The Holiday Season is a quiet time in the world of television. Most of the network development and programming people take time off; offices are quiet and people spend time with their families. Maybe you are spending time with your family, too. That's wonderful. Enjoy your time with them. I have a great suggestion that will help you make the most of your time together and help you develop great content for your projects:
Ask your family to tell you their stories.
Ask your parents and grandparents about how things were when they were younger. See if your parents, sisters, brothers, or cousins have stories about you when you were younger. Ask why your relatives decided to follow their career path, or how they came to live in the town you're visiting. Tell them some stories about you.
You'll have a great time sharing memories with each other. And, as a side benefit, you might have the material you need to start your next project. Your family's stories are unique -- and because you know these people intimately you are the best person to know which of these stories might spark a content idea that other people will want to watch. The most authentic, compelling material always is rooted in people's real behavior. So listen and share stories during this holiday season, and see what material you can create from it. Use Your Life Story, and Your Family's Story, to make great content.
Have a Happy New Year!
Tuesday, December 28, 2010
Thursday, December 16, 2010
Programming lessons from the Beatles
More than 40 years after their U.S. debut in 1964 the Beatles remain one of the world's most popular rock groups. Itunes announced with great fanfare their agreement to finally sell Beatles tunes in the istore. New books about them are published every year. What can we learn from the Beatles' success that will help us make more compelling content?
First we have to work. Before they became famous the Beatles played everywhere and anywhere in and around Liverpool and the U.K. The first time they went to Hamburg for an extended set they literally lived in a toilet behind the screen of a movie theatre. After many years and countless hours spent working on their music, writing their own songs, and polishing their stage act they finally received the recognition they deserved. Yes, they were talented, but they were willing to put in the time to get better. How much time are you willing to put into your work?
Lots of different artists influenced the Beatles. For example, they named their group in homage to Buddy Holly and the Crickets. The Beatles' stage act also included songs from many U.S. artists -- the Shirelles, Smokey Robinson, Arthur Alexander, Chuck Berry, Little Richard, and more. But when you listen to the Beatles' cover recordings it's clear that no matter who originated the songs, the Beatles made them uniquely theirs. Are you creating original material, or are you copying other people that are successful?
So two very important lessons from the Beatles:
1. Work Hard. Put the time in to keep refining your material and make it better.
2. Be Original. Make sure your work is uniquely yours.
There's more lessons to learn which I'll post in a future blog. For now I'm going to listen to the remastered CD box set of Beatle albums I got last year.
First we have to work. Before they became famous the Beatles played everywhere and anywhere in and around Liverpool and the U.K. The first time they went to Hamburg for an extended set they literally lived in a toilet behind the screen of a movie theatre. After many years and countless hours spent working on their music, writing their own songs, and polishing their stage act they finally received the recognition they deserved. Yes, they were talented, but they were willing to put in the time to get better. How much time are you willing to put into your work?
Lots of different artists influenced the Beatles. For example, they named their group in homage to Buddy Holly and the Crickets. The Beatles' stage act also included songs from many U.S. artists -- the Shirelles, Smokey Robinson, Arthur Alexander, Chuck Berry, Little Richard, and more. But when you listen to the Beatles' cover recordings it's clear that no matter who originated the songs, the Beatles made them uniquely theirs. Are you creating original material, or are you copying other people that are successful?
So two very important lessons from the Beatles:
1. Work Hard. Put the time in to keep refining your material and make it better.
2. Be Original. Make sure your work is uniquely yours.
There's more lessons to learn which I'll post in a future blog. For now I'm going to listen to the remastered CD box set of Beatle albums I got last year.
Thursday, December 2, 2010
Time for Variety Shows
I saw the Nielsen ratings for last Saturday night (11/27/2010) and was surprised to see Sabado Gigante, the long-running variety show on spanish-language channel Univision, rating 1.2 for the night. That puts this warhorse in a strong fifth place amongst broadcast networks -- only .4 of a ratings point behind Fox. This is particularly interesting when you remember that Sabado Gigante (Big Saturday) is performed entirely in Spanish. Yet the show beat some English language networks (Ion, and others) in the ratings.
I must confess to being a fan for many years of Sabado Gigante and Don Francisco. I can enjoy the show even though my Spanish skills stalled at the high school level. It's always clear what's going on, even if you don't speak the language. If you don't like the current act, just wait five minutes. There's bound to be soneone on that you do like.
These high ratings demonstrate the importance of the Spanish speaking audience. But I think they also show that the time might be ripe to revive Variety shows on network television. When I was growing up, the Ed Sullivan show was the most popular, but other highly-viewed Variety shows included The Dean Martin show, the Sonny and Cher show, the Smothers Brothers Comedy Hour, and Laugh-In, among others. Audiences enjoyed the ecapist entertainment of songs, jokes, sketches, and novelty acts. I think today's economic circumstances provide the environment where a good variety show can flourish.
Don't beleive me? The two most popular weekly network series are variety shows. American Idol showcases a variety of musical acts and Dancing with the Stars shows a variety of dance acts. I wouldn't be surprised if the broadcast networks' development slates include new takes on the tried and true variety format. If they don't already, maybe the time is right for you to create one.
I must confess to being a fan for many years of Sabado Gigante and Don Francisco. I can enjoy the show even though my Spanish skills stalled at the high school level. It's always clear what's going on, even if you don't speak the language. If you don't like the current act, just wait five minutes. There's bound to be soneone on that you do like.
These high ratings demonstrate the importance of the Spanish speaking audience. But I think they also show that the time might be ripe to revive Variety shows on network television. When I was growing up, the Ed Sullivan show was the most popular, but other highly-viewed Variety shows included The Dean Martin show, the Sonny and Cher show, the Smothers Brothers Comedy Hour, and Laugh-In, among others. Audiences enjoyed the ecapist entertainment of songs, jokes, sketches, and novelty acts. I think today's economic circumstances provide the environment where a good variety show can flourish.
Don't beleive me? The two most popular weekly network series are variety shows. American Idol showcases a variety of musical acts and Dancing with the Stars shows a variety of dance acts. I wouldn't be surprised if the broadcast networks' development slates include new takes on the tried and true variety format. If they don't already, maybe the time is right for you to create one.
Saturday, November 20, 2010
What's your niche?
When I was a boy, my whole family looked forward to watching The Ed Sullivan Show on Sunday nights. We watched it together. There was something for everyone -- comedians, musical numbers, jugglers, novelty acts, and sometimes even rock and roll bands. If I found something was boring I could leave for a few minutes, knowing that something I liked would be on shortly. Ed's show was a Sunday night staple for 23 years, and its ratings were high even when it was cancelled, in an effort by CBS to attract a younger audience.
Today every member of the family has their own screen in the house. It's common for young people to watch multiple screens -- texting or surfing the web on their phones while watching a show on the big screen TV. Television shows and even networks are focusing on trying to capture a larger slice of a narrow, but clearly defined audience. Instead of aiming at the whole family, one show will target teenage boys, while another show may target 25-49 year old women.
Content creators must adapt to the times. Make sure you know what slice of the audience you're aiming at. That will focus your own efforts and help you make the decisions to shape your material.
Today every member of the family has their own screen in the house. It's common for young people to watch multiple screens -- texting or surfing the web on their phones while watching a show on the big screen TV. Television shows and even networks are focusing on trying to capture a larger slice of a narrow, but clearly defined audience. Instead of aiming at the whole family, one show will target teenage boys, while another show may target 25-49 year old women.
Content creators must adapt to the times. Make sure you know what slice of the audience you're aiming at. That will focus your own efforts and help you make the decisions to shape your material.
Thursday, November 11, 2010
New Job at AMS Pictures in Dallas
This blog has always been about helping you create more compelling content and finding places where you could place it. Now I'm putting my money where my mouth is by taking the position of Managing Director, Original Programming, for AMS Pictures in Dallas. My job is to lead the programming group there to conceive, develop and sell programs to networks and other media outlets. I expect to keep blogging about content development, but will probably have to take a week or so off while I'm acclmating to the new position.
If you want to see the programs we're currently making go to op.amspictures.com. Meanwhile, stay tuned here for more advice content advice in the next few weeks.
If you want to see the programs we're currently making go to op.amspictures.com. Meanwhile, stay tuned here for more advice content advice in the next few weeks.
Monday, October 25, 2010
Who's Your Audience?
If your answer is "everyone," that's an indication that your idea is not focused. 'Everyone' will not like your work (see my previous post on that subject). Remember, everyone does not watch the Super Bowl.
Any media company that's interested in your work will want you to answer that question. You need to know. At Golf Channel we built a successful business aiming our programs at the core golfer, an adult male with a large annual income. Advertisers were willing to pay a premium to reach that audience, even when our overall numbers were low compared to other networks. We knew our audience. Do you know yours?
Knowing your audience does not mean pandering to them. It does mean shaping your work so they can relate to it. It might mean putting music from the early eighties in a work intended to reach 35-45 year-olds. If you were 10 in 1980, you're 40 this year. It will inform the type of vocabulary you use, the camera angles you choose, and the references your characters make.
It's a truism of creating content that the more specific you are, the more universal your appeal can be. Sesame Street is aimed at pre-school children, but its humor even amuses adults. The Harry Potter books were aimed at tweens, but then parents discovered how good they were. The recent Paranormal Activity was aimed at horror fans, but found a much larger audience.
Keep your audience in mind while creating content. Picture them if possible. It's a great way to keep you focused on the spine of the piece.
Any media company that's interested in your work will want you to answer that question. You need to know. At Golf Channel we built a successful business aiming our programs at the core golfer, an adult male with a large annual income. Advertisers were willing to pay a premium to reach that audience, even when our overall numbers were low compared to other networks. We knew our audience. Do you know yours?
Knowing your audience does not mean pandering to them. It does mean shaping your work so they can relate to it. It might mean putting music from the early eighties in a work intended to reach 35-45 year-olds. If you were 10 in 1980, you're 40 this year. It will inform the type of vocabulary you use, the camera angles you choose, and the references your characters make.
It's a truism of creating content that the more specific you are, the more universal your appeal can be. Sesame Street is aimed at pre-school children, but its humor even amuses adults. The Harry Potter books were aimed at tweens, but then parents discovered how good they were. The recent Paranormal Activity was aimed at horror fans, but found a much larger audience.
Keep your audience in mind while creating content. Picture them if possible. It's a great way to keep you focused on the spine of the piece.
Tuesday, October 19, 2010
Five Lessons from Atomic Tom and Viral Video
Already over 1.5 million people have seen Brooklyn band Atomic Tom's you tube video for their latest song, 'Take Me Out.' If you haven't seen it yet, here's the link:
http://www.youtube.com/watch?v=NAllFWSl998
The video was shot on the subway in New York, by the younger brother and friends of the band on their iphones. The band plays the song while sitting in subway seats using their iphone instrument apps -- piano, microphone, bass, guitar and drums. They sound and video quality are fabulous. The song is catchy, but it's the idea and the execution of it. Word is spreading fast. People are sending it to friends. You will probably do the same after you see it.
If we analyze the elements, there's much to learn from this example to apply to our own work.
1. They had a great idea: Not just recording with the iphone apps, but playing on the subway and recording it on iphone cameras.
2. They executed the idea well: It's not enough to have an idea, you have to try to implement it. If they hadn't shot the video and edited it so well, the fact that they used itunes apps wouldn't be enough.
3. They were willing to try something different. Conventional videos hadn't helped the career of Atomic Tom (how many of you heard of them before this) so they were willing to try something unconventional.
4. They were ready to take advantage of their opportunity. had spent a great deal of time polishing their musical skills. Because they were accomplished musicians they made the best use of the iphone apps. They practiced for years so they would be ready for the opportunity when it came.
5. They weren't afraid to look ridiculous. They certainly thought they had something unusual and different, but the band had no idea if people would like it or not. They put it out on the web anyway.
How many of these lessons are you applying to your project? The band created a popular video success for a fraction of what it would cost a major media company. They didn't get paid directly, but the payoff will come in acclaim, tours, and downloads of their music. They had no money to pay a professional company to shoot their video, and used their creativity to make up for that.
Don't own an iphone? There are plenty of other phones, webcams, and reasonably priced HD cameras out there. What are you waiting for?
http://www.youtube.com/watch?v=NAllFWSl998
The video was shot on the subway in New York, by the younger brother and friends of the band on their iphones. The band plays the song while sitting in subway seats using their iphone instrument apps -- piano, microphone, bass, guitar and drums. They sound and video quality are fabulous. The song is catchy, but it's the idea and the execution of it. Word is spreading fast. People are sending it to friends. You will probably do the same after you see it.
If we analyze the elements, there's much to learn from this example to apply to our own work.
1. They had a great idea: Not just recording with the iphone apps, but playing on the subway and recording it on iphone cameras.
2. They executed the idea well: It's not enough to have an idea, you have to try to implement it. If they hadn't shot the video and edited it so well, the fact that they used itunes apps wouldn't be enough.
3. They were willing to try something different. Conventional videos hadn't helped the career of Atomic Tom (how many of you heard of them before this) so they were willing to try something unconventional.
4. They were ready to take advantage of their opportunity. had spent a great deal of time polishing their musical skills. Because they were accomplished musicians they made the best use of the iphone apps. They practiced for years so they would be ready for the opportunity when it came.
5. They weren't afraid to look ridiculous. They certainly thought they had something unusual and different, but the band had no idea if people would like it or not. They put it out on the web anyway.
How many of these lessons are you applying to your project? The band created a popular video success for a fraction of what it would cost a major media company. They didn't get paid directly, but the payoff will come in acclaim, tours, and downloads of their music. They had no money to pay a professional company to shoot their video, and used their creativity to make up for that.
Don't own an iphone? There are plenty of other phones, webcams, and reasonably priced HD cameras out there. What are you waiting for?
Friday, October 15, 2010
All Rights in Perpetuity in all media that currently exists or may be conceived
That phrase sounds a little like the Constitution, doesn't it? It isn't the Declaration of Independence, that's for sure. That phrase or something like it is becoming the standard request from media companies seeking to license your work, whether it's a movie, show, or five minute youtube video.
Media companies have a good a reason for that -- for example, they do not want to spend millions of dollars to license television rights for live major league baseball games only to find out that the baseball leagues are streaming games live on line to compete with them. Media companies have lost billions of dollars over the years through not anticipating future trends. Some movie companies didn't think it was worth the filing fee to renew copyrights on what they considered disposable entertainment, which is why so many films are in the public domain. In the early days of television the networks only licensed one play and one repeat for shows like "I Love Lucy," Just like the movie companies undervalued their films, the networks assumed sitcoms had no shelf life. Can you imagine the hundreds of millions CBS could have earned had they been able to negotiate a percentage of future earnings of "I Love Lucy?" Media companies are using this very broad language because they do not want to make that mistake again.
Should you agree to this? If you're just starting out you may not have a choice. Just recognize that this language eliminates any future earnings you'll have from the project, and sell it for as high a price as you can. As your work becomes more popular you will gain more negotiating leverage, and you may be able to retain some rights to your work. However, if you are going to retain certain rights make sure you can exploit them. For example, don't retain international rights to your show if you have no idea how to sell them. You may be better off taking a percentage of the ancillary income -- all sales made beyond the initial license. If your show becomes a theme park ride, shouldn't you get some money for that? You only will get that if you put it in your contract.
As I've said before, don't sign any agreement unless you've had your own entertainment lawyer review it. It will be more than worth the legal fees to make sure your rights are protected.
Media companies have a good a reason for that -- for example, they do not want to spend millions of dollars to license television rights for live major league baseball games only to find out that the baseball leagues are streaming games live on line to compete with them. Media companies have lost billions of dollars over the years through not anticipating future trends. Some movie companies didn't think it was worth the filing fee to renew copyrights on what they considered disposable entertainment, which is why so many films are in the public domain. In the early days of television the networks only licensed one play and one repeat for shows like "I Love Lucy," Just like the movie companies undervalued their films, the networks assumed sitcoms had no shelf life. Can you imagine the hundreds of millions CBS could have earned had they been able to negotiate a percentage of future earnings of "I Love Lucy?" Media companies are using this very broad language because they do not want to make that mistake again.
