Showing posts with label TV shows. Show all posts
Showing posts with label TV shows. Show all posts

Friday Speak Out!: Research is Fun

Friday, November 09, 2018
by Kilmeny MacMichael

Yesterday I did research for a story.

I don’t know which story yet.

I watched an episode of a TV show.

They say "write what you know."

If I wrote only what I knew from my personal, real-world experience, then I would only have a few stories to tell. I’ve had a mostly uneventful and unexciting life. This is great, except for when it comes to writing stories.

Bits of personal experience do filter into many of my stories. But few of my plots are based only on my experiences. Perhaps with time, I will become more capable and better able to express “what I personally know” in a way that is interesting. Until then, I have to use the imagination crutches.

I read. Mostly fiction, some non-fiction. I watch Hollywood movies. I watch movies with subtitles. I watch TV. For years I’ve listened to old time radio dramas. I’ve begun to explore podcasted fiction. There are so many stories out there to be read, heard, and watched.

Every time I watch, listen or read someone else’s storytelling, I am doing “research” for my own storytelling. I am, consciously or otherwise, learning how to tell stories better. I am absorbing the world and characters on the page or screen or spoken into my ear.

When it comes time for me to write, I don’t only have my own dull experiences to draw upon. I have all the experiences, real and imagined, that I have read, watched and heard. I have the creativity and experiences of hundreds of authors and scriptwriters and performers to pull from. I use my memories of other people’s stories as my writing crutches.

The last story I wrote was a spaceship-bound dream-tale. I called upon my memories of pirate and spaceship films, Poe and a podcasted lecture from Stephen Hawking to weave together the tale.

Is it a great tale? No. But it did amuse a couple of members of my local writing group, and writing it amused me. Maybe I'll find an online home for it. I'm still learning. And researching.

Some writers can be snobbish. We don’t generally like to admit that we watch television, and the occasional blockbuster flick. Put too much garbage into your brain, it’s only going to spit garbage out. But not all television and film and radio and podcasting is garbage. Some is as great, in its way, as canon literature. If we don't watch or listen to these stories we deny ourselves the opportunity to learn from some of the best storytellers of the last century and today.

So, go on, take a night off from reading that acclaimed door-stopper of a novel. Watch an episode of a TV show, or download an episode from a podcast or radio drama you've never tried before. You will probably learn something. You will get ideas. You will be doing research. And, hopefully, you'll enjoy yourself at the same time. “Research” is not all work and no play!

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Kilmeny MacMichael grew up in the prairie city of Winnipeg and now lives in western Canada's mild Okanagan Valley. There she writes flash and short stories and rolls her eyes at people wearing scarves when it's only a few degrees below freezing. Some of her stories have seen online publication, including with The Ilanot Review and Watershed Review

She is currently doing more traditional research for a non-fiction work on an old time radio star, when she's not writing more flash fiction assignments from her local group, or conducting more fun research in front of a screen. 
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Would you like to participate in Friday "Speak Out!"? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!
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What Chekhov Knew about Sitcoms

Thursday, January 26, 2012
By Christina Hamlett

His heyday was long before the advent of film and television but I often paraphrase Anton Chekhov whenever an aspiring screenwriter suddenly throws a contrivance into the third act that had nary a passing reference in the first or second. The objective is always the same: to try to jumpstart a floundering plot with a last-ditch surprise in order to keep it from dribbling off with a whimper. What’s interesting is the correlation to TV series that – when faced with a waning (or yawning) audience – will do almost anything to stay on the air.

Is there a TV idea up your sleeve that’s just itching to be written? If so, you'd do well to first heed this quote of advice from a playwright ahead of his time: “Any idiot can face a crisis – it’s day-to-day living that wears you out.”

There are three major differences between crafting a plot for the movies and coming up with a marketable premise for episodic television.

The first is that a movie is a stand-alone product that delivers an entire story in the space of 120 minutes or less. In contrast, a TV series is a succession of weekly installments that – if the ratings are good – can unfold over the course of multiple seasons. As is often quipped about M*A*S*H, for instance, the series actually lasted eight years longer than the Korean War it was depicting.

Secondly, movie characters are forced to take actions predicated on reward, revenge or escape in response to a major external conflict that has placed their lives and hearts in jeopardy. This meets the criteria of a character-driven tableau in which it’s the players themselves who push the storyline forward to resolution and, in doing so, experience emotional growth. In contrast, TV sitcoms are plot-driven wherein random acts of weirdness keep occurring that everyone predictably reacts to on the basis of their internal angst. Accordingly, they never evolve past whatever traits they projected when first introduced in the pilot episode. The exception? Finally declaring their feelings for the person we the audience have known they should be with from the very beginning.

