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InsIder’s PoInt of VIew: wrItIng
production, including the final edit, music
spotting and scoring, sound mixes, etc.
The standard procedure in UK television
has been to make a more distinct definition
between the jobs of writer and producer,
but the showrunner model is catching on
starting with Russell T. Davies’ current
(and pretty damn amazing) incarnation of
Doctor Who and its companion programme,
Torchwood.
One of the most interesting facets of
learning from the pros is that they all run
their shows in different ways. In some cases
it’s a matter of how they choose to control
their vision for the production, in other
cases, the nature of the programme dictates
the best way to get the job done. Most
series break the story in the room with all
of the writing staff participating in the
overall shape and structure of story; the act
breaks, the business of servicing series
regulars, the placement of beats that will Visionary writer-producer Jason Katims
form the overall season arc, etc. (Friday Night Lights) feels casting his
The big series, like House M.D. for writing room is just as important as the
example, pays a staff of 15! From there, the faces he puts in front of the camera;
game changes. Some series split off into knowing that how you are in the room is
smaller groups to hammer out the details just as important as your writing ability,
while some showrunners hand out these which allows him to empower and believe
skeletal outlines to individual writers to in his staff and embrace collaboration.
put meat on the bones even though yet Friday Night Lights has developed a strong
another writer may take it to script. Some, audience in its various incarnations, starting
like Hart Hanson (Bones) feels he must rewrite as a non-fiction bestselling book, which
every script before it goes into production lead to a hit film adaptation in 2004 and
to maintain the unique voice of the series. ultimately to the television series starting
Others like writer-producer Craig Wright in 2006. “Writing and producing a pilot
(Dirty Sexy Money, Lost, Six Feet Under) would episode is like having a baby. Running a
rather empower his writing staff. “You can’t series is like parenthood. It’s a marathon,
be a lonely genius in a collaborative business not a sprint, so you have to keep your life
like this—you have to learn from everybody. in balance with your work.”
If you feel like you have to save the show Katims guides his writing staff to see the
every week, you’re doing something wrong. arcs of character development like the
Craig Wright
I want to work with writers who care so movements of a symphony, each event
much about their scripts that they’ll quit if underscoring the human drama, building
I take something out.” to a satisfying crescendo. He realised he
“You can’t be a lonely
Stephanie Savage (Gossip Girl) finds it could not depend on sports fans to drive
difficult to balance the creative and practical the success of the series because it was not
genius in a collaborative
sides of production. “Showrunners need two about football, it was about community
heads. One head is in charge of a company and family and how we all need a rallying
business like this—
that employs hundreds of people spending point to share our hopes and values. His
millions of dollars every week. The other point of view sums up what makes any
you have to learn
head has to be totally focused on the programme survive in an ever-shrinking
creative elements of the show.” Using the marketplace. “Showrunners aren’t paid to
from everybody. If you
experience she developed while producing write; they’re paid to deal with the small
the short-lived teen hit, The O.C., Savage details that make up a show.”
feel like you have to
leads her team of 7 staff writers to plot out Audiences want smart, original
character-driven mini-arcs that will propel entertainment that strikes a chord they can
save the show every
the overall 22-episode season of storylines. relate to. Or as Craig Wright puts it, “All
She feels the casting of a series pilot is even people want to experience beauty, eat, fuck,
week, you’re doing
more important than the writing. “An or kill somebody. You have to dare to ask
audience may be willing to watch a series the big questions.” And in the TV business,
something wrong.”
develop, but if they don’t like or believe in they turn to the showrunners to provide
the characters—you’re dead before you start.” the answers. n
Craig Wright, Dirty Sexy Money
www.moviescopemag.com 45
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