Should you agree to this? If you're just starting out you may not have a choice. Just recognize that this language eliminates any future earnings you'll have from the project, and sell it for as high a price as you can. As your work becomes more popular you will gain more negotiating leverage, and you may be able to retain some rights to your work. However, if you are going to retain certain rights make sure you can exploit them. For example, don't retain international rights to your show if you have no idea how to sell them. You may be better off taking a percentage of the ancillary income -- all sales made beyond the initial license. If your show becomes a theme park ride, shouldn't you get some money for that? You only will get that if you put it in your contract.
As I've said before, don't sign any agreement unless you've had your own entertainment lawyer review it. It will be more than worth the legal fees to make sure your rights are protected.
Saturday, October 9, 2010
Competition
In my post 'Lessons from Lone Star,' I pointed out that the main problem with the show was its unsympathetic, if good-looking, hero. In USA Today last week, (after my post) TV writer Gary Levin agreed that Lone Star's "con-man concept was a hard sell." Fox marketing chief Joe Earley is quoted saying "viewers may have found that a turnoff." I'm sorry the show failed, but glad to hear Fox agrees with me.
Levin also cited the show's tough time slot, 9:00 PM on Mondays, as another factor. The show was scheduled against ABC's Dancing With the Stars and CBS' Two and a Half Men, two of the most popular shows on broadcast television. Both shows have long-time fans that make appointments to see those shows.
Competition for eyeballs is something programming executives need to keep in mind, but something creators need to forget while developing their content. You need to focus on making your content as compelling as possible. Don't worry about anything else on television or being developed. Make your show so good that your competition will avoid you.
Remember the top shows are #1 until someone knocks them off. Two and a Half Men is the top-rated sitcom now, but some day another show will come along that will be more popular. That may be your project. Just appeal to more people, and you will have higher ratings. Since it takes time to develop shows, you never know what show will be popular when yours is ready to premiere. Don't worry about the competition. Make them worry about you.
Levin also cited the show's tough time slot, 9:00 PM on Mondays, as another factor. The show was scheduled against ABC's Dancing With the Stars and CBS' Two and a Half Men, two of the most popular shows on broadcast television. Both shows have long-time fans that make appointments to see those shows.
Competition for eyeballs is something programming executives need to keep in mind, but something creators need to forget while developing their content. You need to focus on making your content as compelling as possible. Don't worry about anything else on television or being developed. Make your show so good that your competition will avoid you.
Remember the top shows are #1 until someone knocks them off. Two and a Half Men is the top-rated sitcom now, but some day another show will come along that will be more popular. That may be your project. Just appeal to more people, and you will have higher ratings. Since it takes time to develop shows, you never know what show will be popular when yours is ready to premiere. Don't worry about the competition. Make them worry about you.
Wednesday, September 29, 2010
Lessons From Lone Star
What can we learn from the swift cancellation of Fox's new drama "Lone Star" after only two episodes?
First: You need to reach your audience out of the gate. If your show doesn't get good ratings from the start, it will be gone. How strong is the beginning of your show or movie?
Second: No one knows for sure if a show will succeed until the audience gets a chance to see it. The best film and television programmers are right more often than they're wrong, but even they don't know for sure. "Lone Star's" fate is one more proof of the great William Goldman's statement about the film business: "Nobody knows anything."
Clearly Fox thought "Lone Star" had great potential. They scheduled it on Mondays after "House," one of their most popular shows. The high-salaried cast included veteran stars like Jon Voight and David Keith and many attractive young actors,led by star James Wolk. A team of experienced writer/producers spent a great deal of time and money on writing and production values. Yet the show's premiere lost more than half of the audience "House" delivered and was close to the lowest rated show in that time slot. I saw both episodes of "Lone Star" and believe I know what went wrong.
Viewers didn't like James Wolk's lead character, Bob. In the first scene of the first episode we see Bob leaving his middle class girlfriend, who he loves, to travel for his job. It turns out this nice young man is married to a different pretty girl, who is filthy, Texas oil rich. Then we learn this same nice young man is actually a con man, who married the girl so he could rob her family. That's where they lost me, although I stayed to the end for professional reasons. Why should anyone root for a crook?
Some shows featuring criminals have achieved success on television -- but in those shows the thief was usually reformed and working for good guys. "White Collar" on USA is a current example of that show. The producers may have thought the audience would sympathize with the hero because he felt bad about being a con man and said he wanted to go straight. But he didn't.
The second episode of "Lone Star" had even lower ratings than the first, despite receiving a promo spot in almost every break of "House," and Fox had no choice but to cancel the show.
Third: It's much better for your piece if your main character is struggling to do good than if he's passively accepting his evil role.
Fourth: If you ever become a network programming executive, have a deep bench. Fox can afford to cancel Lone Star because they have episodes of the more popular series "Lie to Me" in the can to start playing next week.
First: You need to reach your audience out of the gate. If your show doesn't get good ratings from the start, it will be gone. How strong is the beginning of your show or movie?
Second: No one knows for sure if a show will succeed until the audience gets a chance to see it. The best film and television programmers are right more often than they're wrong, but even they don't know for sure. "Lone Star's" fate is one more proof of the great William Goldman's statement about the film business: "Nobody knows anything."
Clearly Fox thought "Lone Star" had great potential. They scheduled it on Mondays after "House," one of their most popular shows. The high-salaried cast included veteran stars like Jon Voight and David Keith and many attractive young actors,led by star James Wolk. A team of experienced writer/producers spent a great deal of time and money on writing and production values. Yet the show's premiere lost more than half of the audience "House" delivered and was close to the lowest rated show in that time slot. I saw both episodes of "Lone Star" and believe I know what went wrong.
Viewers didn't like James Wolk's lead character, Bob. In the first scene of the first episode we see Bob leaving his middle class girlfriend, who he loves, to travel for his job. It turns out this nice young man is married to a different pretty girl, who is filthy, Texas oil rich. Then we learn this same nice young man is actually a con man, who married the girl so he could rob her family. That's where they lost me, although I stayed to the end for professional reasons. Why should anyone root for a crook?
Some shows featuring criminals have achieved success on television -- but in those shows the thief was usually reformed and working for good guys. "White Collar" on USA is a current example of that show. The producers may have thought the audience would sympathize with the hero because he felt bad about being a con man and said he wanted to go straight. But he didn't.
The second episode of "Lone Star" had even lower ratings than the first, despite receiving a promo spot in almost every break of "House," and Fox had no choice but to cancel the show.
Third: It's much better for your piece if your main character is struggling to do good than if he's passively accepting his evil role.
Fourth: If you ever become a network programming executive, have a deep bench. Fox can afford to cancel Lone Star because they have episodes of the more popular series "Lie to Me" in the can to start playing next week.
Sunday, September 26, 2010
How is the Head of Programming Like a Baseball Manager?
Simple. Both know they're hired to be fired.
Most baseball managers, no matter their success, are eventually fired. The Yankees fired Casey Stengel after he'd won 10 pennants in 12 years. More recently they fired Joe Torre after the most successful pennant run in recent history (OK, technically they didn't renew his contract, but it was still a firing). Two of the most successful recent managers, Davy Johnson and Tony LaRussa, were fired by several teams. Occasionally the team will allow you to announce your retirement, like the Atlanta Braves are doing this year with Bobby Cox. But in almost all cases, baseball managers are fired.
A similar fate awaits those heading the entertainment divisions of the major networks or movies studios. Even Brandon Tartikoff only had twelve years as Head of NBC Entertainment. Why is that? The people who rise to these top jobs generally have creative flair, a successful track record, and competitive instincts. Why is it so hard to stay there?
Tastes change. What works one year may not work the next. The audience likes their favorite shows, but they also crave variety. For example, police procedurals like Law and Order, CSI, and NCIS are popular, but there is a law of diminishing returns. The next police procedural is less likely to be popular. And in all of those jobs, the goal is to predict public taste one, two, three, or even ten years in the future. No one can do that consistently over time.
So if tastes change, and it's difficult to pick the hits, what do we do as creators of projects? We make our projects as good as we possibly can. We work on several projects at the same time. We remember to be original -- Look for what's not being done, and put your own original spin on the material.
Finally, we should make friends with people at all levels in the business. This has two purposes: 1) You'll have more friends. You can never have enough. 2) You never know when today's development assistant may head the network tomorrow. Jeff Zucker, although he's leaving as head of NBC Universal, started as a research assitant on the Olympics.
So keep working. What have you done on your project today?
Most baseball managers, no matter their success, are eventually fired. The Yankees fired Casey Stengel after he'd won 10 pennants in 12 years. More recently they fired Joe Torre after the most successful pennant run in recent history (OK, technically they didn't renew his contract, but it was still a firing). Two of the most successful recent managers, Davy Johnson and Tony LaRussa, were fired by several teams. Occasionally the team will allow you to announce your retirement, like the Atlanta Braves are doing this year with Bobby Cox. But in almost all cases, baseball managers are fired.
A similar fate awaits those heading the entertainment divisions of the major networks or movies studios. Even Brandon Tartikoff only had twelve years as Head of NBC Entertainment. Why is that? The people who rise to these top jobs generally have creative flair, a successful track record, and competitive instincts. Why is it so hard to stay there?
Tastes change. What works one year may not work the next. The audience likes their favorite shows, but they also crave variety. For example, police procedurals like Law and Order, CSI, and NCIS are popular, but there is a law of diminishing returns. The next police procedural is less likely to be popular. And in all of those jobs, the goal is to predict public taste one, two, three, or even ten years in the future. No one can do that consistently over time.
So if tastes change, and it's difficult to pick the hits, what do we do as creators of projects? We make our projects as good as we possibly can. We work on several projects at the same time. We remember to be original -- Look for what's not being done, and put your own original spin on the material.
Finally, we should make friends with people at all levels in the business. This has two purposes: 1) You'll have more friends. You can never have enough. 2) You never know when today's development assistant may head the network tomorrow. Jeff Zucker, although he's leaving as head of NBC Universal, started as a research assitant on the Olympics.
So keep working. What have you done on your project today?
Tuesday, September 21, 2010
A Life in The Theatre
Tonight I saw the first preview performance of the Broadway production of David Mamet's play A Life in the Theatre starring Patrick Stewart (of Star Trek fame) and TR Knight (Grey's Anatomy). Previews are public performances with a paying crowd but everyone understands that these shows are not in final form. The director and actors expect to make changes before opening night, depending upon the audience response at previews. No matter how well you think things are going in rehearsal, you don't know what's working until you put it in front of an audience. There was much to like about the play, but based on the performance I saw they still have work to do.
In case you haven't seen the play, A Life in Theatre follows the relationship between two actors -- an older actor, played by Stewart and a younger one played by Knight. At the start of the play, the older actor (Stewart) is the star and the young actor (Knight) is naive and eager. Over the course of working together in several plays (some of them quite hilarious) their relationship changes and the mentor becomes the supplicant.
I saw the original production of the play off-Broadway 20 years ago (starring Jose Ferrer). The virtue of that production was its simplicity. There were two actors, a few set pieces that fit all the scenes. In the current Broadway production there are large flats that glide in and out. I felt like we spent as much time watching the scenery move as we did watching the actors. Patrick Stewart and TR Knight did well, but still need to grow into their roles.
But this isn't a theatre review blog; why am I telling you this? To remind us of two things: 1) Keep it simple. The core of your project is the story and characters -- special effects, elaborate scenery and costumes can enhance a good story, but they can't save a bad one. They can hurt a good story, if they're not based on the needs of the piece.
2) No matter how much success you achieved in the past, each new project has its own challenges. I am sure the director, designers, and actors will eventually fix the problems and improve A Life in the Theatre. If these successful artists don't always get it perfect the first time, you shouldn't get down on yourself if you don't, either. Just keep trying to improve every day.
In case you haven't seen the play, A Life in Theatre follows the relationship between two actors -- an older actor, played by Stewart and a younger one played by Knight. At the start of the play, the older actor (Stewart) is the star and the young actor (Knight) is naive and eager. Over the course of working together in several plays (some of them quite hilarious) their relationship changes and the mentor becomes the supplicant.
I saw the original production of the play off-Broadway 20 years ago (starring Jose Ferrer). The virtue of that production was its simplicity. There were two actors, a few set pieces that fit all the scenes. In the current Broadway production there are large flats that glide in and out. I felt like we spent as much time watching the scenery move as we did watching the actors. Patrick Stewart and TR Knight did well, but still need to grow into their roles.
But this isn't a theatre review blog; why am I telling you this? To remind us of two things: 1) Keep it simple. The core of your project is the story and characters -- special effects, elaborate scenery and costumes can enhance a good story, but they can't save a bad one. They can hurt a good story, if they're not based on the needs of the piece.
2) No matter how much success you achieved in the past, each new project has its own challenges. I am sure the director, designers, and actors will eventually fix the problems and improve A Life in the Theatre. If these successful artists don't always get it perfect the first time, you shouldn't get down on yourself if you don't, either. Just keep trying to improve every day.
Thursday, September 16, 2010
Brandon Tartikoff's most important lessons
If you've read the last two posts you know I admired Brandon Tartikoff's show business acumen, sense of humor, grace under pressure, and leadership skills. What I admired most about Brandon Tartikoff was his courage.
Tartikoff contracted Hodgkin's disease at age 23. He beat cancer then, but suffered a relapse at age 31, the year he was named President of NBC Entertainment. He didn't let a little thing like cancer and chemotherapy stop him. He took chemotherapy treatments, got a wig, and kept going to work. His illness wasn't made public -- Only a few people at NBC knew. Could I have achieved what he did if I was suffering from cancer? I hope I don't have to find out.
Tartikoff left NBC in 1992 for the new challenge of heading Paramount Pictures. NBC continued on top for awhile under Tartikoff's able deputy, Warren Littlefield. Eventually new people came to head the Entertainment Division and the company. NBC's viewership declined and the network fell to fourth place behind Fox, CBS, and ABC.
During his second year at Paramout, Tartikoff's wife and daughter were badly hurt in a car crash. He left his high profile job to spend more time with them. He eventually got back into television working for various companies creating and pitching shows to networks. It was in that capacity that I finally met my hero for a few minutes at a NATPE (National Association of Television Programming Executive) conference in 1997. I was in charge of programming for Golf Channel and Brandon Tartikoff pitched an idea to me for a golf comedy show. I still have the one page pitch in my files. I don't know what it meant to him, but it meant I had arrived in the big time.
Tartikoff passed away not too long after that convention, at the young age of 48. Cancer finally killed his body, but it can never erase his legacy.
The most important lessons I learned from Brandon Tartikoff are: 1) Do work you love. 2) Make time with family and friends 3) Keep learning and challenging yourself to get better 4) Do your work and life your life with joy.
Are you spending time working toward your dream? If not, why not? How do you want to be remembered?
Tartikoff contracted Hodgkin's disease at age 23. He beat cancer then, but suffered a relapse at age 31, the year he was named President of NBC Entertainment. He didn't let a little thing like cancer and chemotherapy stop him. He took chemotherapy treatments, got a wig, and kept going to work. His illness wasn't made public -- Only a few people at NBC knew. Could I have achieved what he did if I was suffering from cancer? I hope I don't have to find out.
Tartikoff left NBC in 1992 for the new challenge of heading Paramount Pictures. NBC continued on top for awhile under Tartikoff's able deputy, Warren Littlefield. Eventually new people came to head the Entertainment Division and the company. NBC's viewership declined and the network fell to fourth place behind Fox, CBS, and ABC.
During his second year at Paramout, Tartikoff's wife and daughter were badly hurt in a car crash. He left his high profile job to spend more time with them. He eventually got back into television working for various companies creating and pitching shows to networks. It was in that capacity that I finally met my hero for a few minutes at a NATPE (National Association of Television Programming Executive) conference in 1997. I was in charge of programming for Golf Channel and Brandon Tartikoff pitched an idea to me for a golf comedy show. I still have the one page pitch in my files. I don't know what it meant to him, but it meant I had arrived in the big time.
Tartikoff passed away not too long after that convention, at the young age of 48. Cancer finally killed his body, but it can never erase his legacy.
The most important lessons I learned from Brandon Tartikoff are: 1) Do work you love. 2) Make time with family and friends 3) Keep learning and challenging yourself to get better 4) Do your work and life your life with joy.
Are you spending time working toward your dream? If not, why not? How do you want to be remembered?
Tuesday, September 14, 2010
More Lessons from Brandon Tartikoff
As promised, I'm passing on some more of the lessons I learned following the career of Brandon Tartikoff. It was easy to follow. He worked in the public eye much like an athlete or actor. When NBC's shows were hits, he was praised. And when they flopped, the critics roasted him. Under those circumstances you have to develop a tough skin and a sense of humor to survive.
