Issue 96
April 8th, 2022
John put out a call on Twitter for advice about joining the staff of an existing TV show. We picked some highlights for this week's newsletter!
Ashley Nicole Black (@ashleyn1cole)
Watch/read every episode. Make a friend in the room early so you have someone to ask about social dynamics. [A mid level person who knows what’s up, but isn’t a boss, and seems not annoyed by questions.] Arm yourself with some pitches for side characters, folks are less precious about them so you’re more likely to get some early success there. Don’t wait too long to talk!
Beth Schacter (@bethshax)
Watch every episode with the script in front of you to see how they accomplish the final product.
Pitch for the show you’re on, not the show you think it could be.
Identify character dynamics that are established, and pitch story based on those.
BTW a new writer who comes in curious, with a great attitude, and is willing to pitch a solution/eager to help out anyone in the room land their pitch has bought themselves at least a month of runway from me.
Bo Yeon Kim (@extspace)
OH MAN, just came across my first notebook from my first ever staffing gig. I was so freaking determined to be a good staff writer that I had written these reminders inside the cover of the notebook. They are all things I had learned from TV panels and fellowships!
Liz Hannah (@itslizhannah)
I would encourage them to talk to reach out to other writers on staff/other writers who have worked with the showrunner before. And obviously watch the previous seasons… which shouldn’t be something to remind people of but you would be surprised!
Dave Metzger (@DaveMetzger)
If it’s your first room, I think a good rule of thumb is: for a while, say one thing a day. So if you’re about to speak up, ask yourself, “is this so good it should be my one thing for today?”
Best to take only a few shots but make sure everything you say is good. (The metric for good isn’t necessarily “makes it on the board,” just “paying attention and thoughtful.”)
Jay Faerber (@JayFaerber)
Study the show. Watch episodes AND read scripts. Try to figure out the “voice” of the show, not just in how characters speak, but literally how the showrunner writes. Are their scene descriptions terse or more flowery? It’s your job to adapt to their approach.
I joined my last two shows mid-stream and in both cases the showrunner asked the script coordinator to give the new hires the previous seasons’ scripts. If that hadn’t happened, I would’ve asked the script coordinator.
Adrian Alex Cruz (@dumbshow327)
Watch & break down pilot. Ask coordinator for copies of all final scripts from previous seasons. Watch/read interviews with showrunner for this show & others. Keep a notebook at your side for all of it. Keep note especially of character dynamics and parallels with your own life/experience.
Noah Evelin (@nevslin)
Depends on how many seasons. I once started on a show with over 250 past episodes. I watched all of S1, S2 and the final season. I then googled “fan favorite episodes” and watched all those and all the episodes the showrunners wrote. I then came prepared with 10 episode pitches.
I then tried to watch an episode a day while on staff. One of the best things I did to learn the voice of the characters, was to spend an hour a day listening to the dailies. You pick up on the cast’s rhythms as they do lines over and over again. You also see what doesn’t work.
You honestly learn so much. The actors would grumble quietly about lines they didn’t like, scenes, whatever.
Nancy Kiu (@nancy_kiu)
From a writing perspective, one way to get into the rhythm of a show & hone in on its voice is to take outlines as they come out, choose a scene or two, & write your version of how you think that scene plays out. Then, compare it to the version that gets published.
Joshua Levy (@joshpeed667)
After I read the scripts, I write sample scenes so I don’t feel out of my depths when it’s time to put pen to paper. Also, I make it a point to read old story areas and outlines too. Helps get a 20,000 foot view on everything. Plus, I’ll have to write them anyway.
Christopher Miller (@crhizmillr)
You’re in the solutions business. You don’t know what has been tried and failed in the past so you can lay low until there’s a problem or a hole that needs solving. You’re also the person who doesn’t have baggage so you can be the rep for what the audience knows.
Find the Questions That Lead to Better Answers
Stuck working on your outline? Running low on inspiration for pitches? Losing steam mid-scene? Take a card.
The Writer Emergency Pack is a deck of cards with useful ideas to help get your story back on track.
Check out our site for more information on the Writer Emergency Pack, or follow us for example tips on Twitter and Instagram!
Previously on Inneresting…
In case you missed it, in last issue’s most clicked link Cara Hutto collects a list of simple ways to celebrate small victories.
Other Inneresting Things
Ben Barber explains how 12th century monks invented paragraph breaks and sentences to make texts easier to scan.
Alice Vincent shares examples of items writers keep on their desks for inspiration.
Lyndsie Manusos digs into the history of bookstore planning and design.
And that’s what’s inneresting this week!
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