13

Television, Cable and Pay TV, Video, Satellite Broadcasts

Technology develops rapidly, but the psychological and emotional make-up of people changes only imperceptibly. Therefore the effects on the viewers, described in the previous chapter, cannot be altered by satellite broadcasts, laser beam systems, or wall projections in your own future “home entertainment center.”

Whether the spinners of yams may some day be called cassette-creators, pay-television dramatizers, or computerized story-relay technicians, they will have to tell a story.

Throughout this book, film and television techniques have been described simultaneously, unless they were specifically differentiated. Now, some particular aspects of television must be examined.

The intimacy the small screen provided is no longer an exclusive television attribute, as the diagonals keep growing larger. Big budget features are now seen more frequently on cable TV than low-cost “movies-of-the-week.”

Conversely, the same film may affect you differently, when seen in the privacy of your home or in the large movie palace. This is especially true of comedies; the laughter of the public around you is infectious. TV’s laugh-tracks are inadequate substitutes for the indefinable subconscious communication within a group. In fact, even professionals, watching a comedy in a studio projection room, may consider it less funny than the hilarity theater audiences later demonstrate.

The Television Series

Paradoxically, the modem series has its roots in the outdated movie serials. The TV series has become the most popular viewer attraction on the tube. For the writer who creates a long-running series, it is financially most rewarding.

The two-hour TV movie must establish its characters from scratch and complete their development in the relatively short time allotted to it.

The series can familiarize the audience with the leads in weekly episodes. The characters become friends or enemies, sometimes better known to the viewers than their next-door neighbors. Gradually, they become more than acquaintances. We are aware of their traits, their habits, and their quirks. We look forward to our next meeting with them at the appointed time. They are part of our TV family.

Format and Presentation

[see Appendix: Screenplay Format]

Since the creation of a TV series can be so lucrative, I am often asked how an idea should be presented. First, the idea for a series must have the potential for a continuous supply of story material. A dramatic incident or one comedic situation may be excellent in themselves. But if the overall concept does not project the potential for a series that could run two, three or more years, the network may not consider it worth the risk of a pilot.

After describing the basic concept, the merit of the series format should be demonstrated by several story springboards. They need be no longer than one paragraph. They may be preceded by a one-page outline, involving the lead characters in a sample episode.

Brief character sketches of the continuing leads should be included. Usually not more than four or five are necessary. After a series concept has been acquired by a production company or network, the do’s and don’ts regarding a series are worked out in detail. The parameters are fixed for outside submissions as well as for staff writers. If the series slips in the ratings wars, some anxious shifting of the parameters begins.

Brevity is essential for the initial presentation. Busy executives abhor reading. A basic dilemma in the entertainment industry remains the fact that bustling decision-makers do not find enough time to read, while their “readers” can only make negative decisions.

If possible, the first paragraph should capture attention, spark interest, and incite the wish to find out what follows. The initial presentation need not be longer than ten pages. More can be attached to the basic proposal. But it is in that first summation where the battle is often won — or lost.

Some Practical Hints

It is often believed that some people are creative and others are not. Fundamentally, this distinction is a fallacy. Everybody daydreams at times; this free play of imagination is a form of creating. Some talented artists are creative beyond the ordinary. Still, it is a matter of degree.

Inspiration, as was said earlier, can be trained. Imagination can be stimulated. For instance, let us assume you wrote the name of your lead character: “Paul.” Now visualize the color of the suit he wears. After imagining several colors, you may settle on jeans and a checkered shirt. You see him walking down the street; he stops to talk to an acquaintance. Even as you read this, you can’t help evoke in your mind his tousled hair. By now you enjoy inventing traits of his character — whether or not you will use all of them in your script.

Not only will it vitalize your imagination, but it is helpful to learn everything about the leads in your script. In the course of “fleshing them out,” nothing is superfluous. Any detail you write down about them will help to uncover contradictions you overlooked. Whatever you ferret out about their age group, their ethnicity, their relatives and friends, and their living habits contributes to bringing them to life. Although you will only find space to use highlights in the script, their motives and actions will be convincing, their dialogue will ring true.

The more you dig into the motion picture language, the dramatic structure, and the methods of storytelling, the more you will be interested in your own reactions to the movies and TV shows you watch. As you progress toward professionalism, you will make a conscious effort to remain partially outside your total involvement in the drama. Thereby you will confirm the application of what you have already learned, you will practice by observing the example. Most likely, you will also detect mistakes.

Afterwards, you may find it useful to sketch a brief résumé of the filmed story for your own examination. Perhaps, the inner workings of a structure will come to the fore; secrets of the trade will be exposed. You can take advantage of the fact that abundant study material is constantly at your disposal.

Protection

It is advisable to protect your manuscript, which you can do in one of two ways. If it is a novel, a complete screenplay, a stage play, or a musical, the Library of Congress will copyright it for you.

Write to:

They will send you the appropriate forms (for a nondramatic literary work or a performing arts work) with instructions on how to fill them out. After you send them the “Work” and appropriate payment, which is minimal, they will send you the legal protection of a copyright.

If your manuscript is a format, outline, synopsis, story line, or script specifically intended for theatrical motion pictures or television, you can register it with the Writers Guild of America, either in New York or Hollywood:

The Writers Guild will not read, judge, submit, or sell your script for you. But upon receipt of a clean copy and $10.00 for members, $20.00 for nonmembers, it will seal your “Work” in an envelope, date it, and preserve it for 5 years, after which an extension can be obtained for another 5 years. You must submit one 8-1/2” by 11” bound copy.

The effect of this procedure is that you can furnish proof on which date your work existed. In case of conflict, proof of priority can be legally helpful.