Brandon Tartikoff knew televison was a business of ideas. In his memoir, The Last Great Ride, he wrote "Ideas are the key to everything ... Good ideas don't come along very often and they can't be constructed at will. I myself have had at least one Misfits of Science and one Manimal for every Miami Vice. That's to be expected, and it's nothing to get depressed about. It takes just a few good creative flashes to work economic wonders."
That's why I urge you to work on multiple projects. You probably never saw Misfits of Science or Manimal (I did, but I was TV junkie) but they certainly weren't hits. But NBC didn't know that until they aired them. You never know which of your ideas will find an audience until you put it out there and get a response.
The second lesson is that, no matter how good your ideas are, the details of how you create the show are crucial. Tartikoff gave producer Michael Mann a two word phrase of an idea -- MTV Cops -- from which Michael Mann created Miami Vice. His execution of that idea changed the way dramas looked on television forever. What would you do with that idea? What would another producer do? It's not just the idea, but the show you create, that becomes the hit. Ideas are important, but the show you create from the idea is what people will see.
So keep developing your ideas, and don't worry if one or two of them don't work. You will develop one that will work, if you keep at it.
Brandon Tartikoff knew televison was a business of ideas. In his memoir, The Last Great Ride, he wrote "Ideas are the key to everything ... Good ideas don't come along very often and they can't be constructed at will. I myself have had at least one Misfits of Science and one Manimal for every Miami Vice. That's to be expected, and it's nothing to get depressed about. It takes just a few good creative flashes to work economic wonders."
That's why I urge you to work on multiple projects. You probably never saw Misfits of Science or Manimal (I did, but I was TV junkie) but they certainly weren't hits. But NBC didn't know that until they aired them. You never know which of your ideas will find an audience until you put it out there and get a response.
The second lesson is that, no matter how good your ideas are, the details of how you create the show are crucial. Tartikoff gave producer Michael Mann a two word phrase of an idea -- MTV Cops -- from which Michael Mann created Miami Vice. His execution of that idea changed the way dramas looked on television forever. What would you do with that idea? What would another producer do? It's not just the idea, but the show you create, that becomes the hit. Ideas are important, but the show you create from the idea is what people will see.
So keep developing your ideas, and don't worry if one or two of them don't work. You will develop one that will work, if you keep at it.
Thursday, September 9, 2010
Lessons from Brandon Tartikoff
Who is your role model?
You may have different role models for different parts of your life. My role model as a television programmer has always been the great Brandon Tartikoff, head of NBC's program department in the 80s, who left us much too soon.
Tartikoff became Head of Programming when NBC made the legendary programmer Fred Silverman head of the network. When he started, NBC was in last place. Tartikoff led NBC to first place in the ratings, and held that spot until he left the network. As he liked to say, "Our plan was to play dead for four years and then put Bill Cosby on Thursday night."
Tartikoff loved television and loved his job. He understood the business of television very well, but it was his love for the medium that made him great. He was the perfect audience member. He supported 'cutting edge programs like 'Hill St.Blues' and 'Fame', but also thoroughly enjoyed escapist fare like 'The A-Team.'
That's the most important lesson I learned from Brandon Tartikoff. You do your best work, and you get the best work from your team, if you love what you do. Enthusiasm is contagious. Do you love the material you create? If not, why are you making it? Lesson Two: It's important to try different things, because not everything is going to work. The Cosby Show came to NBC after all other networks turned it down. Even Tartikoff didn't expect it would be one of the most popular shows of all time. NBC certainly had its share of flops under Tartikoff, but the strength of the hits made up for it. Are you working on more than one idea?
There are too many lessons to be contained in one post, so I will write more about this in my next post.
Tartikoff became Head of Programming when NBC made the legendary programmer Fred Silverman head of the network. When he started, NBC was in last place. Tartikoff led NBC to first place in the ratings, and held that spot until he left the network. As he liked to say, "Our plan was to play dead for four years and then put Bill Cosby on Thursday night."
Tartikoff loved television and loved his job. He understood the business of television very well, but it was his love for the medium that made him great. He was the perfect audience member. He supported 'cutting edge programs like 'Hill St.Blues' and 'Fame', but also thoroughly enjoyed escapist fare like 'The A-Team.'
That's the most important lesson I learned from Brandon Tartikoff. You do your best work, and you get the best work from your team, if you love what you do. Enthusiasm is contagious. Do you love the material you create? If not, why are you making it? Lesson Two: It's important to try different things, because not everything is going to work. The Cosby Show came to NBC after all other networks turned it down. Even Tartikoff didn't expect it would be one of the most popular shows of all time. NBC certainly had its share of flops under Tartikoff, but the strength of the hits made up for it. Are you working on more than one idea?
There are too many lessons to be contained in one post, so I will write more about this in my next post.
Thursday, September 2, 2010
Labor Day
This weekend is Labor Day, the traditional end to the summer. Here in Florida students are already in school, but up north classes will start next week or the week afterward. Wouldn't you love to take a three-day weekend just to relax?
Don't do that this weekend. If you have a full time job, a three day weekend is a great time to take stock of your projects. Block out some time to review your material. I like to work early in the morning before everyone gets up, but you may work better at night, or right after lunch. That actual time you pick is not as important as your reserving time for your idea, just like you would for a meeting with your children's teacher or your favorite TV show.
Write a summary (no more than a paragraph) of your project status -- it's either in first draft, second draft, being polished, or finished. If it's finished, send it out. If it's not finished, write down three things that you need in order to finish it. Pick a date by which you want to accomplish them. Then do them.
It's so easy to get caught up in a daily routine of work, family, errands, food, and entertainment that we lose sight of our creative goals. Time passes and that movie, television idea, or novel stays in your drawer. Don't let that happen to you. Take time this weekend to work toward your dream.
Don't do that this weekend. If you have a full time job, a three day weekend is a great time to take stock of your projects. Block out some time to review your material. I like to work early in the morning before everyone gets up, but you may work better at night, or right after lunch. That actual time you pick is not as important as your reserving time for your idea, just like you would for a meeting with your children's teacher or your favorite TV show.
Write a summary (no more than a paragraph) of your project status -- it's either in first draft, second draft, being polished, or finished. If it's finished, send it out. If it's not finished, write down three things that you need in order to finish it. Pick a date by which you want to accomplish them. Then do them.
It's so easy to get caught up in a daily routine of work, family, errands, food, and entertainment that we lose sight of our creative goals. Time passes and that movie, television idea, or novel stays in your drawer. Don't let that happen to you. Take time this weekend to work toward your dream.
Wednesday, September 1, 2010
Five Tips for Effective Evaluations
How many of us dread facing a friend who hands us their latest work and casually asks, "Could you look this over and let me know what you think?" I remember going to see a theater showcase in New York some years ago that was the worst show I ever saw. After the house lights came on the entire audience remained in their seats. We were all friends of one member of the production or another, and dreaded going backstage to see them because we had nothing positive to say. Finally, I settled on shaking their hand and saying, "Good isn't the word."
But we must learn to honestly evaluate our work and others, if we're going to create more compelling, effective entertainment. Here are some tips that I've used over the years as a theatre director, television programmer, and writer, that can help you evaluate better without hurting too much.
1. Praise First -- there's usually something good you can say about anything. Say it first, and the criticism becomes less harsh.
2. If there's nothing good to say at all, just pick out one thing that's particularly bad and talk about that. At least that will improve in the next draft.
3. Point out areas where you were confused and lost the story line. A good phrase to use is, "I wasn't sure why you did ..." or "I think I lost the thread of the story on this page (or this timecode)..."
4. Be specific -- point out page numbers and paragraphs (or scenes of the movie) or lines where you have questions. Avoid general comments like "it should be funnier," or "it lacked drama."
5. Praise last -- Always end on a positive note. Remind your friend or colleague that there's promise in the material and it will get better if they work to improve it. That will encourage them to revise and improve the idea.
Remember that no one can be sure what show, movie, or novel will achieve popular success. Every network passed on The Cosby Show before NBC took it. Studios paid top dollar for the screenplay of 'Showgirls.' Your friend's idea could become a hit, too. So praise and encourage, and be specific.
But we must learn to honestly evaluate our work and others, if we're going to create more compelling, effective entertainment. Here are some tips that I've used over the years as a theatre director, television programmer, and writer, that can help you evaluate better without hurting too much.
1. Praise First -- there's usually something good you can say about anything. Say it first, and the criticism becomes less harsh.
2. If there's nothing good to say at all, just pick out one thing that's particularly bad and talk about that. At least that will improve in the next draft.
3. Point out areas where you were confused and lost the story line. A good phrase to use is, "I wasn't sure why you did ..." or "I think I lost the thread of the story on this page (or this timecode)..."
4. Be specific -- point out page numbers and paragraphs (or scenes of the movie) or lines where you have questions. Avoid general comments like "it should be funnier," or "it lacked drama."
5. Praise last -- Always end on a positive note. Remind your friend or colleague that there's promise in the material and it will get better if they work to improve it. That will encourage them to revise and improve the idea.
Remember that no one can be sure what show, movie, or novel will achieve popular success. Every network passed on The Cosby Show before NBC took it. Studios paid top dollar for the screenplay of 'Showgirls.' Your friend's idea could become a hit, too. So praise and encourage, and be specific.
Thursday, August 26, 2010
Can social media help me?
Absolutely. Facebook, Twitter, Linkedin, and other social media sites are great ways to get the word out about your project -- if you have something to talk about! If you have the right idea and execution, your twitter feed could even lead to a sitcom (see my previous post on 'S**T My Dad Says').
That's why I recommend you spend the majority of your time developing your idea and turning it into a property. Just as Anthony Hopkins said in 'Zorro' - "when the pupil is ready the master will appear" -- so when your idea is fully developed you will know what medium to use. A note of caution is in order: Despite the plethora of self-styled "experts" who claim to know exactly how to use social media to market your material, the fact is that these tools are still too new for there to be tried and true practices that work every time. Remember when myspace.com was the Next Big Thing and was going to change the way we experienced media? Do you still have a page? When was the last time you checked the site out?
Ever since our cave man days, good stories have been keeping us entertained around the fire, holding back the terror of the night. Make your story compelling and your idea entertaining -- then social media can help you create awareness for your property. If it's not a good story, just being on Facebook and Twitter won't save it.
That's why I recommend you spend the majority of your time developing your idea and turning it into a property. Just as Anthony Hopkins said in 'Zorro' - "when the pupil is ready the master will appear" -- so when your idea is fully developed you will know what medium to use. A note of caution is in order: Despite the plethora of self-styled "experts" who claim to know exactly how to use social media to market your material, the fact is that these tools are still too new for there to be tried and true practices that work every time. Remember when myspace.com was the Next Big Thing and was going to change the way we experienced media? Do you still have a page? When was the last time you checked the site out?
Ever since our cave man days, good stories have been keeping us entertained around the fire, holding back the terror of the night. Make your story compelling and your idea entertaining -- then social media can help you create awareness for your property. If it's not a good story, just being on Facebook and Twitter won't save it.
Friday, August 20, 2010
Protecting Your Idea
The availability of the internet makes it more difficult than ever to protect our ideas. How do you protect your great idea from all the sharks in Hollywood that want to steal it? It's very tricky to protect an idea when what you want is to reach the largest possible audience. That's because the best way to protect your idea is never to talk about it or show it to anyone. Publish after you're dead and let your heirs get all the money. It worked for Emily Dickinson, didn't it?
However, if you read this blog you probably want to see your creation reach an audience in your lifetime. If that's the case, there are some practical steps you can take. Remember that copyright does not protect your idea, it only protects your expression of that idea.
1. First thing -- write it down, record a CD, or make a DVD. Once a piece has been created in a fixed form, it automatically has copyright protection. You can enhance that protection by registering with the U.S. copyright office. Mailing it to yourself return receipt requested to proved the day on which it was created does not prove ownership, although it could prove to be a strong piece of evidence should you end up taking a copyright violation case to court.
2. It's still possible that your written notes about the idea may not be protectable. You may have outlined an idea substantially similar to a show currently on television, or that has copyright protection. To use an example from Golf Channel: you can't protect the idea of a reality elimination show for golfers where the prize is an exemption on a professional tour. There have been several shows with this idea. However, Golf Channel can copyright 'The Big Break,' the specific program created around that basic idea. Does your idea have a unique expression?
3. One of the best ways to protect your idea is to control the property. For example, if your idea is to take a celebrity golfer and substantially improve his golf game (the idea for The Haney Project on Golf Channel) you can protect your idea if you are the agent or otherwise control access to the celebrity teacher and the celebrity. Do you own or control the rights to something other than your idea? (See my previous post 'Turn Your Idea Into a Property.'
4. Another good way to protect the idea is to produce it yourself. If you can't produce it yourself, can you get an established production company to commit to producing the project with you?
5. Create the unique expression of the idea yourself. Write a script, storyboard the movie or episode, or design the web site. The actual expression you pick depends upon your idea, of course. Writing the first script of your sitcom or screenplay for your movie provide the details of your expression that allows you to protect your idea.
For more information about copyright protection, go the U.S. Government's copyright site: www.copyright.gov E-mail me or post comments if you have more questions.
However, if you read this blog you probably want to see your creation reach an audience in your lifetime. If that's the case, there are some practical steps you can take. Remember that copyright does not protect your idea, it only protects your expression of that idea.
1. First thing -- write it down, record a CD, or make a DVD. Once a piece has been created in a fixed form, it automatically has copyright protection. You can enhance that protection by registering with the U.S. copyright office. Mailing it to yourself return receipt requested to proved the day on which it was created does not prove ownership, although it could prove to be a strong piece of evidence should you end up taking a copyright violation case to court.
2. It's still possible that your written notes about the idea may not be protectable. You may have outlined an idea substantially similar to a show currently on television, or that has copyright protection. To use an example from Golf Channel: you can't protect the idea of a reality elimination show for golfers where the prize is an exemption on a professional tour. There have been several shows with this idea. However, Golf Channel can copyright 'The Big Break,' the specific program created around that basic idea. Does your idea have a unique expression?
3. One of the best ways to protect your idea is to control the property. For example, if your idea is to take a celebrity golfer and substantially improve his golf game (the idea for The Haney Project on Golf Channel) you can protect your idea if you are the agent or otherwise control access to the celebrity teacher and the celebrity. Do you own or control the rights to something other than your idea? (See my previous post 'Turn Your Idea Into a Property.'
4. Another good way to protect the idea is to produce it yourself. If you can't produce it yourself, can you get an established production company to commit to producing the project with you?
5. Create the unique expression of the idea yourself. Write a script, storyboard the movie or episode, or design the web site. The actual expression you pick depends upon your idea, of course. Writing the first script of your sitcom or screenplay for your movie provide the details of your expression that allows you to protect your idea.
For more information about copyright protection, go the U.S. Government's copyright site: www.copyright.gov E-mail me or post comments if you have more questions.
Monday, August 16, 2010
The Creativity Crisis
Last month Newsweek posted a long story about the decline of creativity in America. Just as we test students' IQ in schools, a test for CQ, or creativity quotient, has been given to American schoolchildren since the 1950s. The article reports that, while average IQ scores have been rising by about ten points per generation since the 1950s, CQ scores have been falling since 2000. The CQ means creativity in the broadest sense -- not just ability to create art, but also the ability to invent new ways of doing things, improve mechanical devices, etc. This is a major cause for concern, since we count on human creativity and innovation to improve our standard of living in every generation.
There are several reasons proposed for this decline. One I find particularly persuasive is the de-emphasis of art, music, and theatre in schools in favor of more time spent teaching students to achieve better standardized test scores. Our children are born with remarkably fertile creative imaginations, as anyone who has played with kids aged 3-6 can attest. School and society supress these imaginations so thoroughly that when the kids do take an arts class, usually the teacher's first job is to free up that creative spirit -- break down those inhibitions so creativity can flow.
Those of you who read this blog are part of the solution to this crisis. Create finished projects. Get them out into the world. When people see your work, they will have their own creative response, and keep passing it on to others. We must resolve to solve the creativity crisis, one idea and one artist at a time. America needs you.
