Josh Friedman and I just set up a new show called Chosen, produced by 20th Television for ABC. I’ll write the pilot, and if the show goes to series, Josh will run it.
Stephen Harrigan reflects on his career writing TV movies of the week.
I admire the way Happy Endings has morphed from another sorta-like-Friends show to its own weird beast. I wouldn’t want to be friends with any of these narcissistic self-defeating chatterboxes, but I like them together.
Jay Faeber writes in with an update on his earlier First Person post, this time detailing his first year on the writing staff of Ringer.
Ongoing TV shows often develop their own esoteric writing styles, which you notice in scene description.
Pricing issues are the main reason HBO doesn’t offer HBO Go as a stand-alone service.
Jane Espenson wants more women TV writers, but not for “a female point of view.”
Matthew Watts, a producer on both The First 48 and Swamp People, discusses three kinds of producers in reality television.
Ryan McGee argues that the success of HBO’s drama series has come at the cost of individual episodes.
Linda Holmes worries that 30 Rock has infantilized Liz Lemon. I disagree.
Lauren Bagby offers an office PA’s perspective how it feels when your show gets cancelled.
I’d missed this piece from November by Jesse Lasky in which he describes his first experience pitching a TV show.
The second season of Downton Abbey debuts Sunday in the U.S. As I’ve discussed on the podcast, I couldn’t wait and bought it off the UK iTunes Store. I’ve already watched the whole second season and the Christmas episode.
So, for American audiences, here’s a non-spoilery preview of what I found notable about this season.
Comparing Archer’s actual script to my transcript-y approximation shows a little bit more about how Adam Reed’s show works.
Screenwriter and TV scribe Christine Boylan talks through her work habits and tools.
Procedural-plus shows are simply more difficult to pull off, both at the whiteboard stage and in the finished episode. Once you’ve established the stakes of the A-plot — a killer is on the loose! — any scene that doesn’t address that feels like filler. So writers need to find ways to weave character moments into plot scenes, which can be difficult.
John and Craig discuss the new fall shows and how little kids become screenwriters, with discussion of D&D, Malcolm Gladwell and daisy-wheel printers.
Peter Aspden remembers when TV wasn’t art, and certainly wasn’t something to talk about seriously. He argues that cable dramas — in particular, those on HBO — changed everything.
Merlin Mann’s Back to Work podcast has a great discussion with Rob Corddry this week, talking about Children’s Hospital.
Kevin Fallon points out that most reboots of classic series don’t stick around long. But that’s because most TV shows fail. That’s TV.
Pronunciation jokes have a tendency to feel cheap and hoary. But when they work, they work — and it’s easy enough to show them on the page.
The Tiny Protagonist has a good interview with Javier Grillo-Marxuach (a writer/producer on LOST and many other shows), talking about how he got started and the craft of television.
I’m reading more network pilot scripts this year than in years past, so I can’t say whether this is a new trend or just something I was unaware of: What’s with all the swearing?
Today’s First Person comes from Daniel Thomsen, a television writer who’s worked on staff at Terminator: The Sarah Conner Chronicles and Melrose Place.
Several readers questioned my advice to write a TV spec, even if feature screenwriting is your primary goal.