TV Writing On Demand

Creating Great Content in the Digital Era

Neil Landau

• Verlag: Routledge
• Jahr: 2018
• ISBN:
  9781351784207
• Auflage: 1
• Thema: Media & Performing Arts
• Thema: Film Screenwriting

TV Writing On Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today's audiences, against the backdrop of a rapidly evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we've ever seen. No longer is there a distinction between broadcast, cable and streaming. It's all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter.

This book goes beyond an analysis of what makes great programming work. It is a master course in the creation of entertainment that does more than meet the standards of modern audiences—it challenges their expectations. Among other essentials, readers will discover how to:

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• Satisfy the binge viewer: analysis of the new genres, trends and how to make smart initial decisions for strong, sustainable story. Plus, learn from the rebel who reinvented an entire format.

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• Develop iconic characters: how to foster audience alignment and allegiance, from empathy and dialogue to throwing characters off their game, all through the lens of authenticity and relatability.

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• Create a lasting, meaningful career in the evolving TV marketplace: how to overcome trips, traps and tropes, the pros and cons of I.P.; use the Show Bible as a sales tool and make the most of the plethora of new opportunities out there.

A companion website offers additional content including script excerpts, show bible samples, interviews with television content creators, and more.

Part I

Satisfying the Binge Viewer

New Genres, Formats and Trends

“Nothing’s straight comedy, nothing’s straight drama. In drama there are always elements of comedy. In black culture, you are always trying to laugh through the sadness, and it’s a testament to the experiences that we go through.”¹

—ISSA RAE WRITER/CO-CREATOR/EXECUTIVE PRODUCER/ACTRESS INSECURE

Chapter 1

Blurring the Lines

Redefining Genre and Tone in the Dramedy

Is it a comedy or a drama? Or is it a genre-bending dramedy?

I say, as long as it’s good, does it matter?

It depends on whom we ask. For the broadcast and basic cable networks that are still scheduled in rigid timeslots and beholden to advertisers and commercial breaks, categorization still matters a lot.

At NBC, where everything old is new again, scheduling sitcoms in comedy blocks on the same night continues to be a viable programming strategy. Tune in Thursdays and we’ll have a night of laughter, anchored by their reboot of Will & Grace. ABC, CBS and Fox all program their sitcoms in compatible pairs, presuming that if we’ve tuned in to Modern Family or Brooklyn Nine-Nine, we’re probably going to stick around for the complementary shows that follow.

Broadcast networks still need to fill their primetime schedules with series that work in particular timeslots, and they’ll often utilize a proven ratings hit as a launching pad for a new show. Traditionally, the 8:00 to 9:00 p.m. timeslot has been called the “family hour” and offers softer-edged shows that appeal to the whole family, followed by more sophisticated sitcoms and reality TV at 9:00 p.m. and darker, harder-edged crime, legal and/or medical procedurals in the 10:00 p.m. timeslot. But besides sports and live events, who even bothers to watch TV in timeslots anymore? The answer is twofold:

1. Generally, viewers over the age of 40.
2. Viewers who can’t afford a subscription to a streaming, on-demand service and/or those who simply prefer free TV.

Will & Grace isn’t the only classic sitcom getting a revival, bolstered by the tug of nostalgia; ABC has plans to reboot Roseanne as well. The multi-camera hit series The Big Bang Theory (from the fertile imagination of TV’s successful funnyman, Chuck Lorre) still garners large ratings for CBS (its 2017 season finale scored more than 12.5 million viewers). Nevertheless, its prequel/spinoff, entitled Young Sheldon, is shot single-camera style—without a live studio audience. This delightful dramedy has more in common with nostalgic series The Wonder Years than with its mothership laugh riot sitcom The Big Bang Theory.

Is this a sign of the times that the multi-camera sitcom is on the wane? It’s alive but leaning in that direction, as TV shows have become more cinematic and less static/contained. The big ratings numbers of Big Bang Theory certainly attest to audiences’ enjoyment of three-jokes-per-page traditional sitcoms—especially if the jokes are funny. But having the freedom to follow characters outside of large apartments, office spaces and coffeehouses tends to feel more liberating and surprising. If the characters can go anywhere and not be limited to two “permanent” sets and a “swing” set (an interchangeable set depending on that week’s episode), the episode can feel more organic and authentic—like life.