For more information, here's a link to the Newsweek article:
www.newsweek.com/2010/07/10/the-creativity-crisis.html
There are several reasons proposed for this decline. One I find particularly persuasive is the de-emphasis of art, music, and theatre in schools in favor of more time spent teaching students to achieve better standardized test scores. Our children are born with remarkably fertile creative imaginations, as anyone who has played with kids aged 3-6 can attest. School and society supress these imaginations so thoroughly that when the kids do take an arts class, usually the teacher's first job is to free up that creative spirit -- break down those inhibitions so creativity can flow.
Those of you who read this blog are part of the solution to this crisis. Create finished projects. Get them out into the world. When people see your work, they will have their own creative response, and keep passing it on to others. We must resolve to solve the creativity crisis, one idea and one artist at a time. America needs you.
For more information, here's a link to the Newsweek article:
www.newsweek.com/2010/07/10/the-creativity-crisis.html
Wednesday, August 11, 2010
The Fall Season
When I was growing up I eagerly anticipated TV Guide's Fall Season preview issue. This thick book contained pictures, stars, and premises for every fall show on ABC, CBS, and NBC's schedule (only three broadcast networks back then). I read each show description thoroughly, planning my viewing for the fall. I loved the book because it was full of promise -- here were all the new shows that the networks believed would entertain us, every one a potential hit.
Of course, most of the new shows weren't hits and disappeared from the schedule after a few months, or at the end of the television year in May. The networks could afford this waste of resources because the rest of their business was so profitable. When I started working in the television business, Network presidents were already proclaiming the death of the fall season. Although competition from cable and other broadcast outlets was just beginning, it was already eroding some of the profit margin. This margin would continue to erode over time as did network viewership. The competitive pressure forced networks to do things like cancel shows after one or two episodes, try more summer replacements, and launch shows outside the traditional fall window. However, they did not kill the fall season. In a couple of weeks magazines and web sites that follow television will be full of information about the new network shows and about changes in the returning network hits. Why is the fall season still around?
1. The fall season fits the rhythm of life in America. Most people in our country still vacation in the summer. School is out. People are outdoors more. It makes sense for the networks to fish where the fish are, and start series in the fall when viewers start staying home evenings.
2. The realities of production: It can take ten days or more to shoot and edit a one hour television drama, and an army of people working on multiple projects to keep it going and make deadlines. These people need a break to recharge their batteries, plan their next season, and work on other projects. Many of them also have families and like having some time off during the summer.
4. It makes business sense. Networks have limited resources. They can't afford to have great shows on all year round. The traditional model of pitching in the fall and creating pilots in the spring still works the best in most cases. Otherwise, they would have changed it years ago.
This doesn't mean there aren't exceptions to the rule. But until our national habits change radically, I expect the fall premiere season will remain with us. So start polishing your program pitches and get ready to hit the networks in the coming weeks.
Of course, most of the new shows weren't hits and disappeared from the schedule after a few months, or at the end of the television year in May. The networks could afford this waste of resources because the rest of their business was so profitable. When I started working in the television business, Network presidents were already proclaiming the death of the fall season. Although competition from cable and other broadcast outlets was just beginning, it was already eroding some of the profit margin. This margin would continue to erode over time as did network viewership. The competitive pressure forced networks to do things like cancel shows after one or two episodes, try more summer replacements, and launch shows outside the traditional fall window. However, they did not kill the fall season. In a couple of weeks magazines and web sites that follow television will be full of information about the new network shows and about changes in the returning network hits. Why is the fall season still around?
1. The fall season fits the rhythm of life in America. Most people in our country still vacation in the summer. School is out. People are outdoors more. It makes sense for the networks to fish where the fish are, and start series in the fall when viewers start staying home evenings.
2. The realities of production: It can take ten days or more to shoot and edit a one hour television drama, and an army of people working on multiple projects to keep it going and make deadlines. These people need a break to recharge their batteries, plan their next season, and work on other projects. Many of them also have families and like having some time off during the summer.
4. It makes business sense. Networks have limited resources. They can't afford to have great shows on all year round. The traditional model of pitching in the fall and creating pilots in the spring still works the best in most cases. Otherwise, they would have changed it years ago.
This doesn't mean there aren't exceptions to the rule. But until our national habits change radically, I expect the fall premiere season will remain with us. So start polishing your program pitches and get ready to hit the networks in the coming weeks.
Friday, August 6, 2010
Top Ten Tips for Tip Top Content
This post summarizes some of my most important tips for making your content compelling -- whether it's a book, post, video or film.
1. Write it down: If you have an idea, write it down and create a one or two page treatment. If you're still interested in the idea after you flesh it out, it's worth further development.
2. Make High Cal Choices -- The stakes must be high for your characters -- Life and Death, love and happiness, financial security, etc. If it's important to them, it will be important to the audience.
3. Create the first draft for yourself, the second draft for the audience. You must be excited about what you create, but always remember you're creating to reach an audience. Keep that in mind while polishing the draft (or sample tape) that you use to reach them.
4. Develop ideas that networks and studios don't have -- the market is saturated with teen wizards, super heroes, and police procedurals. That's why a show like 'Hot in Cleveland', a throwback sitcom, seems so fresh today. They weren't making them any more.
5. Keep the story clear -- Even if you hide the payoff from the audience to increase suspense, you need to know at every moment in your story what's going on. If you're not clear about what's going on, the audience will never understand it. People tend to like things they understand.
6. Get constructive feedback -- we are not always the best judges of our work. Get feedback from people you trust. Pay particular attention to when they say "I didn't understand why ..."
7. Work on multiple projects -- This keeps your creative juices flowing, and gives you an answer when an executive says, "I like this. What else have you got?" You will be able to work on multiple projects if you follow the advice of number 8.
8. Block out creative time in your schedule and stick to it. -- Creating great content takes time. If you want to be successful, you have to be willing to put the time in to develop your idea and stick to it. For example, it took the producers of 'Precious' ten years from when the novel was released until the film premiered, won great critical acclaim, and Academy Awards. Creating compelling content is a fun job, but it is a job, and you have to treat it as such.
9. Explore web distribution and other non-traditional outlets -- Take your idea directly to the people via You Tube. Self publish your novel. It has never been easier to get your content seen than now. If you get an online following, like the Twitter Feed "S** my Dad Says," you might land a network sitcom deal just like he did.
10. Learn from the Masters -- Read, view, and study the enduring work of our great artists. Pay particular attention to the classics in your genre. There's a reason why these works are still popular. How can you make the same things work for you?
If you have questions or comments please post them or e-mail them to me at petermgordon1@gmail.com.
1. Write it down: If you have an idea, write it down and create a one or two page treatment. If you're still interested in the idea after you flesh it out, it's worth further development.
2. Make High Cal Choices -- The stakes must be high for your characters -- Life and Death, love and happiness, financial security, etc. If it's important to them, it will be important to the audience.
3. Create the first draft for yourself, the second draft for the audience. You must be excited about what you create, but always remember you're creating to reach an audience. Keep that in mind while polishing the draft (or sample tape) that you use to reach them.
4. Develop ideas that networks and studios don't have -- the market is saturated with teen wizards, super heroes, and police procedurals. That's why a show like 'Hot in Cleveland', a throwback sitcom, seems so fresh today. They weren't making them any more.
5. Keep the story clear -- Even if you hide the payoff from the audience to increase suspense, you need to know at every moment in your story what's going on. If you're not clear about what's going on, the audience will never understand it. People tend to like things they understand.
6. Get constructive feedback -- we are not always the best judges of our work. Get feedback from people you trust. Pay particular attention to when they say "I didn't understand why ..."
7. Work on multiple projects -- This keeps your creative juices flowing, and gives you an answer when an executive says, "I like this. What else have you got?" You will be able to work on multiple projects if you follow the advice of number 8.
8. Block out creative time in your schedule and stick to it. -- Creating great content takes time. If you want to be successful, you have to be willing to put the time in to develop your idea and stick to it. For example, it took the producers of 'Precious' ten years from when the novel was released until the film premiered, won great critical acclaim, and Academy Awards. Creating compelling content is a fun job, but it is a job, and you have to treat it as such.
9. Explore web distribution and other non-traditional outlets -- Take your idea directly to the people via You Tube. Self publish your novel. It has never been easier to get your content seen than now. If you get an online following, like the Twitter Feed "S** my Dad Says," you might land a network sitcom deal just like he did.
10. Learn from the Masters -- Read, view, and study the enduring work of our great artists. Pay particular attention to the classics in your genre. There's a reason why these works are still popular. How can you make the same things work for you?
If you have questions or comments please post them or e-mail them to me at petermgordon1@gmail.com.
Thursday, July 29, 2010
Work on Multiple Projects
Top producers, directors and writers always have more than one project in development. You should, too. If you're grinding away on your novel, take a break to write a short story, or a poem. Once you've sent your screenplay to a production company, don't sit around and wait for their response. Start another one.
You can go stir-crazy waiting for producers, agents, and publishers to get back to you. Remember, they have several projects they're considering besides yours. If you don't have a specific project you want to write, look for material -- stories in newspapers, magazines, and websites can spark your creative impulse. You probably have one idea you like best, but you also probably have several ideas that might work as content.
This is important for two reasons. 1. We never know, until the show is done and gets in front of an audience, whether or not a piece will work. Developing several ideas makes it more likely that you'll have one that works.
2. When you have a hit, then there will be a demand for other work. You want to have an idea developed to have an answer to the question all creators dream of: "That last show was great. What else have you got?"
Remember, if you have questions about these posts or topics you'd like discussed, e-mail me or comment on the post itself.
You can go stir-crazy waiting for producers, agents, and publishers to get back to you. Remember, they have several projects they're considering besides yours. If you don't have a specific project you want to write, look for material -- stories in newspapers, magazines, and websites can spark your creative impulse. You probably have one idea you like best, but you also probably have several ideas that might work as content.
This is important for two reasons. 1. We never know, until the show is done and gets in front of an audience, whether or not a piece will work. Developing several ideas makes it more likely that you'll have one that works.
2. When you have a hit, then there will be a demand for other work. You want to have an idea developed to have an answer to the question all creators dream of: "That last show was great. What else have you got?"
Remember, if you have questions about these posts or topics you'd like discussed, e-mail me or comment on the post itself.
Wednesday, July 28, 2010
Why would anyone want to watch this?
I started writing this blog to encourage you and provide you with the tools to make your own content. The way you tell your story is unique; no two people will tell the same story the exact same way.
However, we must always remember the fact that we create our content to reach an audience. We hope our audience will be large and love our material enough to pay money to purchase it. Regardless of size, we should always keep the audience in mind. Remember that your audience wakes up every day with a myriad of entertainment opportunities -- television, video games, CDs, movies, books, sudoku puzzles, etc. Why should they take time to spend with your content?
You must be able to answer that question. If you're pitching a network or film company, that's the question they need answered even if they don't come right out and ask. You also need the answer to that question for your creative process. You don't need a profound answer -- it could be to thrill, to make them laugh, or to make them feel good about themselves. But you need to know. The answer to that question will inform all of your creative choices and help make your project unified. It's a lot easier to sell a project with a clear purpose.
While they're watching your piece your audience is also asking, "So What? Why Should I Care?" Give them a reason.
However, we must always remember the fact that we create our content to reach an audience. We hope our audience will be large and love our material enough to pay money to purchase it. Regardless of size, we should always keep the audience in mind. Remember that your audience wakes up every day with a myriad of entertainment opportunities -- television, video games, CDs, movies, books, sudoku puzzles, etc. Why should they take time to spend with your content?
You must be able to answer that question. If you're pitching a network or film company, that's the question they need answered even if they don't come right out and ask. You also need the answer to that question for your creative process. You don't need a profound answer -- it could be to thrill, to make them laugh, or to make them feel good about themselves. But you need to know. The answer to that question will inform all of your creative choices and help make your project unified. It's a lot easier to sell a project with a clear purpose.
While they're watching your piece your audience is also asking, "So What? Why Should I Care?" Give them a reason.
Wednesday, July 21, 2010
Commit Yourself to your Idea
I evaluated program proposals at Golf Channel for 15 years. Every year we would get one particular idea from at least 50 different people. The pitch went something like this: "I'm an 18 handicap (or 7, or 11, or 30). Give me a year of the best instruction, equipment, and time to practice golf. I have a great personality and interesting family, so I'll let you turn my quest into making the PGA (or LPGA) tour a reality show.
Everyone who send us that idea thought they were the first person to suggest it. I don't blame them for that; after all, we didn't have a show like that on the air.
There are two main reasons we passed on this idea every time. Can you guess what they were?
Okay -- time for the answers.
One: it was practically impossible to work. Certainly any golfer who took a year and did nothing but play golf, take lessons, and use the best equipment would improve their score. However, there already are hundreds of professional golfers around the world who play every day, have top equipment and great coaches -- and can't play well enough to make the PGA TOUR. Unless an amateur was already the U.S. amateur champion (and receiving top coaching, equipment, etc.)the series was almost sure to end as a disappointment.
Two: These people weren't really committed to the idea -- they just wanted Golf Channel to pay for their year of golf lessons. Most golf courses in America are already staffed with pros and assistant pros working for peanuts just so they can get additional practice time to take a shot at the professional tours. That's why they're called golf pros and don't play in the club tournaments. If the people who sent the idea to use were really committed heart and soul to a career in professional golf they would already be pursuing it, and not waiting for Golf Channel to make it easy for them.
We did create a show at Golf Channel featuring people who had the skills to play professional golf already but hadn't quite made it yet -- The Big Break. It remains the longest running original series on the network (other than news) and is still going strong. The stakes were high for all of the players, and that led to some great dramas unfolding.
If you want your idea to resonate with your audience, you must commit to it. You can't wait for someone else to give their approval -- you must be commmitted to making it happen. If your idea isn't worth sacrificing something on your part, then it's probably not going to reach a wider audience.
Everyone who send us that idea thought they were the first person to suggest it. I don't blame them for that; after all, we didn't have a show like that on the air.
There are two main reasons we passed on this idea every time. Can you guess what they were?
Okay -- time for the answers.
One: it was practically impossible to work. Certainly any golfer who took a year and did nothing but play golf, take lessons, and use the best equipment would improve their score. However, there already are hundreds of professional golfers around the world who play every day, have top equipment and great coaches -- and can't play well enough to make the PGA TOUR. Unless an amateur was already the U.S. amateur champion (and receiving top coaching, equipment, etc.)the series was almost sure to end as a disappointment.
Two: These people weren't really committed to the idea -- they just wanted Golf Channel to pay for their year of golf lessons. Most golf courses in America are already staffed with pros and assistant pros working for peanuts just so they can get additional practice time to take a shot at the professional tours. That's why they're called golf pros and don't play in the club tournaments. If the people who sent the idea to use were really committed heart and soul to a career in professional golf they would already be pursuing it, and not waiting for Golf Channel to make it easy for them.
We did create a show at Golf Channel featuring people who had the skills to play professional golf already but hadn't quite made it yet -- The Big Break. It remains the longest running original series on the network (other than news) and is still going strong. The stakes were high for all of the players, and that led to some great dramas unfolding.
If you want your idea to resonate with your audience, you must commit to it. You can't wait for someone else to give their approval -- you must be commmitted to making it happen. If your idea isn't worth sacrificing something on your part, then it's probably not going to reach a wider audience.
Sunday, July 18, 2010
It's not who you know, it's who knows you
Picture this scenario: You call Jeff Bewkes, the head of Time Warner, because you have a great movie idea you want to sell him. Does he take the call?
Now this scenario: Christoper Nolan, writer and director of The Dark Knight and the recently released Inception, calls Jeff Bewkes. Does Bewkes take this call?
Of course it's much more likely that Mr. Bewkes talks to Christopher Nolan than to you. Or me, for that matter. That's because Nolan's films have made hundreds of millions of dollars for Time Warner, and he's working on the next Batman sequel. Jeff Bewkes knows Christoper Nolan.
Every great artist was unknown once. What are you doing to increase the number of people who know you? Are you going to industry events? Are you joining groups on linkedin or facebook? Have you started a website or a blog? Have you finished your treatment and submitted it for consideration? Do you have an agent, or are you trying to get one? Of course it's great to write and direct a blockbuster movie. But there are many people who haven't done that who still have great careers in film, television and digital media.
It's much easier to get your work seen when people have heard of you. You should be doing something every day to make sure you're known in the industry you want to join. If you want more suggestions on how to do this, please read some of the previous blog posts, or ask me a question.
Remember, it's not who you know, it's who knows you.
