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.
Sunday, June 27, 2010
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?
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