Like the dramedy that’s between genres, viewers today fall somewhere between traditional and online platforms. NBCUniversal’s niche digital comedy network Seeso announced its closure at barely 19 months old, having struggled to win subscribers. Some Seeso Originals moved to streaming service VRV, while comedies on NBC’s traditional broadcast network continue to flourish. Perhaps Seeso was ahead of its time.

How Did We Get Here?

James L. Brooks is best known for his Emmy Award-winning MTM Enterprises² sitcoms; the equally lauded sitcom Taxi; and Oscar-bait movies (Terms of Endearment, Broadcast News, As Good As It Gets). He’s also an executive producer of TV’s longest-running primetime comedy series, The Simpsons, but his roots in half-hour dramedy actually go way back to his groundbreaking series Room 222, which aired on ABC from 1969–1974. This single-camera dramedy was time-slotted among traditional sitcoms but features a diverse cast and centers on Pete Dixon (Lloyd Haynes), an African-American social studies teacher at the fictional Los Angeles school Walt Whitman High, and his core group of inquisitive students in Room 222. A far cry from the broad, zany antics of high school “sweat hogs” on Welcome Back Kotter (1975–1979), Room 222 explores contemporary themes with light comedy, nuance and the trials and tribulations of coming-of-age, during the tumult of the late 1960s and early to mid-’70s (including the Vietnam War, feminism, racism, homophobia and even Watergate). Room 222 is my earliest memory of a sitcom that straddles the line between comedy and drama, with an emphasis on authenticity and subtlety, obliquely addressing issues of our times without ever feeling preachy/pedantic.

The half-hour dramedy also has its roots in the TV version of the 1970 Robert Altman film M*A*S*H,³ adapted by Larry Gelbart (Tootsie). The much celebrated, Emmy and Peabody Award-winning TV series aired from 1970 through 1983. Scheduled and packaged by CBS as a sitcom, the series is set in the 4077th mobile army surgical hospital during the Korean War. The early seasons are bloodier and grittier, with laughter interrupted by artillery shells and bombings; the latter seasons feel somewhat slicker, with less gore and more quips. It is inherently a political series that avoids glamorizing war but often makes it look like a whole lot of fun ( just add sex, booze and an unfortunate laugh track). And then Gelbart and his team floor us with a shocking, tragic turn, including the deaths of beloved characters, to remind us of reality (these outlier episodes were sans laugh track). Always a delicate balancing act between comedy and tragedy, the show finds its greatest success by reminding us that despite the worst situations imaginable, laughter truly is the best medicine.

If M*A*S*H and Room 222 are half-hour dramedies masquerading as sitcoms, The Wonder Years (on ABC from 1988–1993) is pure dramedy from the get-go and an anomalous period piece to boot. Like Room 222, The Wonder Years retrospectively explores the tumult of the 1960s/early 1970s through the lens of innocence: the coming-of-age story and, in this case, puppy love. The main focus is the Arnold family’s youngest child, Kevin (Fred Savage), and delves into his school life, home life and blossoming love life. The critically acclaimed hit series’ signature style is in employing voice-over (Daniel Stern, as off-screen narrator/adult Kevin, providing us with insight into young Kevin’s state of mind). Although at ABC’s insistence the show was set in Anytown, USA, the show’s suburban setting and authenticity gave series creator/showrunners Carol Black and Neal Marlens the opportunity to explore controversial political themes—the draft, Vietnam, women’s liberation, race relations—but as background and counterpoint. The Wonder Years is consistently funny but never just goes for the laugh and is devoid of contrived jokes. Instead, it is a character-driven slice of nostalgia and idealism that reminds us of the possibility and wonder that baby-boomers all once felt.

There were other precursors to today’s dramedies: United States (Gelbart’s follow up to M*A*S*H ); Hooperman (created by Steven Bochco and Terry Louise Fisher); Doogie Howser, M.D. (from Bochco and David E. Kelley); The Days and Nights of Molly Dodd (created by Jay Tarses)—most of which would be considered successful in today’s TV ecosystem. Alas, back in their time (and timeslots), they were relatively short-lived but are all definitely worth a second look.

What differentiates a dramedy from a comedy?

Norman Lear pushed the envelope on his classic multi-camera sitcoms in the 1970s (All in the Family, The Jeffersons, Maude, Good Times, One Day at a Time) by balancing laugh-out-loud jokes and funny situations in front of a live studio audience, while also dealing with the controversial issues of race, religion, gender and politics. But Lear went even further with more personal dramatic storylines that encompass divorce, infidelity, cancer, abortion and even rape. These more serious episodes were the exception, not the rule. The broadcast networks have always been more comfortable with funny comedies (with heart) and emotionally resonant dramas with (easily solvable) moral dilemmas.