Now this scenario: Christoper Nolan, writer and director of The Dark Knight and the recently released Inception, calls Jeff Bewkes. Does Bewkes take this call?
Of course it's much more likely that Mr. Bewkes talks to Christopher Nolan than to you. Or me, for that matter. That's because Nolan's films have made hundreds of millions of dollars for Time Warner, and he's working on the next Batman sequel. Jeff Bewkes knows Christoper Nolan.
Every great artist was unknown once. What are you doing to increase the number of people who know you? Are you going to industry events? Are you joining groups on linkedin or facebook? Have you started a website or a blog? Have you finished your treatment and submitted it for consideration? Do you have an agent, or are you trying to get one? Of course it's great to write and direct a blockbuster movie. But there are many people who haven't done that who still have great careers in film, television and digital media.
It's much easier to get your work seen when people have heard of you. You should be doing something every day to make sure you're known in the industry you want to join. If you want more suggestions on how to do this, please read some of the previous blog posts, or ask me a question.
Remember, it's not who you know, it's who knows you.
Sunday, July 11, 2010
Networks still matter
Comcast announced in late June that they will launch a version of their VOD channel, Fearnet, as a linear, ad-supported cable network. Fearnet's VOD service is available in 28 million homes, and the linear, ad supported channel will expand its reach. Presumably, the ads and license fees will bring in more money, since the VOD service is available free to digital subscribers. This is a significant development. When Comcast launched Fearnet on Halloween 2006 they hailed the VOD-only channel as a new paradigm in cable service. The days of the linear network were numbered, since consumers wanted to consume their video on demand. Fearnet would be the first in a series of new VOD networks.
A funny thing happened on the way to this future. Linear cable networks continued to launch -- news channels, local sports channels, foreign language channels, HD versions of current channels. There are groups looking for funding for several more. Instead of fading away, networks with limited distribution continued to expand. Satellite services like Direct TV and DISH made more networks available to homes and cable systems competed by adding more channels and creating their own proprietary channels. The VOD interfaces that cable networks put in homes turned out to require several clicks to find specific shows. Most consumers didn't want to work that hard. It was so much easier just to see what was currently on your favorite channels than hunt for specific VOD programs.
Comcast further demonstrated the importance of networks and content last year when they bought NBC for its popular cable channels like USA, and the most old-fashioned dinosaur of them all-- a broadcast network. Although an increasing number of people time shift their viewing of shows, they still rely upon networks to schedule programs at specific times so they can record them.
What does this mean for your program idea? It means that cable networks in the U.S. and around the world will be a viable market for the foreseeable future. Selling a program to a cable channel remains a good way to make money and increase your program's visibility. That doesn't mean you have to wait for a network to buy your show before you create some video for your web site. It does mean that you should consider a network sale as a viable part of your business plan. And if you're dreaming of creating a new linear network don't give up hope. It looks like they will be around for awhile.
A funny thing happened on the way to this future. Linear cable networks continued to launch -- news channels, local sports channels, foreign language channels, HD versions of current channels. There are groups looking for funding for several more. Instead of fading away, networks with limited distribution continued to expand. Satellite services like Direct TV and DISH made more networks available to homes and cable systems competed by adding more channels and creating their own proprietary channels. The VOD interfaces that cable networks put in homes turned out to require several clicks to find specific shows. Most consumers didn't want to work that hard. It was so much easier just to see what was currently on your favorite channels than hunt for specific VOD programs.
Comcast further demonstrated the importance of networks and content last year when they bought NBC for its popular cable channels like USA, and the most old-fashioned dinosaur of them all-- a broadcast network. Although an increasing number of people time shift their viewing of shows, they still rely upon networks to schedule programs at specific times so they can record them.
What does this mean for your program idea? It means that cable networks in the U.S. and around the world will be a viable market for the foreseeable future. Selling a program to a cable channel remains a good way to make money and increase your program's visibility. That doesn't mean you have to wait for a network to buy your show before you create some video for your web site. It does mean that you should consider a network sale as a viable part of your business plan. And if you're dreaming of creating a new linear network don't give up hope. It looks like they will be around for awhile.
Friday, July 9, 2010
Working Habits
In order to create successfully, you need to work at it regularly.
You may still be working at your 'day job'. You have family obligations, errands to run, dates to go on, favorite television shows to watch. We all have many things we must do every day before we can work on our ideas.
But if you want to turn your idea or concept into content, and support yourself from that content, you have to work on your ideas regularly. Don't wait for inspiration to strike. Set aside a specific time every week -- every day if possible -- for you to work on your idea.
You may not make a great deal of progress at first, but don't worry. If you keep to your schedule, eventually the creative part of your brain will understand that's the time reserved for it to shine -- and it will.
Start reserving space in your day for creative time. The more time you spend, the sooner you will have a finished product.
You may still be working at your 'day job'. You have family obligations, errands to run, dates to go on, favorite television shows to watch. We all have many things we must do every day before we can work on our ideas.
But if you want to turn your idea or concept into content, and support yourself from that content, you have to work on your ideas regularly. Don't wait for inspiration to strike. Set aside a specific time every week -- every day if possible -- for you to work on your idea.
You may not make a great deal of progress at first, but don't worry. If you keep to your schedule, eventually the creative part of your brain will understand that's the time reserved for it to shine -- and it will.
Start reserving space in your day for creative time. The more time you spend, the sooner you will have a finished product.
Thursday, July 8, 2010
Story Part 3: Writers Matter
Many years ago in New York I took and Introduction to Screenwriting Class at the New School. One day our instructor brought in a friend of hers who wrote for the one of the soap operas filming in New York. Although I can't remember his name, I'll never forget what he said. He told us, "Writers do get treated poorly by actors at times. But remember, actors are a dime a dozen. Writers are not a dime a dozen. Nothing happens until you turn in your screenplay."
There's an old joke in Hollywood about the starlet that was so dumb she slept with the screenwriter. But writers matter. Until the screenplay is written, there's nothing to shoot. If your screenplay is good, you have a chance. If it's not good, you have no chance no matter who is directing the movie and acting in it. To be clear, by 'good', I don't mean something that critics will love. I mean a screenplay that has a believable and compelling story that allows the movie to be made. If you can write a compelling screenplay, or television show, or novel, you will have a good
career in entertainment.
But, I hear you say, what about reality shows -- they aren't written. Reality shows may not have a writing staff, but they are not an exception to this rule. They're planned as meticulously as possible to make sure that the cameras are in the right spot to get the reactions they want from the participants. Much more footage is shot than is ever used, and narration is written after the fact. The drama and the comedy don't just happen; they are planned.
To make your program idea come to life, you need to learn to write a good script, or work with someone who can.
There's an old joke in Hollywood about the starlet that was so dumb she slept with the screenwriter. But writers matter. Until the screenplay is written, there's nothing to shoot. If your screenplay is good, you have a chance. If it's not good, you have no chance no matter who is directing the movie and acting in it. To be clear, by 'good', I don't mean something that critics will love. I mean a screenplay that has a believable and compelling story that allows the movie to be made. If you can write a compelling screenplay, or television show, or novel, you will have a good
career in entertainment.
But, I hear you say, what about reality shows -- they aren't written. Reality shows may not have a writing staff, but they are not an exception to this rule. They're planned as meticulously as possible to make sure that the cameras are in the right spot to get the reactions they want from the participants. Much more footage is shot than is ever used, and narration is written after the fact. The drama and the comedy don't just happen; they are planned.
To make your program idea come to life, you need to learn to write a good script, or work with someone who can.
Tuesday, July 6, 2010
Conquering fear of pitching media companies
Some of my readers e-mailed that the thought of talking about them to executives they never met before terrifies them. That's very common. Many studies show that fear of speaking in public ranks just below the fear of death for people.
If you're in that category, I have a simple solution for you: Join Toastmasters International.
Toastmasters is a non-profit organization whose members meet regularly in local clubs to improve their public speaking skills. Toastmasters has over 250,000 members in more than 106 countries. The best way to find more information and a club near you is to go to their website: www.toastmasters.org
I'm a member I joined a club in Orlando ten years ago because my boss told me my presentations to the sales staff were boring, and I had to do something to improve them -- fast. Six months after joining I received much better response to my presentations. I have acheived the highest Toastmaster designation - Distinguished Toastmaster, and I even won a Florida District speaking contest. You could do the same, if you joined. I stayed in the program all these years because I enjoy practicing my speaking skills. It's fun, it's affordable, and very helpful no matter what business you're in.
Contact a club near you. Most clubs will allow you to visit as a guest until you decide to join. Remember it's not enough to develop an idea, you need to be able to communicate it clearly to your collaborators and your studio in order to bring it to life.
If you're in that category, I have a simple solution for you: Join Toastmasters International.
Toastmasters is a non-profit organization whose members meet regularly in local clubs to improve their public speaking skills. Toastmasters has over 250,000 members in more than 106 countries. The best way to find more information and a club near you is to go to their website: www.toastmasters.org
I'm a member I joined a club in Orlando ten years ago because my boss told me my presentations to the sales staff were boring, and I had to do something to improve them -- fast. Six months after joining I received much better response to my presentations. I have acheived the highest Toastmaster designation - Distinguished Toastmaster, and I even won a Florida District speaking contest. You could do the same, if you joined. I stayed in the program all these years because I enjoy practicing my speaking skills. It's fun, it's affordable, and very helpful no matter what business you're in.
Contact a club near you. Most clubs will allow you to visit as a guest until you decide to join. Remember it's not enough to develop an idea, you need to be able to communicate it clearly to your collaborators and your studio in order to bring it to life.
Thursday, July 1, 2010
Authenticity
There's a famous quote about the importance of sincerity that's been attributed to everyone from Groucho Marx to Bill Clinton. It goes, "Sincerity is the most important thing. If you can fake that, you've got it made."
You may have read a similar quote with slightly different words. It resonates with people because we are surrounded every day by fakes pretending to authenticity: beer commercials featuring men with washboard abs and not beer bellies, infomercials that promise untold riches gained by doing no work, politicians who promise to fight for the common man while voting on the side of big business, etc. We are so starved for authenticity that we don't even notice that we are missing it -- until we see it in our lives, or on the internet.
Authenticity is the key to all successful viral videos. When people see a wedding party dancing for joy, or discover a neglected but talented singer, or see multiple versions of the same singer crooning Michael Jackson songs, they instinctively understand that they're seeing the authentic expression of someone's feelings. They e-mail the video or the link to their friends because it touched them. The people who made the videos didn't start out with the idea to make a viral video. They simply created something they believed in and made it available for people to find.
There are ways to increase the opportunities for people to find you online. But if they find you and you're not authentic viewers will dismiss your creation. How do you make your work authentic? Make sure you are working on a subject you're passionate about. If you don't care about your characters or their situation, the audience won't either. If you care --- if you infuse your work with the power of your passion -- you at least give yourself a chance.
You may have read a similar quote with slightly different words. It resonates with people because we are surrounded every day by fakes pretending to authenticity: beer commercials featuring men with washboard abs and not beer bellies, infomercials that promise untold riches gained by doing no work, politicians who promise to fight for the common man while voting on the side of big business, etc. We are so starved for authenticity that we don't even notice that we are missing it -- until we see it in our lives, or on the internet.
Authenticity is the key to all successful viral videos. When people see a wedding party dancing for joy, or discover a neglected but talented singer, or see multiple versions of the same singer crooning Michael Jackson songs, they instinctively understand that they're seeing the authentic expression of someone's feelings. They e-mail the video or the link to their friends because it touched them. The people who made the videos didn't start out with the idea to make a viral video. They simply created something they believed in and made it available for people to find.
There are ways to increase the opportunities for people to find you online. But if they find you and you're not authentic viewers will dismiss your creation. How do you make your work authentic? Make sure you are working on a subject you're passionate about. If you don't care about your characters or their situation, the audience won't either. If you care --- if you infuse your work with the power of your passion -- you at least give yourself a chance.
Sunday, June 27, 2010
Everyone Won't Like Your Show
Create it anyway.
No matter how successful and popular your idea becomes, there will always be someone who doesn't like it. Some groups tried to remove Harry Potter books from school libraries. Over 50% of Americans watch the Super Bowl every year - but that means over 40% do not. Shakespeare had his critics; so did Michelangelo. Van Gogh only sold one painting during his lifetime. If that happened to them, I can guarantee that not everyone will like your work.
Don't worry about it.
Bill Cosby once said, "I don't know the key to success, but the key to failure is trying to please everybody.”
My other favorite quote on this subject is from the great rock and roll singer Rick Nelson (if you don't know about Rick, look him up on Wikipedia) from his song 'Garden Party,' "you can't please everyone, so you got to please yourself."
Don't try to please everyone.
However, you do need more than an audience of one. Do show your idea to people you trust. Get their feedback. Show it to your mentors in the business (if you don't have one, get one) and get more feedback. Refine your idea. Your work really begins when you get in front of an audience. Arthur Fonzerelli was supposed to be a minor character in 'Happy Days,' --- Ron Howard's character, Richie Cunningham, was the star. But once Henry Winkler's Fonz became immensely popular, the show's creators changed their emphasis to take that into account. It's not compromising your dream to shape your work so the audience can enjoy it -- it's why we create.
So ignore the minority that won't enjoy your idea --- they have plenty of other entertainment options to choose. Be happy about the audience that does respond, and for whom you shaped your work.
No matter how successful and popular your idea becomes, there will always be someone who doesn't like it. Some groups tried to remove Harry Potter books from school libraries. Over 50% of Americans watch the Super Bowl every year - but that means over 40% do not. Shakespeare had his critics; so did Michelangelo. Van Gogh only sold one painting during his lifetime. If that happened to them, I can guarantee that not everyone will like your work.
Don't worry about it.
Bill Cosby once said, "I don't know the key to success, but the key to failure is trying to please everybody.”
My other favorite quote on this subject is from the great rock and roll singer Rick Nelson (if you don't know about Rick, look him up on Wikipedia) from his song 'Garden Party,' "you can't please everyone, so you got to please yourself."
Don't try to please everyone.
However, you do need more than an audience of one. Do show your idea to people you trust. Get their feedback. Show it to your mentors in the business (if you don't have one, get one) and get more feedback. Refine your idea. Your work really begins when you get in front of an audience. Arthur Fonzerelli was supposed to be a minor character in 'Happy Days,' --- Ron Howard's character, Richie Cunningham, was the star. But once Henry Winkler's Fonz became immensely popular, the show's creators changed their emphasis to take that into account. It's not compromising your dream to shape your work so the audience can enjoy it -- it's why we create.
So ignore the minority that won't enjoy your idea --- they have plenty of other entertainment options to choose. Be happy about the audience that does respond, and for whom you shaped your work.
Tuesday, June 22, 2010
Hot in Cleveland
I read the glowing reviews for "Hot in Cleveland," TV Land's first sitcom, but I didn't want to watch it. Why would I, an American male during the week of the World Cup, the U.S. Open, the NBA finals, and the grand opening of Harry Potter World, want to watch a sitcom about three middle aged women in Cleveland?
However, I was visiting my 80 year-old parents, who were determined to record the show for future viewing. They way their home entertainment is configured, that meant "Hot in Cleveland" was the only show I could watch while it was taping. So I did. And I loved it!
The humor was defiantly not cutting edge -- almost every joke compared life in Cleveland to life in Los Angeles. A typical joke had the three women walking into a bar, marveling at people eating and not feeling guilty. The three seasoned sitcom stars -- Valerie Bertinelli, Jane Leeves, and Wendy Malick, knew how to wring every ounce of humor from each line. Betty White, star of Saturday Night Live and several commercials, practically stole the show from them playing the elderly caretaker of the house they rent. The show is a classic example of how sitcoms should work, and did work in their glory days.
I give you this glowing review not just to urge you to watch the show, but to use this lessons for your own work. As I've said before -- it's not the idea, it's the execution of the idea that counts. In lesser hands, this material might seem shrill and desperate rather than funny. Also, good acting and directing can make ordinary material great, and great material unforgettable. Never underestimate the value of great interpretive artists.
Finally, don't just follow the trend. "Hot in Cleveland" is a traditional, straightforward sitcom, and may just become the hottest show of the summer. A well done decent idea is better than a poorly executed trendy idea every time.
However, I was visiting my 80 year-old parents, who were determined to record the show for future viewing. They way their home entertainment is configured, that meant "Hot in Cleveland" was the only show I could watch while it was taping. So I did. And I loved it!
