Day 3 of 30 - Your favorite television program

I completely understand why many people hate television. Where movies are about telling a story that satisfies a person with a solid beginning, middle, and end, television shows have a strong beginning, intriguing complications, and... no real ending.

Traditionally, television is designed not to provide a satisfying conclusion, but rather to perpetuate watching. Each act break builds to generate interest to engage the viewer and then the viewer is presented with... a message from our sponsors.

The shows I gravitate towards are the ones that don't have commercial breaks, whether they be from other countries or on cable (the BBC version of 'The Office,' HBO offerings, etc.), or the ones that don't require sustained viewing (like 'The Twilight Zone' or 'The Carol Burnett Show'). The standard template for shows draws me out of them. (I think that was one of the big problems with 'Arrested Development.' As much as I loved watching the show on DVD, when I tried to watch it on television, the commercial breaks made it fall flat.)

Having said all that, my current favorite television show is a Canadian show called 'Slings & Arrows.' It has just the right mixture of artistic ambition, inspiration, and humor to have me completely enthralled. Plus it is Canadian, so you can make a drinking game out of how many times people apologize.



The show is about a fictional Shakespeare Festival, and the difficulties that occur when they try to produce plays (Season 1 is 'Hamlet'; Season 2 is 'MacBeth'; and Season 3 is 'King Lear'). The show is smart, witty, and thoroughly engaging. And it also does a great job of showing how great literature can enter and affect our lives.

Without getting too esoteric or metaphorical, I am am always amazed at this wondrous gift of received culture and history. There are so many good stories that have been passed down to us, how can do anything except revel in them and have some fun?

Why I Like Formulas

I can be a jerk sometimes when it comes to entertainment, because it is not enough for you to like the right movies and television shows, but you have to like them for the right reasons as well. (I am working on this, but it is hard.)

If you like don't like Pulp Fiction because it is a meditation on the American identity from a class and race perspective, ultimately drawing the conclusion that what makes us truly Americans is our shared love popular culture, and instead like the movie because it is freakin' cool how Bruce Willis chops The Gimp with a samurai sword, I will probably tell you I am not a big fan of Quentin Tarantino's work.

(Although, truth be told, I freakin' love Pulp Fiction because it is a mediation on the American identity from a class and race perspective, ultimately drawing the conclusion that what makes us truly Americans is our shared love of popular culture. And, ok, that samurai sword bit was kinda freakin' awesome, but only because it was SYMBOLIC.)



I am a horrible snob about some things and try to keep this in check. Sometimes it eeks out. For example, when someone dismisses a movie or television show because it is too formulaic, I go nuts.

My quip is usually a sarcastic, "Well, yeah. Because dramatic structure is never formulaic." Then I roll my eyes. Then I look down my nose. Then I point to their shirt and say, "You've got something right the- OOOOP!" and I flip their nose as soon as they begin to look down. Because that is the formulaic behavior of someone who is being a condescending jerk.

Formulas are great. No one should complain about something being formulaic because the fundamentals of storytelling can be distilled into simple formulas. Three Act Structure. Five Act Structure. Boy Meets Girl, Boy Loses Girl, but Boy Finds Girl Again and Girl Turns Out to be a Killer Robot from the Future. These stories have been with us since the Ancient Greeks and probably earlier. As long as Robot Girlfriends are going back in time, we will have formulas.



I can understand how someone might get perturbed because they understand the formula enough to predict what is going to happen thus destroying any sense of tension and drama, but the criticism should not be leveled at the formula, but the execution of the formula. People know how Romeo and Juliet is going to end, but that doesn't stop them from watching it again with different actors. Don't blame the structure, blame the interpretation.

For someone who aspires to be a creative writer in the mediums of film and/or television, it is important not only to respect formulas, but to be able to interact with them and make them your own. Understand the rules of this particular universe and add variables that are uniquely your own.

Of course, all of the blog post up to this point is a ruse to trick everyone into hearing me talk about things I have written.

To become a television writer, you have to write scripts for existing shows and add them to your portfolio. This shows agents and people who might hire you that you have a fundamental understanding of the characters, the expectations, and the limitations of the show. In other words, you show how well do you use the formula.

Because I am bored a lot and because I daydream about being an underpaid and overworked television writer, I have written two such scripts for my portfolio, an Arrested Development script and an Office script. I shall now pitch you the scripts and you can determine how closely I was able to adhere to the formulas for each show.

If you are not familiar with the shows, this is going to sound like utter gobbeldygook. However, if you have seen these shows, imagine how these ideas fit in with a typical episode. And if you think I missed the mark, feel free to tell me how. I won't be getting a job in the entertainment industry any time soon, so telling me I don't have a future in Los Angeles will not hurt my feelings.

