Vincent gets us started.
I just attended a Zoom webinar where a literary agent said flat-out that he would not work with a writer who was doing anything else but focusing on screenwriting, like writing a novel, acting, or even doing a podcast on the side. Since you have a podcast I assume not every agent feels this way, but would you say this guy's attitude was the exception of the rule vis-a-vis Hollywood literary agents.
I would say yes, that’s the exception. Agents today tend to like clients who have large social media followings or podcasts. It helps them stand out and potentially easier to sell.
The agent might think the writer’s podcast could be adapted for a series as an example.
On the other hand, I could definitely see the argument that an agent would want writer clients who are devoted strictly to writing.
But here’s the bottom line: when an agent is considering a new client his only real focus is how that person fits HIS agenda, not the writer’s. How hard will the writer be to sell? Does the writer fit the agency’s need for a certain genre? Is the writer diverse? How old is he? Is his style in the zeitgeist?
Bob Sassone asks:
Something that bugs me about sitcoms is the fake car/driving scenes. I don't mind at all how cheesy they look, but why do they usually take out the rearview mirror? Is it just for how the shot looks? And why do so many characters still LOOK in the rearview mirror to talk to someone in the back seat when there's no mirror????
I assume you’re talking about multi-camera sitcoms where the car scenes are filmed on stage in front of an audience.
You’re right that the rearview mirror blocks camera angles. It’s a creative license thing that most people don’t notice.
I’m always more worried about the cheesy backgrounds. For night scenes though someone (I believe on TAXI) created this effect with just lights that looks pretty cool.
Boomska316 wonders:
Why are finales(season or series) so hard to get right? Is it different expectations between the viewers and the creators?
There are much greater expectations to a series finale. So let’s concentrate on that.
To some degree yes. Especially if the show has set up lots of questions to be answered. (a la LOST) The questions better all be answered and to the audience’s satisfaction. The more time the audience has been waiting, the higher the expectations.
But the big reason series finales often fall short is because they're too long, sometimes waaaaay too long. This is a network decision. The networks want to take advantage of the larger audience they will draw to sell more advertising at higher rates. The result is often bloated finales telling stories not worth two hours.
When I think of my favorite sitcom finales (THE MARY TYLER MOORE SHOW, EVERYBODY LOVES RAYMOND, NEWHART) they’re all half hours.
And finally, from YEKIMI:
Do you tend to get stuff done faster when writing with David or when writing alone?
Without question, faster when the two of us are working. But that has developed over time. We now have a rhythm and shorthand and experience so we go at a much faster clip than we did when we were starting out.
Originally, it would take us two weeks to write a half hour script. Now it takes three or four days, and in some cases if we’re in a crunch — two.
Also, as partner we write head to head. So we’re both in the room pitching at the same time.
We also dictate the script to an assistant so that takes less time. We can just pitch out a whole run in two minutes and then go back and clean it up, sharpen some jokes, make some trims, etc.
And when the two of us are writing we don’t take breaks every five minutes to check email or see if there’s any breaking news on MSNBC.
from By Ken Levine
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