Because of my TV background, I tend to construct stories very differently. Most people construct them linearly. First this scene then that scene then the next scene, etc. Once I have my overall premise for the story I figure out the end first, then the act break in the middle, and then start at the beginning of each act and build up to the end. The important thing is that every scene is necessary. If you can just lift out a scene without it affecting the story it doesn’t belong there.
Then I take each scene and determine what needs to be achieved here? At that point I figure the most interesting, surprising, funny, clever way to do that scene. Early scenes can be particularly hard because you’re generally setting things up that will pay off later. But you still have to make those scenes entertaining on their own even though they’re often filled with exposition. This is especially true in farces.
That said, some stories start off with a bang and the narrative sweeps you along.
And then there are pilots. In addition to constructing the story you have to introduce all the characters, establish the relationships between them, set the tone, explain the premise, have a story that has a satisfying ending but still hooks the audience to want to keep tuning in for future episodes. And in a comedy it must also be funny throughout.
So I’m always looking for devices — clever ways to introduce characters quickly. Is there a specific bit of behavior that defines them? Is there an attitude that instantly tells the reader/viewer who he is?
The TAXI pilot had a great device. The pay phone in the garage was broken and everyone could make free phone calls. Who they called defined who they were.
One often used device is having a new character enter the world. As characters are introducing themselves to him they’re really introducing themselves to us.
Another hurdle: through interaction, how can I best show the relationships between them?
And it all has to flow and not seem like I’m dumping too much information on the audience at once.
Lots of plates to keep spinning in the air, huh? All that is to suggest before you start writing you take the time to really define the characters, clearly plot out the story, and know beforehand just how you’re going to introduce everybody. Also remember, with television you have a time restriction. Even with relaxed times in streaming, a half-hour sitcom needs to be about thirty-minutes.
One tip: Make the story simple. Don’t heap on lots of complications and twists. Give your audience a chance to process who all these people are and what they do. I would shy away from B and C stories in the pilot.
Now you could say, I have a fresh voice and want my pilot to break all the rules. Okay, but you do that at your own peril. Most pilots are bad because the writers don’t really know how to tackle them. Pilots have certain requirements. You can be innovative and express your unique voice, but you still need to satisfy those requirements. Once the audience or reader is confused you’ve lost them, no matter how fresh and unique your voice is.
If you struggle, don’t feel bad. I struggle when writing a pilot. Pilots are hard! But you can’t get a show on the air without one. And if you’re trying to break in, you can’t get any traction without one. So roll up your sleeves. And as always, best of luck.
from By Ken Levine
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