The humor was defiantly not cutting edge -- almost every joke compared life in Cleveland to life in Los Angeles. A typical joke had the three women walking into a bar, marveling at people eating and not feeling guilty. The three seasoned sitcom stars -- Valerie Bertinelli, Jane Leeves, and Wendy Malick, knew how to wring every ounce of humor from each line. Betty White, star of Saturday Night Live and several commercials, practically stole the show from them playing the elderly caretaker of the house they rent. The show is a classic example of how sitcoms should work, and did work in their glory days.
I give you this glowing review not just to urge you to watch the show, but to use this lessons for your own work. As I've said before -- it's not the idea, it's the execution of the idea that counts. In lesser hands, this material might seem shrill and desperate rather than funny. Also, good acting and directing can make ordinary material great, and great material unforgettable. Never underestimate the value of great interpretive artists.
Finally, don't just follow the trend. "Hot in Cleveland" is a traditional, straightforward sitcom, and may just become the hottest show of the summer. A well done decent idea is better than a poorly executed trendy idea every time.
Wednesday, June 16, 2010
Is Traditional Media Dying?
I was cleaning out a box in my garage the other day and found an address book. Some of you may remember them -- I wrote down my friends' and families phone numbers and addresses in an address book. I memorized the phone numbers of my closest friends.
Of course today, my cell phone remembers those numbers for me. I no longer need my address book. But I still need a phone.
I think about this when I hear that traditional media has no future. Talking pictures were supposed to kill theatre. Television was supposed to eliminate movies. The internet is supposed to eliminate television. Of course, theatre, film, and television still exist and are going pretty strong. While it's true that single television networks no longer dominate viewing like they did in the days when there were only three broadcast networks, the research I've seen shows that overall television viewing is rising.
Of course people are now viewing their picturs on other devices than the traditional television set -- they're watching on computers, cell phones, and other mobile devices. They're surfing the internet to watch youtube and other sites. Some youtube videos and even twitter feeds are moving to traditional television.
We are not seeing the death of traditional media in my opinion. We're in the midst of a great cross pollinating change that will soon give birth to a new type of media that will exist alongside our traditional media. However this manifests itself, there will still be a need for compelling stories, great video, and sharp writing. While you're creating your ideas, concentrate on creating great stories first. The story will tell you the best medium to use for it, whether it's a movie, tv show, or twitter feed.
Maybe you'll even write a book.
Of course today, my cell phone remembers those numbers for me. I no longer need my address book. But I still need a phone.
I think about this when I hear that traditional media has no future. Talking pictures were supposed to kill theatre. Television was supposed to eliminate movies. The internet is supposed to eliminate television. Of course, theatre, film, and television still exist and are going pretty strong. While it's true that single television networks no longer dominate viewing like they did in the days when there were only three broadcast networks, the research I've seen shows that overall television viewing is rising.
Of course people are now viewing their picturs on other devices than the traditional television set -- they're watching on computers, cell phones, and other mobile devices. They're surfing the internet to watch youtube and other sites. Some youtube videos and even twitter feeds are moving to traditional television.
We are not seeing the death of traditional media in my opinion. We're in the midst of a great cross pollinating change that will soon give birth to a new type of media that will exist alongside our traditional media. However this manifests itself, there will still be a need for compelling stories, great video, and sharp writing. While you're creating your ideas, concentrate on creating great stories first. The story will tell you the best medium to use for it, whether it's a movie, tv show, or twitter feed.
Maybe you'll even write a book.
Monday, June 14, 2010
Should I pay someone to read my work?
Some legitimate distribution companies and literary agents do charge a 'reading fee' to look at your idea. This is not paying for representation -- this is paying for a critique. Some writer's conferences will have some agents and publishers available for individual critiques -- at an additional price.
Will you benefit from doing this? It depends upon your other options to get professional critiques. For example, many community colleges have writing, film and television classes available to the public. They are usually taught by professionals. You can work on your craft and idea while getting regular critiques. You also might know someone who works in the entertainment business, and is willing to review your work
Don't think that the agent or producer you're paying for a professional read will buy your work. Remember from my previous posts that it's not the idea, it's the execution of the idea that's important. If you don't have a track record of creating successful shows, there will always be a question about your ability to execute the idea. If you do have a track record, they will pay you to option your work.
In general, I'm not in favor of paying any company to review your work. However, in some specific instances it may have value. Make sure you're working with legitimate companies; avoid ads in the back of writer's magazines. Think of this critique as paying for some one-on-one tutoring, and make your decision based on whether or not you think the tuition fee is worth what you'll learn.
You may be better off just bringing your ideas directly to the public, instead of going through the gatekeeper media companies. I will write more about that next post.
Will you benefit from doing this? It depends upon your other options to get professional critiques. For example, many community colleges have writing, film and television classes available to the public. They are usually taught by professionals. You can work on your craft and idea while getting regular critiques. You also might know someone who works in the entertainment business, and is willing to review your work
Don't think that the agent or producer you're paying for a professional read will buy your work. Remember from my previous posts that it's not the idea, it's the execution of the idea that's important. If you don't have a track record of creating successful shows, there will always be a question about your ability to execute the idea. If you do have a track record, they will pay you to option your work.
In general, I'm not in favor of paying any company to review your work. However, in some specific instances it may have value. Make sure you're working with legitimate companies; avoid ads in the back of writer's magazines. Think of this critique as paying for some one-on-one tutoring, and make your decision based on whether or not you think the tuition fee is worth what you'll learn.
You may be better off just bringing your ideas directly to the public, instead of going through the gatekeeper media companies. I will write more about that next post.
Sunday, June 13, 2010
Should I Pay Someone to Represent Me?
No.
Agents and managers you want to represent you should work for a percentage of the income they generate for you. Anyone that wants to get paid up front doesn't really think you will generate enough income for them.
Don't pay someone to be your agent. However, you should expect to pay for services such as head shots, web design, graphics, duplicating, etc. I advise you to pay for the best work you can afford. Don't rely on friends and family who offer to help you for free, unless those friends already are professional photographers or designers. It's important that you and your work look as professional as possible.
If you've never written screenplays or treatments before, you can benefit from paying to take a screenplay writing class. You will learn the proper formats, and the critiques of the teacher and fellow students may improve your work. Just being around other people who have similar aspirations can be inspirational.
If you're not in a writer's group, you should join one. Even if the group isn't working in your specific genre of program, the act of critiquing other people and getting feedback on your work will help you learn to better refine your idea. It's also good practice for those times you will discuss your work with network executives and other people who might want to license it.
Agents and managers you want to represent you should work for a percentage of the income they generate for you. Anyone that wants to get paid up front doesn't really think you will generate enough income for them.
Don't pay someone to be your agent. However, you should expect to pay for services such as head shots, web design, graphics, duplicating, etc. I advise you to pay for the best work you can afford. Don't rely on friends and family who offer to help you for free, unless those friends already are professional photographers or designers. It's important that you and your work look as professional as possible.
If you've never written screenplays or treatments before, you can benefit from paying to take a screenplay writing class. You will learn the proper formats, and the critiques of the teacher and fellow students may improve your work. Just being around other people who have similar aspirations can be inspirational.
If you're not in a writer's group, you should join one. Even if the group isn't working in your specific genre of program, the act of critiquing other people and getting feedback on your work will help you learn to better refine your idea. It's also good practice for those times you will discuss your work with network executives and other people who might want to license it.
Thursday, June 10, 2010
Story 2: High Stakes
Why are there so many television shows about cops and doctors? Because both professions encounter life and death situations every day. The key to creating compelling drama is to keep the stakes high for your characters.
JK Rowling has become one of the wealthiest writers in the world thanks to the Harry Potter series. She created a believable world of wizards living alongside our 'muggle' world, complete with its own sports (Quidditch), school system (Hogwarts) and government (Ministry of Magic). She then places her compelling characters in life and death situations, fighting to preserve their world against ultimate evil. Some of them die. Her ability to create a world draws us in, but the high stakes her characters fight for keep us there.
High stakes are important for both scripted and documentary/reality shows. On American Idol, it's the chance to live your dreams and have a career as a singer. On The Biggest Loser, it's literally a chance to save your life by losing weight.
Thank about your own idea. What will change for your characters if they succeed? Are the stakes high? If their lives won't transform, rethink your idea. Make the story important for your characters to make it compelling for the audience.
JK Rowling has become one of the wealthiest writers in the world thanks to the Harry Potter series. She created a believable world of wizards living alongside our 'muggle' world, complete with its own sports (Quidditch), school system (Hogwarts) and government (Ministry of Magic). She then places her compelling characters in life and death situations, fighting to preserve their world against ultimate evil. Some of them die. Her ability to create a world draws us in, but the high stakes her characters fight for keep us there.
High stakes are important for both scripted and documentary/reality shows. On American Idol, it's the chance to live your dreams and have a career as a singer. On The Biggest Loser, it's literally a chance to save your life by losing weight.
Thank about your own idea. What will change for your characters if they succeed? Are the stakes high? If their lives won't transform, rethink your idea. Make the story important for your characters to make it compelling for the audience.
Sunday, June 6, 2010
Stick to it
If you're going to live a life creating programs, stories, poems, or any kind of art, you must learn to overcome rejection. There are as many stories about artists starving as there are artists -- the ranks of restaurant workers are filled with young (and not-so-young)people making money while waiting for their big break. You probably know someone in this situation today; I certainly do.
Great ideas and talented people are rejected every day by the established media. Every record company in the UK passed on the Beatles, until George Martin at Decca decided to give them an audition. Every network passed on the Cosby Show, until NBC finally agreed to give it a shot. Robert Redford starred in both movies and theatre in the early 1960s, but almost didn't get the part of the Sundance Kid -- reportedly one studio executive said of Redford, "he's just another California blonde. Throw a stick at Malibu and you'll hit 50 of them." The film's producer and director believed in Redford, and gave him the part that launched him to superstardom.
You, too, need to persevere. Your ideas and art are likely to be rejected by most major companies, and even friends and family -- at first. If you believe in your idea, and your talent, you owe it to yourself to keep going. Find a way to create your vision. If you've been reading this blog regularly, you've received several suggestions for how to make that happen. You'll get more in the future. But all the advice in the world won't help if you won't get to work realizing your vision. Do something today that moves your idea forward.
After all, how do you want to be remembered? As the creator of your program, or as someone who had a great idea but did nothing with it?
Great ideas and talented people are rejected every day by the established media. Every record company in the UK passed on the Beatles, until George Martin at Decca decided to give them an audition. Every network passed on the Cosby Show, until NBC finally agreed to give it a shot. Robert Redford starred in both movies and theatre in the early 1960s, but almost didn't get the part of the Sundance Kid -- reportedly one studio executive said of Redford, "he's just another California blonde. Throw a stick at Malibu and you'll hit 50 of them." The film's producer and director believed in Redford, and gave him the part that launched him to superstardom.
You, too, need to persevere. Your ideas and art are likely to be rejected by most major companies, and even friends and family -- at first. If you believe in your idea, and your talent, you owe it to yourself to keep going. Find a way to create your vision. If you've been reading this blog regularly, you've received several suggestions for how to make that happen. You'll get more in the future. But all the advice in the world won't help if you won't get to work realizing your vision. Do something today that moves your idea forward.
After all, how do you want to be remembered? As the creator of your program, or as someone who had a great idea but did nothing with it?
Wednesday, May 26, 2010
Leverage
This is not a post about the TNT series -- although I personally like it and am glad to see Tim Hutton acting again. This is about the leverage you have in your negotiation with a network, movie company, music company, or any corporate entity who wants to buy your property.
The specifics of the negotiation can get very detailed -- you will grant rights to your property in a specific number of territories and mediums. For example,if you are the author of a novel, you can sell the film rights to one company, the television rights to another, and the stage adaptation rights to someone else. A friend of mine just licensed the right to create a stage version of his screenplay to a company in Italy. He licensed them only the rights to Italy. If the stage version is a hit he can then license the rights to different producers in different countries. This could result in a much larger income for him than if he licensed worldwide stage rights to one company.
Of course someone needs to negotiate these deals. Now you know what keeps agents and managers busy.
After you get past the specifics of what you're selling, negotiations for intellectual property hinge on leverage: How much does the buyer want what you have; are other companies bidding, and how desperate are you to sell? The less desperate you are, and the more they want your idea, the better your chance of getting top dollar.
If you're negotiating with any established media company it's important to work with an experienced professional who understands the business (see my post from 3/3 about using an entertainment attorney). The top producers, stars and writers get the advice of the best agents and lawyers available. You spent too much time on your idea to allow it to go for less than market value, or entrust it to someone who won't treat it with care.
Of course, if you don't have a track record in the industry and you only have one buyer you may have to take what you can get. The Beatles first record deal gave them the industry minimuum for royalties. They were happy to get it. They did better in subsequent negotiations, after selling millions of hit records.
The specifics of the negotiation can get very detailed -- you will grant rights to your property in a specific number of territories and mediums. For example,if you are the author of a novel, you can sell the film rights to one company, the television rights to another, and the stage adaptation rights to someone else. A friend of mine just licensed the right to create a stage version of his screenplay to a company in Italy. He licensed them only the rights to Italy. If the stage version is a hit he can then license the rights to different producers in different countries. This could result in a much larger income for him than if he licensed worldwide stage rights to one company.
Of course someone needs to negotiate these deals. Now you know what keeps agents and managers busy.
After you get past the specifics of what you're selling, negotiations for intellectual property hinge on leverage: How much does the buyer want what you have; are other companies bidding, and how desperate are you to sell? The less desperate you are, and the more they want your idea, the better your chance of getting top dollar.
If you're negotiating with any established media company it's important to work with an experienced professional who understands the business (see my post from 3/3 about using an entertainment attorney). The top producers, stars and writers get the advice of the best agents and lawyers available. You spent too much time on your idea to allow it to go for less than market value, or entrust it to someone who won't treat it with care.
Of course, if you don't have a track record in the industry and you only have one buyer you may have to take what you can get. The Beatles first record deal gave them the industry minimuum for royalties. They were happy to get it. They did better in subsequent negotiations, after selling millions of hit records.
Monday, May 24, 2010
Work for Hire
In the days when three broadcast networks ruled the U.S. television market, the financial model for programming was this: networks licensed programs from independent production companies for an amount that generally allowed the networks two plays per season per show. The license fee generally did not cover the production company's costs. Instead, the company retained the rights to syndicate, or sell the program, to other entities -- the network affiliates and independent stations that actually played the network's programs and foreign broadcasters. They could make enough money from selling the syndication rights to a network hit that production companies could afford to deficit spend on network series.
Those were the days -- the days of lavish executive dining rooms and corporate art collections in the New York skyscrapers that headquartered the Big Three networks. Some production companies still have this kind of agreement with networks -- it depends upon their leverage (see previous post). However, networks like Discovery, which already have channels around the world, see the advantage of owning the content they show. Therefore they are purchasing all the rights to shows outright -- paying production companies to produce work for hire.
In a work for hire situation, you create a program for a fee and the network or film company owns all the rights. If you are running a production company, it may be a good deal for you to accept steady work at a rate that covers your costs, plus a profit in exchange for all rights to your work. That's particularly true if the network brings the idea to you first.
However, if you have an idea that you have nurtured from conception and want to retain creative control, then you should not agree to create the show as work for hire. You will want control over rights, and a say in how the production looks. Of course, this might mean that the network will pass on your idea. You have to be prepared for that to happen if you want to retain control. If your idea and its execution are strong enough to attract an audience, you will find a network that will agree to your terms.
Make sure you know before you sign a contract whether your program will be work for hire or whether you will retain rights. Make sure the rights are spelled out clearly in the contract -- don't rely on any verbal assurances. As Samuel Goldwyn famously said, "a verbal contract is not worth the paper it's written on."
There's nothing wrong with doing work for hire. Just be sure you know what you're agreeing to do before you sign anything.
Those were the days -- the days of lavish executive dining rooms and corporate art collections in the New York skyscrapers that headquartered the Big Three networks. Some production companies still have this kind of agreement with networks -- it depends upon their leverage (see previous post). However, networks like Discovery, which already have channels around the world, see the advantage of owning the content they show. Therefore they are purchasing all the rights to shows outright -- paying production companies to produce work for hire.
In a work for hire situation, you create a program for a fee and the network or film company owns all the rights. If you are running a production company, it may be a good deal for you to accept steady work at a rate that covers your costs, plus a profit in exchange for all rights to your work. That's particularly true if the network brings the idea to you first.
