your thing. But if you want to see your stories on the big screen, you’ve got to be ready to hustle. Dare to tell the world about your work!
*stepping away from the podium*
What was my greatest lesson? Well…Professionally speaking…I am done with school. At this point I have no intention of buying another book on writing unless said purchase includes a guaranteed salary and writing contract.
I’ve known all along what I needed to do. The time has come to go and make it happen!
So, I’m in Canada, studying television so that I can become one of our nation’s finest industry pros. I also try to keep an eye on what my country is creating. Enter 19-2.
http://www.youtube.com/watch?v=9OlvsiUf5Kc
19-2 (nineteen-two) is an English iteration of the Québécois (French) series of the same name.
Thus far, I enjoy it. I like digging into the nitty-gritty aspects of police work. I like seeing the various dimensions of the characters’ lives unfold on screen. Last week during the show’s third episode, a huge twist was revealed. I didn’t expect it. I felt shocked and disappointed by what I discovered.
And most of all, I was impressed with 19-2’s writers for taking their viewers…There.
(Usually I don’t give a damn about spoilers. Consider yourself lucky.)
19-2 airs tonight at 9pm EST on bravo. Catch it if you can!
Sorta.
I’m halfway through TV school. Remember last year when I posted my intentions?
This term our instructors have started giving us exercises to get us focused on our future.
I don’t mind writing. However, my main area of interest remains–I want to be in a position of power. I need to ensure that people’s stories are told authentically. Especially women of colour. It’s one of my passions.
Hence, I’m still interested in producing. Yet a new interest has emerged. Development.
Never mind making a show. You know those people in charge of determining which shows make it to air? Those who shepherd a show from its inception until it hits your screen? I want to join them. I figure if I can prevent bad TV from happening to good people, I’ll be happy.
That’s where my mind went the other night. Not only did Saturday Night Live have a black host–heyyyy, Drake! The show’s cast now features their first black female performer since 2007. Plus, there’s their latest addition behind the scenes–a pair of black writers. Someone on Twitter asked why the show was actually funny, and I couldn’t help making a joke.
The thing is, I was only partially kidding. The broadcast wasn’t perfect. Yet I can’t deny that I felt more connected to the show due to its diversity.
It means something to me when a comedic production features a real, live, black woman, instead of a male actor in drag. The latter type of performance makes a statement that leaves a bitter taste in my mouth. On one hand, there’s an element of comic relief. Hahaha, look at that dude pretending to be a woman…On the other, it’s as though the powers that be are telling black female talent that they don’t deserve to be seen.
Nothing could be further than the truth. I hope that Ms. Zamata is around for years to come.
A few weeks ago I wrote the following piece for an assignment. In our criticism class we had the chance to comment on the new pack of fall shows. I picked Robin Williams’ latest vehicle–The Crazy Ones.
As you’ll see, initially, I had my concerns. Will the daughter always save her father…? But the show’s surpassed my cynicism.
And as for the title? Well…I was trying to be… Punny.
*ahem*
http://www.youtube.com/watch?v=Qz-8JoUQzE0
The Lazy Ones?
âRobin Williams is back! YES!!â
Thatâs what I said to myself when I first heard about CBSâs latest offering, The Crazy Ones. Over 30 years ago, I first fell for Mr. Williams as Mork in Mork and Mindy, and he hasnât been on television since. Back then, in Mork, Williams inhabited the body of an alien. The role was perfect for him. Morkâs eccentricities gave Williams the freedom to showcase his comedic talent.
This fall The Crazy Onesâ creators seem to be relying on the same formula, only in human form. In The Crazy Ones, Williams plays Simon Roberts, an advertising executive whose grip on reality isnât quite as strong as it ought to be. I can tell that Williamsâ abilities wonât be wasted. Although capable of portraying straight characters, itâs clear to me that heâs at his best when playing men who are a bit left-of centre.
The cast features other actors who are bound to be audience favorites.
James Wolk plays Zach Cropper, the office playboy. Meanwhile, Sarah Michelle Gellar, of Buffy the Vampire Slayer fame costars as Simonâs daughter. Hamish Linklater from The New Adventures of Old Christine, is another series regular. With all these familiar faces, a few weeks ago when I first watched the show, I felt like I was in the midst of a nostalgia sandwich.
Yet it was more than the cast that gave me serious dĂ©jĂ -vu. The producers caught my attention. For some reason I was drawn to Bill DâEliaâs name in the credits. At first I couldnât figure out why. But a quick search on imdb.com opened my eyes. Mr. DâElia has a history of producing single-camera comedies featuring quirky ensembles. However, his name is also tied to one of the biggest fish in the TV pond: David. E. Kelley. Kelley and DâElia have been tied together as producers since the days of Ally McBeal.
But enough background, letâs talk about story. In The Crazy Onesâ pilot, Simon accepts a challenge from his clientsâMcDonaldâsâto find a signature voice to sing their latest jingle within 24 hours. The agency is thrown into chaos after he decides to rely on the old adage, âLeap, and the net will appear.â He courts Kelly Clarkson and with the help of his daughter, is successful. However his business coup doesnât come without risks.
Throughout the first episode, I found the father-daughter dynamic between Williams and Gellar believable. I also had no trouble buying them as stressed executives. However, in the first and second episodes of The Crazy Ones, I was concerned about the plot. During both shows, Simon manages to push Sydney (and by default, the agency) into high-stress situations where she must deliver a superior end product to prestigious clients. If the showâs shtick relies on Williams throwing his colleagues into a state of jeopardy each week, I predict that problems will arise. Anyone who has seen The Crazy Ones can tell that the showâs cast and audience are too intelligent for that type of dreck. With Williams and Gellar at the helm, The Crazy Ones is a comedy that deserves smart stories that serve its characters.
claire.she.goes 