Arrested Development - Gob wants money so he can open a woman's clothing store named Perfectly Fit. The idea is that there is only one size of clothing available, and it is GOB's idea of what a perfectly fit woman's proportions should be. Michael misinterprets an overheard conversation and thinks George Michael wants to become a male model. Michael agrees to fund Gob's venture if he hires George Michael as a male model. Buster has an uncomfortable moment in a men's room which leads to him getting a stalker.



The Office - The Friday before Labor Day, Michael has accidentally approved vacation for everyone, giving everyone the office (except him and Dwight) a four-day weekend. No one is there to attend the Labor Day party Michael was planning (this year's theme - "Going into Labor"). So Michael and Dwight go from house to house, telling people to come back into the office and have some fun before they have their now three-day weekend. Stanley tries to have a barbecue.



So there you go. Formulas in action! Thank you for your time.

The Blog Reaches a New All-Time Low

I try to make these blog posts interesting and, if nothing else, my own thoughts. Posting videos is one thing, but writing blog entries for the sole purpose of asking you to read someone else's blog entries is something I don't feel comfortable doing. And I really don't feel 100% comfortable linking to other blogs where I commented with a note saying, "Hey world! Look at my comment! I'm so brilliant!"

But... Karina's Spout.com blog post today is a really good/interesting one. And not only was I the first to comment on it (resisting the impulse to post the word "First!"), I am (as of this writing) the only person who came up with another possible storyline for an Arrested Development movie.

The Office - Lost Dialogue Unrated Director's Cut Thing

My hobby is screenwriting, which can be a fun and inexpensive hobby if you work hard at it.

Because the film and television is so competitive, another new and entirely different industry has grown up around breaking into the film and television industry. If you say, “I want to be a screenwriter,” there are dozens and dozens of people who will tell you, “You can only be a screenwriter only if you pay me money so I can show you how it is done.”

If you do this, your fun and inexpensive hobby becomes a REALLY EXPENSIVE hobby. Plus the advice you get from people you pay isn’t always the best.

I was at a writing workshop one time and the person leading the discussion said, “You see on the table before me twenty books about how to have a successful career as a screenwriter. Out of all of these books, only one of them was written by a person with a successful career as a screenwriter.” It was true. The rest of the books were written by people who made a living writing books and conducting seminars on how to be a screenwriter.

But that is beside the point. Once you say, “I’m a screenwriter,” there are a million billion screenplay contests for you to enter.

Some of them are very fun but don’t have prizes, like this punchline contest by Ken Levine. (Actually, the real prize was his advice to aspiring writers, which he posted here.)

And some of the contest have thousands and thousands of dollars worth or prizes in the form of magazine subscriptions and discounts on their screenplay reading and reviewing services.

One of the screenwriting I like the most is the Scriptapalooza TV contest because they ask people to write scripts for existing television shows.

This has lead to a few awkward social situations. I remember talking about my script for Arrested Development where Gob decides to open a women’s clothing store, but all the clothes are the same size – the size of a woman whose proportions Gob considered attractive. That way, he could use the store to score.

Apparently, I got a little passionate about pitching to this guy because he responded to the whole thing by saying, “Dude, you really get into your fan fiction.”

Ugh. Hate to sound all snotty, but what I do is not fan fiction.

Here’s why:

1. Fan fiction is almost always bad. I like to think my stuff is not bad.
2. Fan fiction often ventures into the world of wish fulfillment, which makes it bad.
3. Fan fiction often ventures into the world of slash fiction (sexually explicit encounters between fictional characters) which tends to make it either bad or just creepy (I’m talking to you Harry Potter fans!).
4. I am not writing scripts to fulfill some creepy fan fantasy. I am writing to show that:
1. I know the formula of the television show in question.
2. If asked, I can follow the formula and do it with a flourish.
5. Do people really write fan fiction about The Office or Arrested Development? If so, why?

In the one book actually written by a person with a successful screenwriting career, he says that you need to watch out when making a script that focuses on a television guest star of some sort. It hurts the producer's feelings if you totally ignore their characters.

I secretly believe that guest stars in your script are secret indicators that they are fan fiction, so I don’t try to use them. All elements for a successful show (premise, cast, etc.) are part of the show’s formula. That's the theory, at least.

But all of that is beside the point. The point is that I’m in the middle of a script for The Office and I thought of a good dialog exchange that is perfectly in line with the tone/spirit of the show, but doesn’t fit in my script. So I thought I would post it on the blog. And all of the blah blah blah before this section is just over-hype and set up for four lines of naughty talk.

My parents are not allowed to read past this point, because of a naughty, yet literary, word I normally refer to as "hoo-haa."

Here is the Cut Scene from my Office Script that is not Fan Fiction:

Jan

We are not going to have this discussion, Michael

Michael

Come on. We’re not like that, Jan. We’re not the Vagina Monologues. We’re the Vagina Dialogs.

Dwight

(dawning realization) Then that would mean that you also have a-

Michael

Shut up, Dwight.

***
And if that wasn't funny enough for you, this is guaranteed to cause some laughs.