However, if you have an idea that you have nurtured from conception and want to retain creative control, then you should not agree to create the show as work for hire. You will want control over rights, and a say in how the production looks. Of course, this might mean that the network will pass on your idea. You have to be prepared for that to happen if you want to retain control. If your idea and its execution are strong enough to attract an audience, you will find a network that will agree to your terms.
Make sure you know before you sign a contract whether your program will be work for hire or whether you will retain rights. Make sure the rights are spelled out clearly in the contract -- don't rely on any verbal assurances. As Samuel Goldwyn famously said, "a verbal contract is not worth the paper it's written on."
There's nothing wrong with doing work for hire. Just be sure you know what you're agreeing to do before you sign anything.
Wednesday, May 19, 2010
From Twitter to TV
In today's New York Times I read the story of Justin Halpern, whose twitter feed, "S*** my Dad Says", will become a sitcom on CBS' fall schedule. There's a lot we can learn from Justin's story.
Justin was an aspiring screenwriter who moved back home to San Diego in his late twenties after his screenplay did not become a movie. Although he had a job writing for maxim.com, his dream of making it in Hollywood was dead. While living at home he started writing down his father's words of wisdom and posting them on Twitter (119 posts so far). His dad's witty and sometimes profane thoughts became very popular, and eventually a production company came calling.
Justin's story shows the extraordinary opportunity you have to get your idea directly to the audience. Twitter, Facebook, you tube, and other web outlets give you the chance to tell your story. If your work strikes a chord out there, you may be able to move it to the more traditional media that can pay you significant money for it.
Here are two lessons from Justin's story that are particularly important for you. First, create something. If Justin hadn't written down his father's words in the first place, nothing would have happened. Don't wait for everything to be perfect: just get going.
Second, create for multiple platforms. S*** my Dad Says" is a twitter idea that became a tv sitcom. Do you have a movie idea that can also be a novel? Try writing the novel first. Perhaps you'll find a publisher, but you can also self-publish. If you have a popular novel, the film and television rights will pay you more.
Whatever you're creating, get started today. Moving from conception to creation to publication can take months or years. The sooner you start, the sooner you'll get done.
You can link to the NY Times article at: http://www.nytimes.com/2010/05/19/arts/television/19shatner.html?ref=arts
Justin was an aspiring screenwriter who moved back home to San Diego in his late twenties after his screenplay did not become a movie. Although he had a job writing for maxim.com, his dream of making it in Hollywood was dead. While living at home he started writing down his father's words of wisdom and posting them on Twitter (119 posts so far). His dad's witty and sometimes profane thoughts became very popular, and eventually a production company came calling.
Justin's story shows the extraordinary opportunity you have to get your idea directly to the audience. Twitter, Facebook, you tube, and other web outlets give you the chance to tell your story. If your work strikes a chord out there, you may be able to move it to the more traditional media that can pay you significant money for it.
Here are two lessons from Justin's story that are particularly important for you. First, create something. If Justin hadn't written down his father's words in the first place, nothing would have happened. Don't wait for everything to be perfect: just get going.
Second, create for multiple platforms. S*** my Dad Says" is a twitter idea that became a tv sitcom. Do you have a movie idea that can also be a novel? Try writing the novel first. Perhaps you'll find a publisher, but you can also self-publish. If you have a popular novel, the film and television rights will pay you more.
Whatever you're creating, get started today. Moving from conception to creation to publication can take months or years. The sooner you start, the sooner you'll get done.
You can link to the NY Times article at: http://www.nytimes.com/2010/05/19/arts/television/19shatner.html?ref=arts
Thursday, May 13, 2010
What Rights Should I Sell?
Last week (May 4) I provided some basic copyright information. Let's assume that you've developed your original idea to the point where a television network or some other entity wants to buy it. What rights should you license?
The buyer will want as many rights as possible for as little money as possible. For example when I licensed shows I started by requesting all rights in all media in perpetuity. As a seller, your goal is to get the network to pay as much as possible for each right, and reserve as many rights as possible for yourself. The outcome of your negotiations will depend upon the relative strengths of your positions -- how much the buyer wants your idea, and how desperate you are to sell. Knowing the rights you have available to sell is the key to maximizing the value of your content.
For the sake of this post, we'll assume you have a television idea. The first thing you want to negotiate is territory. Are you selling U.S. rights only, or U.S. and Canada? What about Asia? Don't ever just throw in worldwide rights to the program. There can be great value in that. The British producers of the show 'Pop Idol' make a great deal of money selling the rights to that show around the world. You know it in the U.S. as 'American Idol.' They would have left a fortune on the table if they licensed worldwide rights to the first network that asked.
Networks will also want the right to use footage on the internet. They may even ask for the right to post the show on their web site, or on a content aggregator like Hulu. If they want the right to use your program on the web, they should compensate you for it.
Make sure you have a plan to exploit any rights you do retain. If you have no plans to put your show on the internet, there's no harm licensing those rights to your buyer. Just make sure you're getting fair value for them. Remember in an earlier post I reminded you that 2% of something is better than 100% of nothing.
There are other rights to negotiate in addition to internet and territory. I will discuss them in an upcoming post.
The buyer will want as many rights as possible for as little money as possible. For example when I licensed shows I started by requesting all rights in all media in perpetuity. As a seller, your goal is to get the network to pay as much as possible for each right, and reserve as many rights as possible for yourself. The outcome of your negotiations will depend upon the relative strengths of your positions -- how much the buyer wants your idea, and how desperate you are to sell. Knowing the rights you have available to sell is the key to maximizing the value of your content.
For the sake of this post, we'll assume you have a television idea. The first thing you want to negotiate is territory. Are you selling U.S. rights only, or U.S. and Canada? What about Asia? Don't ever just throw in worldwide rights to the program. There can be great value in that. The British producers of the show 'Pop Idol' make a great deal of money selling the rights to that show around the world. You know it in the U.S. as 'American Idol.' They would have left a fortune on the table if they licensed worldwide rights to the first network that asked.
Networks will also want the right to use footage on the internet. They may even ask for the right to post the show on their web site, or on a content aggregator like Hulu. If they want the right to use your program on the web, they should compensate you for it.
Make sure you have a plan to exploit any rights you do retain. If you have no plans to put your show on the internet, there's no harm licensing those rights to your buyer. Just make sure you're getting fair value for them. Remember in an earlier post I reminded you that 2% of something is better than 100% of nothing.
There are other rights to negotiate in addition to internet and territory. I will discuss them in an upcoming post.
Saturday, May 8, 2010
Get Good Feedback
You don't create and develop program ideas for yourself. You want to reach an audience: either on line, in movie theaters, or at home. Therefore you must develop your idea with the audience in mind. That may seem obvious, but not every creative person grasps that.
When I was a theatre director, I received feedback from everyone that watched rehearsals. But there was no substitute for putting the actors in front of a live audience. The audience's laughs told me what was funny (intentionally or unintentionally). When they were quiet (no coughs, sneezes, or shuffles) I knew they were riveted. And if they walked out, I knew we were losing them.
But what do you do if you're not directing live theatre? Find a small group of two or three trusted friends or colleagues that agree to take the time to review your work. They should be supportive, but even if they don't like your idea they should explain why. Someone who just says "that sucks," or even, "that's great!" without providing details won't help you.
Pay particular attention to the parts of your work when they say, "I'm not sure I understand why that character did that," or "I got lost here. I wasn't sure what was going on." That should be a red flag for you. It's important that the audience understand what is going on and believe the characters' motivation. That's true for reality shows as well as scripted entertainment. The story (as I mentioned in a recent post) is the most important thing.
Remember, that as the creator you have the ultimate say about what goes into your program. At least, I hope you negotiated that into your production deal. Thoughtful feedback will save you from going off track.
When I was a theatre director, I received feedback from everyone that watched rehearsals. But there was no substitute for putting the actors in front of a live audience. The audience's laughs told me what was funny (intentionally or unintentionally). When they were quiet (no coughs, sneezes, or shuffles) I knew they were riveted. And if they walked out, I knew we were losing them.
But what do you do if you're not directing live theatre? Find a small group of two or three trusted friends or colleagues that agree to take the time to review your work. They should be supportive, but even if they don't like your idea they should explain why. Someone who just says "that sucks," or even, "that's great!" without providing details won't help you.
Pay particular attention to the parts of your work when they say, "I'm not sure I understand why that character did that," or "I got lost here. I wasn't sure what was going on." That should be a red flag for you. It's important that the audience understand what is going on and believe the characters' motivation. That's true for reality shows as well as scripted entertainment. The story (as I mentioned in a recent post) is the most important thing.
Remember, that as the creator you have the ultimate say about what goes into your program. At least, I hope you negotiated that into your production deal. Thoughtful feedback will save you from going off track.
Tuesday, May 4, 2010
Copyright
Do you own the copyright to your idea? Do you know the difference between owning a copyright and owning the rights to your work? You should consult an attorney before signing anything regarding your work or idea. But you can save yourself time and money if you understand the basics.
"Copyright" is literally "the right to copy." If you are the copyright owner of a work (whether it is a story, book, play, song, or film) you have the sole right to make copies of the work, authorize adaptations, and also have the right to allow others to do so. No one can make copies without the copyright holders permission.
There are two key points. 1. You do not need to publish your idea. According to the U.S. copyright office, a "copyright is secured automatically when the work is created,and a work is “created when it is fixed in a copy or phonorecord for the first time." This means your idea can't be copyrighted when it's in your head, but can be once you write it down or record it, even if it has not been published.
2. You cannot copyright titles, short phrases, anything not fixed (for example, unrecorded improv comedy sketches) or ideas. So for your own protection, write your ideas down, or film them on your flip cam, or record them on CD.
It's a good idea to familiarize yourself with copyright basics. The U.S. Copyright office has a number of publications available online. Just go to: http://www.copyright.gov/ for more information.
At some point you may want to assign rights to your work to publishers, producers, or film or television companies so they can make your program. Know what rights you're giving them, for how long, and how much money they're paying. Do not assign or give away your copyright.
If you are successful in the business you may at some point be asked to create a show as a "work for hire." For example, if you're a staff producer at a network you probably do not own the copyright to your show, unless you negotiated that right in your contract. I will discuss that in a future post.
"Copyright" is literally "the right to copy." If you are the copyright owner of a work (whether it is a story, book, play, song, or film) you have the sole right to make copies of the work, authorize adaptations, and also have the right to allow others to do so. No one can make copies without the copyright holders permission.
There are two key points. 1. You do not need to publish your idea. According to the U.S. copyright office, a "copyright is secured automatically when the work is created,and a work is “created when it is fixed in a copy or phonorecord for the first time." This means your idea can't be copyrighted when it's in your head, but can be once you write it down or record it, even if it has not been published.
2. You cannot copyright titles, short phrases, anything not fixed (for example, unrecorded improv comedy sketches) or ideas. So for your own protection, write your ideas down, or film them on your flip cam, or record them on CD.
It's a good idea to familiarize yourself with copyright basics. The U.S. Copyright office has a number of publications available online. Just go to: http://www.copyright.gov/ for more information.
At some point you may want to assign rights to your work to publishers, producers, or film or television companies so they can make your program. Know what rights you're giving them, for how long, and how much money they're paying. Do not assign or give away your copyright.
If you are successful in the business you may at some point be asked to create a show as a "work for hire." For example, if you're a staff producer at a network you probably do not own the copyright to your show, unless you negotiated that right in your contract. I will discuss that in a future post.
Sunday, May 2, 2010
Story
Some of my readers asked me to provide more details about what makes a good story. The best definition of a good story that I ever read is on page 462 of Which Lie Did I Tell?, a book about screenwriting and the movie business written by Academy Award winning screenwriter, William Goldman.
"A good story is something with an interesting premise that builds logically to a satisfying and surprising conclusion."
Goldman's book mainly focuses on screenwriting, but this definition is true for all sorts of stories -- novels, television shows, webisodes, songs, everything. Goldman uses the example of the children's story "The Little Engine That Could." Aren't we all just rooting for that train to get those toys over the mountain?
The most popular programs on television have the most compelling stories. Despite what the judges say, American Idol is not the top rated show because it is a singing competition. it's a top show because it's a singing competition repackaged as Greek tragedy. A group of characters we know well are fighting for their lives (a singing career that would change their life) and surviving intervention by the gods: the judges with human foibles who also have the power of miraculous intervention on their behalf (the judges' save).
By the way, you could do worse than imitate the story lines from Greek tragedy. I wish all of our work would last as long as the plays of Sophocles, Aeschylus, and Euripides.
But we were talking about story. Develop the most compelling story possible for your idea. You want the audience wondering "what happens next?" The story matters much more than the particular platform the program is placed, or its genre.
"A good story is something with an interesting premise that builds logically to a satisfying and surprising conclusion."
Goldman's book mainly focuses on screenwriting, but this definition is true for all sorts of stories -- novels, television shows, webisodes, songs, everything. Goldman uses the example of the children's story "The Little Engine That Could." Aren't we all just rooting for that train to get those toys over the mountain?
The most popular programs on television have the most compelling stories. Despite what the judges say, American Idol is not the top rated show because it is a singing competition. it's a top show because it's a singing competition repackaged as Greek tragedy. A group of characters we know well are fighting for their lives (a singing career that would change their life) and surviving intervention by the gods: the judges with human foibles who also have the power of miraculous intervention on their behalf (the judges' save).
By the way, you could do worse than imitate the story lines from Greek tragedy. I wish all of our work would last as long as the plays of Sophocles, Aeschylus, and Euripides.
But we were talking about story. Develop the most compelling story possible for your idea. You want the audience wondering "what happens next?" The story matters much more than the particular platform the program is placed, or its genre.
Wednesday, April 28, 2010
What's It About?
When I was younger I wanted more than anything to become a theater director. When Carnegie-Mellon accepted me to the oldest graduate program in the U.S., I was very proud and excited -- especially since I had applied to 8 other programs that didn't accept me! I eagerly anticipated my first directing class with Drama Chair and Tony-Award winning director (for The Two Gentlemen of Verona) Mel Shapiro.
In the first class, Mel told us the secret to becoming a good director. "The first thing," Mel said, is you have to know what the f*** the play is about." I had never heard a professor use that particular expletive in a class before, and I admit it distracted me from fully contemplating the beauty and simplicity of that statement. That's the first step, not only for directing, but for all story telling. You have to know what it's about, or it's easy to get lost and end up with a mess instead of a program.
Once a content company licenses your program, all of sudden you'll be working with an army of collaborators -- designers, actors, writers, producers, prop masters, location scouts, company executives, and others. You must be able to articulate to them what it's about, so that they don't set your story about oil fields in Oklahoma in Beverly Hills, or dress your set with modern furniture when the family in your story collects antiques.
It also guides you while you develop your idea. When you must write an extra scene because the teleplay is too short, or cut something because it's too long, remembering what it's about will help you write a scene that fits or make the cuts needed to enhance the story.
Remember that other people working on the project may make a decision based on their own narrow understanding of the story. For example, it's said that the actor who plays the small part of the psychiatrist in 'A Streetcar Named Desire' (he only appears in the last scene)was asked what the play was about. He said, "it's a play about a man who takes a woman off to the crazy house." He may have been right from his perspective, but you need to worry about the big picture.
Write what your project is about in simple, declarative sentences, and put it above the computer where you're writing. Keep it with you in your wallet so that when an idea strikes you can write it down while it's fresh and know if it fits your current project. Memorize it so you can tell others and observe their reaction. You must protect it to the death.
In the first class, Mel told us the secret to becoming a good director. "The first thing," Mel said, is you have to know what the f*** the play is about." I had never heard a professor use that particular expletive in a class before, and I admit it distracted me from fully contemplating the beauty and simplicity of that statement. That's the first step, not only for directing, but for all story telling. You have to know what it's about, or it's easy to get lost and end up with a mess instead of a program.
Once a content company licenses your program, all of sudden you'll be working with an army of collaborators -- designers, actors, writers, producers, prop masters, location scouts, company executives, and others. You must be able to articulate to them what it's about, so that they don't set your story about oil fields in Oklahoma in Beverly Hills, or dress your set with modern furniture when the family in your story collects antiques.
It also guides you while you develop your idea. When you must write an extra scene because the teleplay is too short, or cut something because it's too long, remembering what it's about will help you write a scene that fits or make the cuts needed to enhance the story.
