On Breaking Story - Part 2
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21) Every room has a version of the phrase “a hat on a hat” or “bananas on bananas.” It’s a comedy phrase but applies to drama as well. Beware of diluting what already works by adding more to it.
22) While it is great and necessary to have flawed characters in drama, not all flaws are created equally. A Hero can be unfaithful, they can be wrathful, they can be stubborn. One thing they can rarely be: incompetent in their chosen field.
23) As with a first impression in life, character introductions have outsized importance. Often when an arc doesn't work it's because the character isn't introduced properly. The best introductions are a microcosm of everything you need to know about the character.
24) Think about character "chemistry" not just as sexual but as how any two characters, like chemicals, change or affect each other when in contact. Combine characters in scenes whose personalities create the most organic and explosive interactions.
25) The audience can be ahead of the characters but not for long, and mostly for the purpose of tension (the classic bomb under the table). The rare exception is mythology reveals which have a much longer shelf life.
26) Every detail of mythology doesn't need to be worked out beforehand (in fact, leave room for discovery). But knowing the core tenants--and how they will interact with and illuminate the characters--means mythology can drive story.
27) When an episode isn't working the thought is often to add elements--characters, plot, mcguffins--when the solution may be to pare down what is already there to find the simple thruline, and then rebuild only what is necessary.
28) For a TV budget and schedule, action should be built to be modular so if you are over budget you can shrink it without losing its essence or if you lose a location last minute you can alter the action and maintain the intention.
29) "Schmuck bait" is a term for a cliffhanger or act out that puts the Lead in mortal danger that can't possibly be fulfilled (because as the Lead they can't die). But it can get over-applied as "never put your leads in danger."
If your Lead is endangered in such a way that the solution is neither simple, nor readily apparent, or raises greater show/mythology/character questions, then to me that isn't schmuck bait. Bottom line, is it compelling for reasons other than "Will He/She be okay?"
30) Villainous plans and conspiracies should be only as complex as necessary for what needs to be accomplished. The narrative complexity arises from the limited POV of the protagonists trying to thwart plans and complications from human nature which cause plans to go awry.
31) Mastermind villains who knew everything that would happen and caused all of it strain credulity and steal agency from the characters. Let them have to improv and shift the plan as the protagonist upends it. It makes both protagonist and antagonist more impressive.
32) To avoid the sag that often happens in the middle of the story, think of the rest of the story as a series of midway points. If X is going to happen what would need to happen first to allow for that...
Each new midway point is an event to be built to so the middle of the story moves with pace and purpose. Think of it like a Roman temple with columns evenly spaced to hold up the roof. The columns are events, the roof is the story. Sagging means collapse.
33) File management is underrated. Figure out a consistent system and stick to it, especially when multiple parties are involved. Nothing is worse than doing a rewrite in the wrong draft of something and having to undo/redo it all again.
34) Story area->Studio Outline->Network Outline->Writer's Draft->Studio Draft->Network Draft->Production Draft->White->Blue->Pink->Yellow->Green->Goldenrod->Buff->Salmon->Cherry revisions...
If you're not good at taking notes and maintaining a vision, TV writing isn't for you.
35) Give characters "business" in a scene (small actions not directly related to plot). Subtly messing with another character, getting frustrated while trying to build something--anything that can spruce up dry exposition and reveal character--so long as it doesn't distract.
36) Often the scene (or line, or moment) that is getting heavily noted because it is causing confusion doesn't actually need to be in the script in the first place. Don't be afraid to answer a note with a cut when appropriate.
37) A good way to think about a character you're creating is to consider who will be their natural allies and enemies in the world of the show. If it's unclear who that is, they either don't belong or are wrongly constructed.
When I say allies and enemies I don't mean if they are a cop their enemy is a criminal. Who is the other cop that they fight with because of their differing world views? Who is the criminal they can get along with because they share a certain code?
38) A mysterious villainous plot is great, provided the audience understands the stakes of it and the protagonist knows enough to give them driving action. (In Die Hard, Gruber's plan is a mystery but we know he is willing to kill for it, and McClane knows his wife is in danger.)
39) When characters tell each other things they already know that is Exposition. When a character enters a new situation it becomes Discovery. How you inform the audience effectively is a function of how you set the scene.
40) Arcs feel forced when character changes aren't compelled sufficiently by the plot. It's Newton's First Law as applied to character dynamics: characters at rest stay at rest, and in motion stay in motion -- unless acted upon by an outside force (the inciting incident).
Still reading? Keep going to the next post for 41-60.