Most dramedies are not giant ratings champs, but they do have a fiercely loyal, niche fan base. If authenticity is the most desired commodity in the digital TV era, then the dramedy hits that sweet spot by getting real, and rarely sacrificing a raw, emotionally impactful moment for an easy laugh.

Multi-camera sitcoms are, by design, formulaic, familiar and reassuring and must be funny. If the table read in front of the network and studio executives doesn’t generate consistent laughs, the writers will need to stay up all night rewriting the script. A multi-camera sitcom with flat jokes is deadly.

Single-camera sitcoms also need to generate laughs, but through funny, ironic situations and character quirks, more than punch lines. Of course, single-cam sitcoms are also required to be funny.

A sitcom with fewer jokes is … what? That depends. It could be a bad sitcom, or it could be a version of the seminal, genre-bending, tone-blurring dramedy series—either half-hour or one-hour.

Good rules of thumb …

MULTI-CAMERA SITCOM: Half-hour. Funny is money. Mainly interiors, 2–3 main sets; lots of entrances and exits from rooms. Minimum of 3 jokes per page (setups and punch lines); escalate chaos to solve a small problem writ large (a/k/a “tremendous trifles”); restore stasis and love by the end of the episode. A/B/C stories usually have a unifying theme. Little to zero character development. Examples: The Big Bang Theory, Two and a Half Men, Fuller House, One Day at a Time.

SINGLE-CAMERA SITCOM: Half-hour. Mixture of jokes and funny situations. Approximately 60/40 split between interiors and exteriors; humiliate the protagonist(s) and challenge their comfort zones; restore stasis and love by the end of the episode; flashbacks and flash cuts to past moments of embarrassment are employed for comedic effect. Mockumentary and confessionals (a/k/a breaking the fourth wall) are sometimes employed. Usually have a unifying theme. Little, no or slow character development. Modern Family, Silicon Valley, Brooklyn Nine-Nine, Unbreakable Kimmy Schmidt, The Good Place, The Last Man on Earth, Black-ish, Veep, Curb Your Enthusiasm, Grace & Frankie, Ballers and Fresh Off the Boat as well as Ricky Gervais’ groundbreaking comedy/dramedy series including The Office, Extras and Derek.⁴

DRAMEDY: Half-hour or one-hour. Honest, raw, uncomfortable relationship issues are explored with nuance and subtext. Generic and familiar plotlines are eschewed entirely. The tone can be funny or tragic but is intentionally off-putting, especially when offering an inconvenient truth. Characters have hyper-specific personality quirks and are more psychologically and emotionally complex. Characters tend to make irrational decisions and are less likable. Avoid formula, with each episode individually crafted to feel distinctive and one-of-a-kind. Can be expansive and cinematic, often featuring multiple locations and fragmented plotlines; usually have an indie movie sensibility and avoid mainstream, obvious/manipulative music choices; the visuals tell the story more than expositional dialogue; usually tell the story in the cut⁵ to create a tapestry of interwoven storylines; particular music, montages, flashbacks, voice-over, fantasies and magic realism might be utilized. Thematic through-lines may unify each episode, but more likely there’s a season-long theme. Most dramedies are heavily serialized and utilize DPUs⁶ from episode to episode.

Dramedies and Life on the Cringe

The pure dramedy may serve up a wholly serious episode, followed by a more broadly comedic one. There’s less of a consistent comedic or dramatic tone, and more of the creator’s sensibility. Authenticity trumps easy laughs. Subtext and nuance are mined for maximum cringe and relatability. If traditional sitcoms are about likably flawed characters getting into and out of trouble, then dramedies are more about coping with the ongoing hardships and moral complexities of relationships.

Sitcoms generally offer well-intentioned characters caught up in their own self-generated chaos; they offer up a problem and a solution—or moral—by the end of the episode.

Dramedies are generally much more ambiguous, and their characters tend to be self-involved, self-destructive, and while forgiveness and love are still the currency required to solve a dilemma, dramedies don’t offer up easy answers.

Female-Driven Dramedies

HBO’s Sex and the City indeed blazed the trail for women-focused dramedies such as Girls (also HBO) and Crazy Ex-Girlfriend (The CW). While SATC is about the search for love, Girls is about self-actualization (or the lack of it), and Crazy Ex-Girlfriend centers around self-delusion. The protagonists are smart, funny women—as well as being relatable, lovabl...