Remember that other people working on the project may make a decision based on their own narrow understanding of the story. For example, it's said that the actor who plays the small part of the psychiatrist in 'A Streetcar Named Desire' (he only appears in the last scene)was asked what the play was about. He said, "it's a play about a man who takes a woman off to the crazy house." He may have been right from his perspective, but you need to worry about the big picture.
Write what your project is about in simple, declarative sentences, and put it above the computer where you're writing. Keep it with you in your wallet so that when an idea strikes you can write it down while it's fresh and know if it fits your current project. Memorize it so you can tell others and observe their reaction. You must protect it to the death.
Friday, April 23, 2010
Why Won't They Listen to My Idea?
I spoke recently with a colleague of mine who is the Executive Vice President of Programming for a major network. He tries not to tell people what he does for a living. Once people find out, they can't keep from pitching him stories. He's been on the receiving end of pitches from doormen, barbers, caddies, policemen, firemen, convenience store clerks, and dentists (try turning down your dentist's program idea when he's holding a drill!) among others. He says that his answer to the question, "Would you like to hear my idea for a show?" from anyone other than a professional is an emphatic "No!"
Why is that? Shouldn't he be on the lookout for the best stories and ideas, wherever they come from? It may surprise you to find out that most programming executives do not face a shortage of ideas -- they face a shortage of creative people who can make those ideas into compelling television shows.
That's why top producers can earn lavish amounts of money. They have proved they have the creative discipline to create quality programs every week or ten days, maintain that quality through all phases of show creation, and get the best work from their staff week after week of twelve hour days.
To make your program idea a success you must start cultivating your own creative discipline. Work on your idea every day. Develop your characters and situations in detail. Visualize how it will look on screen. You must act like a professional, if you want professionals to take you seriously. Otherwise programming executives like my friend will file your idea the same place they file the ideas they receive from all amateurs: the circular file under their desk.
Why is that? Shouldn't he be on the lookout for the best stories and ideas, wherever they come from? It may surprise you to find out that most programming executives do not face a shortage of ideas -- they face a shortage of creative people who can make those ideas into compelling television shows.
That's why top producers can earn lavish amounts of money. They have proved they have the creative discipline to create quality programs every week or ten days, maintain that quality through all phases of show creation, and get the best work from their staff week after week of twelve hour days.
To make your program idea a success you must start cultivating your own creative discipline. Work on your idea every day. Develop your characters and situations in detail. Visualize how it will look on screen. You must act like a professional, if you want professionals to take you seriously. Otherwise programming executives like my friend will file your idea the same place they file the ideas they receive from all amateurs: the circular file under their desk.
Wednesday, April 21, 2010
How to Win the Pulitzer Prize
Paul Harding won this year's Pulitzer Prize for Fiction for his novel Tinker, a 191 page story of a dying man and his relationship with his father in Maine. Harding, a 42 year-old former rock drummer started writing his novel when he was studying at the Iowa Writer's workshop. He took some years to write the book, and once he was done he submitted it to every major publisher -- and every major publisher rejected it!
He was told the story didn't move fast enough -- no car chases, or big romances, or action scenes. However, he didn't give up. Eventually Bellevue Literary Press, a small independent publisher affiliated with NYU Medical School, published the novel. Before the news about the Pulitzer Prize came out, it had sold 15,000 copies since January, 2009. The book had become a favorite amongst independent bookstore owners, and they recommended it to clients. Now, of course, it will sell more. (By the way, I found most of these facts from stories in USA Today and the New York Times). Harding now teaches at the Iowa Workshop, and recently won a Guggenheim fellowship. And he will have a much easier time selling his next novels.
But this is a programming blog. Why am I telling you this? Take a minute and think about it. Figure it out yet? Here's why -- Paul Harding is a lesson for all of us. He wrote the book he wanted to write. Clearly he wrote it well. His success came from sticking to his vision, and not changing it just to be commercial. If you've read my other posts, you know that what's commercial today may not be tomorrow -- but quality programming endures.
Secondly, the best advertising is good word of mouth. If you have a program or an idea that people recommend to their friends, you've got a great chance for success. You don't have to start with a splash. Start with a small ripple, and let your network build.
One final lesson: Paul Harding put in time over several years and finished his novel. He didn't win a prize for his idea of a novel. What are you doing to make your idea a reality?
He was told the story didn't move fast enough -- no car chases, or big romances, or action scenes. However, he didn't give up. Eventually Bellevue Literary Press, a small independent publisher affiliated with NYU Medical School, published the novel. Before the news about the Pulitzer Prize came out, it had sold 15,000 copies since January, 2009. The book had become a favorite amongst independent bookstore owners, and they recommended it to clients. Now, of course, it will sell more. (By the way, I found most of these facts from stories in USA Today and the New York Times). Harding now teaches at the Iowa Workshop, and recently won a Guggenheim fellowship. And he will have a much easier time selling his next novels.
But this is a programming blog. Why am I telling you this? Take a minute and think about it. Figure it out yet? Here's why -- Paul Harding is a lesson for all of us. He wrote the book he wanted to write. Clearly he wrote it well. His success came from sticking to his vision, and not changing it just to be commercial. If you've read my other posts, you know that what's commercial today may not be tomorrow -- but quality programming endures.
Secondly, the best advertising is good word of mouth. If you have a program or an idea that people recommend to their friends, you've got a great chance for success. You don't have to start with a splash. Start with a small ripple, and let your network build.
One final lesson: Paul Harding put in time over several years and finished his novel. He didn't win a prize for his idea of a novel. What are you doing to make your idea a reality?
Saturday, April 17, 2010
Middle School gets on Oprah; why can't you?
Let me tell you the story of how Ocoee Middle School here in Central Florida created a video that Oprah played on her show. After seeing the Black Eyed Peas 'Flash Mob' video of their song "I Gotta Feeling", the Middle School reading teacher decided to make her own video based on it to promote reading. They got permission from the Black Eyed Peas. The teachers wrote new lyrics and called it "Gotta Keep Reading." Full Sail, a local media training school, supplied the video equipment and editing services. A PE teacher created choreography, a music teacher sang the song and created a professional recording. With the support of the principal and administrative staff, the entire school turned out on the grounds in December, each holding their favorite book, and joined in the dance.
The video premiered at the school to much acclaim from the parents, and was posted on the school web site. The students loved it, and were inspired to double the number of books they read over last year. That's where it could have ended -- except that one of Oprah's researchers found the video on line. Last March Oprah aired the video on her show and interviewed the principal and reading teacher via satellite. In addition to garnering great publicity for the school, Oprah convinced some corporate donors to fund a new media center for the school!
This story should be inspiring and instructive for you as you create your own programs. Here are some things I'd like to point out:
1. They didn't wait for some big company to fund their idea. The faculty and staff went ahead and worked with the resources they had on hand.
2. They thought big. Maybe the Black Eyed Peas won't give you the right to their music for your idea, but you don't know until you ask.
3. They didn't wait for the distribution pipeline to work. They put their finished project on the web, where it went viral.
4. They kept true to the original vision throughout the creative process, and remained passionate about their project.
5. They did it for the right reasons -- they wanted to create something to inspire kids to read -- getting on Oprah was just an added benefit.
If a Middle School in Florida can do this, so can you.
The video premiered at the school to much acclaim from the parents, and was posted on the school web site. The students loved it, and were inspired to double the number of books they read over last year. That's where it could have ended -- except that one of Oprah's researchers found the video on line. Last March Oprah aired the video on her show and interviewed the principal and reading teacher via satellite. In addition to garnering great publicity for the school, Oprah convinced some corporate donors to fund a new media center for the school!
This story should be inspiring and instructive for you as you create your own programs. Here are some things I'd like to point out:
1. They didn't wait for some big company to fund their idea. The faculty and staff went ahead and worked with the resources they had on hand.
2. They thought big. Maybe the Black Eyed Peas won't give you the right to their music for your idea, but you don't know until you ask.
3. They didn't wait for the distribution pipeline to work. They put their finished project on the web, where it went viral.
4. They kept true to the original vision throughout the creative process, and remained passionate about their project.
5. They did it for the right reasons -- they wanted to create something to inspire kids to read -- getting on Oprah was just an added benefit.
If a Middle School in Florida can do this, so can you.
Wednesday, April 14, 2010
Make Contacts Friends
Have you ever looked a job description for Vice President of Program Development at a television network? Even if you don't want that job for yourself, you should know what they do. After all, you may someday be in that Vice President's office pitching your program idea.
You would see that one of the key requirements of the job is "good relationship with producers," or, "a good rolodex or contact list." Development executives are expected to know the best producers in the business and be able to leverage their relationship to bring the best shows to the network.
Last week I wrote that every contact counts. But making a contact is just the start. Follow up with your contacts. Let them know what you're doing. Ask them about themselves. Become a resource for them. Make your contact a friend.
Mark McCormack, the legendary founder of IMG, put it this way. "All things being equal, people prefer to buy from their friends. All things not being equal, people still prefer to buy from their friends."
This is important for you, and not just for business reasons. At the end of my favorite movie, It's a Wonderful Life, the angel Clarence leaves these words for George Bailey (played by Jimmy Stewart):
"No man is a failure who has friends."
There's great truth in that.
You would see that one of the key requirements of the job is "good relationship with producers," or, "a good rolodex or contact list." Development executives are expected to know the best producers in the business and be able to leverage their relationship to bring the best shows to the network.
Last week I wrote that every contact counts. But making a contact is just the start. Follow up with your contacts. Let them know what you're doing. Ask them about themselves. Become a resource for them. Make your contact a friend.
Mark McCormack, the legendary founder of IMG, put it this way. "All things being equal, people prefer to buy from their friends. All things not being equal, people still prefer to buy from their friends."
This is important for you, and not just for business reasons. At the end of my favorite movie, It's a Wonderful Life, the angel Clarence leaves these words for George Bailey (played by Jimmy Stewart):
"No man is a failure who has friends."
There's great truth in that.
Saturday, April 10, 2010
Can Books Help?
Recently I checked out the entertainment section in my local Barnes and Noble. I saw lots of books about how to write screenplays, several on how to break into the business as an actor, and a bunch about how to write songs. There were very few on how to produce your own film, and none on how to break into television programming.
One of the reasons I'm writing this blog is because there are no books on how to get into television programming. But the question before us today is: can the information in these books help you?
Certainly, if you've never written a screenplay before, a book that gives you the proper format and some basic information can help you. If all you've ever done is act in your school play, you should read a book about how the professional acting business works before getting on that bus to Hollywood.
However, there's no substitute for talking to people actually in the business. (See my previous post, 'Fish Where the Fish Are'). If your town or city is of any size, you probably have a production company (or several) located there. Go talk to them. Find out what they know, and what they think. They might even connect you to people they know in Los Angeles or New York.
Books can help you, but they have their limits. Your particular path to success may not follow the one laid out in the book. Make the information work for you.
I know it can be intimidating to call people cold. But you have to get over that, if you're going to make your program idea a property. The more you can learn from people currently working in the business, the better chance you will have for success.
Of course, continue to read this blog for regular information updates. Recommend it to your friends.
One of the reasons I'm writing this blog is because there are no books on how to get into television programming. But the question before us today is: can the information in these books help you?
Certainly, if you've never written a screenplay before, a book that gives you the proper format and some basic information can help you. If all you've ever done is act in your school play, you should read a book about how the professional acting business works before getting on that bus to Hollywood.
However, there's no substitute for talking to people actually in the business. (See my previous post, 'Fish Where the Fish Are'). If your town or city is of any size, you probably have a production company (or several) located there. Go talk to them. Find out what they know, and what they think. They might even connect you to people they know in Los Angeles or New York.
Books can help you, but they have their limits. Your particular path to success may not follow the one laid out in the book. Make the information work for you.
I know it can be intimidating to call people cold. But you have to get over that, if you're going to make your program idea a property. The more you can learn from people currently working in the business, the better chance you will have for success.
Of course, continue to read this blog for regular information updates. Recommend it to your friends.
Wednesday, April 7, 2010
Every Contact Counts
Every time I speak to someone in the entertainment business I am reminded of the words of that great philosopher Ed Norton -- no, not the actor -- Ralph Kramden's downstairs neighbor on 'The Honeymooners'. Ed, played by the great Art Carney, was a New York City sewer worker. Ed often repeated a piece of advice he heard from one of his mentors -- "Be nice to the people you work with in the sewers. You're going to meet the same people going down as you do going up."
That's good advice for you when you're trying to get your program idea heard. Every person you speak with is a potential contact. Your dry cleaner might have a cousin who works for Warner Brothers, or your son's teacher might have a friend who went to Hollywood. That's why it's important to make every interaction with people a positive one. Remember to tell them you have a great program idea. People can't help you if they don't know.
Of course we are all human and not every contact will be positive. Give yourself a break if one or two contacts don't work out. But your overall average will be better if you remember that every contact counts.
What's true in your everyday life is particularly true once you get to meet the executives at a television or film company. Be nice and positive to the security guards, receptionist, and assistants also. If they're interested in your idea, the executives may ask their employee's opinion. You want them to like you and become your advocate inside the company. And you never know; one of them may end up running the studio some day.
That's good advice for you when you're trying to get your program idea heard. Every person you speak with is a potential contact. Your dry cleaner might have a cousin who works for Warner Brothers, or your son's teacher might have a friend who went to Hollywood. That's why it's important to make every interaction with people a positive one. Remember to tell them you have a great program idea. People can't help you if they don't know.
Of course we are all human and not every contact will be positive. Give yourself a break if one or two contacts don't work out. But your overall average will be better if you remember that every contact counts.
What's true in your everyday life is particularly true once you get to meet the executives at a television or film company. Be nice and positive to the security guards, receptionist, and assistants also. If they're interested in your idea, the executives may ask their employee's opinion. You want them to like you and become your advocate inside the company. And you never know; one of them may end up running the studio some day.
Friday, April 2, 2010
People Respond to Passion
Before starting this post I want to thank those of you who are now following me regularly. In honor of your interest, I am starting this week to post two new pieces instead of one. This is the second piece for this week. Feel free to e-mail me back questions or comments.
What gets you excited? I bet that you have a hobby, a sport, a craft, a book, a movie, or a television show that you love. You spend a lot of time in activities related to it -- you speak enthusiastically about it to others, and your family either enjoys it too or is sick of you bringing it up all the time.
It doesn't matter what it is -- it could be anything from riding mountain bikes to hook latching rugs -- but chances are there are several other people who share your passion. You probably know many of them.
Why not make a program about it?
People respond to passion. Your audience will only get excited about your program if you care. Your passion will sustain you through the long development process, pitches, and rejection by various studios. The entertainment world is full of examples of shows people created because they have a passion for something that everyone wrote off. Until 'Antique Roadshow' became a hit who thought a show about stuff in people's attics would make sense? Now there are imitators on every home and lifestyle channel. No one thought shows about re-doing rooms would work until 'Trading Spaces.' I had the personal experience of running the Golf Channel's programming at launch. Many people thought it would never work, but we pursued our passion and became a worldwide success.
Of course, if you want a network or movie studio to buy your idea you still must put it in a professional package. You should have learned something about how to do that through this blog, and I'll be writing more about it in the future.
For now, start with your passion. Turn your passion into a property.
What gets you excited? I bet that you have a hobby, a sport, a craft, a book, a movie, or a television show that you love. You spend a lot of time in activities related to it -- you speak enthusiastically about it to others, and your family either enjoys it too or is sick of you bringing it up all the time.
It doesn't matter what it is -- it could be anything from riding mountain bikes to hook latching rugs -- but chances are there are several other people who share your passion. You probably know many of them.
Why not make a program about it?
People respond to passion. Your audience will only get excited about your program if you care. Your passion will sustain you through the long development process, pitches, and rejection by various studios. The entertainment world is full of examples of shows people created because they have a passion for something that everyone wrote off. Until 'Antique Roadshow' became a hit who thought a show about stuff in people's attics would make sense? Now there are imitators on every home and lifestyle channel. No one thought shows about re-doing rooms would work until 'Trading Spaces.' I had the personal experience of running the Golf Channel's programming at launch. Many people thought it would never work, but we pursued our passion and became a worldwide success.
Of course, if you want a network or movie studio to buy your idea you still must put it in a professional package. You should have learned something about how to do that through this blog, and I'll be writing more about it in the future.
For now, start with your passion. Turn your passion into a property.
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