Third, movie protagonists often have bigger-than-life jobs that the rest of us wistfully envy. They’re archaeologists, scientists, adventurers, spies, pirates, etc. While TV drama personas often embrace occupations such as detectives, doctors and lawyers, the career paths of TV sitcom characters are more mundane - waiters, office workers, teachers, servants and political lackeys. (On the plus side, however, the majority live in New York apartments that are larger than any flats inhabited by heroes on the silver screen or, for that matter, anyone who actually lives in New York.) Since there are only so many workaday scenarios that can revolve around ordinary people in ordinary settings, the chances for them to shine are limited. You can always tell a sitcom is sliding when its main players suddenly take a trip to Hawaii, Europe, or go on a cruise; it’s their day-to-day living that has driven them – and us – to the brink of boredom.

Former actress/director Christina Hamlett is a professional script consultant and ghostwriter whose credits to date include 26 books (3 of which are on the craft of screenwriting), 141 plays, 5 optioned features, and hundreds of articles/interviews that appear in trade publications throughout the world. She is also the screenwriting editor of Writers Journal, and has conducted workshops on scripts and the performing arts for over 30 years.


Christina's's new online class for WOW! Women on Writing starts on Monday, February 6, 2012! Sign up now for HOW TO WRITE A TV PILOT: An Introduction to the Craft of Creating a TV Show while there's still space available. For details and enrollment, visit our classroom page.
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Tap Into TV for Ideas

Monday, July 11, 2011
I'll be the first to admit that the TV in our house is tuned in close to 15 hours a day, either to The Weather Channel (my husband farms and weather dictates his daily routine) or a news network.

The majority of the time, neither of us watches.

But, I listen. Intently.

In fact, the idea for this blog post title came from a commercial for a new fall sit-com that uses the word 'tap' to make a point.

That commercial got me thinking. Television supplies myriad ideas for writing, both fiction and non-fiction. A lot of times, I'll watch segments of Today and wonder how the latest news item applies to the region where I live. I also investigate Natalie's "Trending Topics" and try to find a correlation. Then, I send a query to a magazine or newspaper where the story is a good fit. And usually, I land an assignment.

If you get wrapped up in The Doctors or Dr. Oz, you may just find a topic for an article. Or maybe a disease that the antagonist suffers from in your latest fiction.

The History Channel, Biography, TLC, Current TV, ESPN, The Food Network. Each channel has its own specific format and programming list, but select a show and you'll discover a list of possible topics.

Need help with character development? Watch a sitcom or drama and you'll undoubtedly come up with mannerisms, speech patterns, or quirks that can easily take your character from dull to daring.

I'm not advocating you sit in front of the tube all day. But, I do believe the TV should be viewed as another idea source, offering a wealth of information on a wide range of topics.

So, go ahead, grab the remote, and tap into an overflowing resource of ideas.

by LuAnn Schindler. Original graphic by LuAnn Schindler. Read more of LuAnn's work at her website.

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Making Your Characters a Character

Sunday, February 13, 2011


Monk is one of my all time favorite characters. Two more characters that rank high on my list are Columbo and Matlock. They have character—big, big character. Brilliance disguised by bungling ineptness. I enjoyed Columbo and Matlock, but poor Monk had the most to overcome. I held my breath for him, I cried for him, I cheered for him.

To develop characters similar to these three start with a visual clue. They possess something that makes them vulnerable or inept when first met. Monk can't shake hands and shows his fears; Columbo has an unkempt look and appears clueless; and Matlock has a loud, southern drawl and a back-woodsy personality. The villains easily underestimate them.

This trio has a common trait; an inner intuition and a way of putting facts together to support their suspicions. As writers, it's our responsibility to portray a uniqueness about our characters. Find a trait that will enhance your character, yet distinguish them from other protagonists.

Developing a character is not easy to do. Learn your character inside out. Learn her fears. Learn her loves. What makes him tick and what ticks him off. What was their third grade teacher's name and how did they feel about her? Most of all the characters have to become Characters and in order to do that, their personalities have to be established.

Their personalities need to be likable if they are the hero and unlikable or flawed if they are the bad guy.

I found this website, the Enneagram Institute; it has some basic information on personality types. Here's an Enneagram chart revealing the 9 basic personalities.



From the chart, these one-word descriptors can be expanded into four-word sets of traits. Keep in mind that these are merely highlights and do not represent the full spectrum of each type.
  • Type One is principled, purposeful, self-controlled, and perfectionistic.
  • Type Two is demonstrative, generous, people-pleasing, and possessive.
  • Type Three is adaptive, excelling, driven, and image-conscious.
  • Type Four is expressive, dramatic, self-absorbed, and temperamental.
  • Type Five is perceptive, innovative, secretive, and isolated.
  • Type Six is engaging, responsible, anxious, and suspicious.
  • Type Seven is spontaneous, versatile, distractible, and scattered.
  • Type Eight is self-confident, decisive, willful, and confrontational.
  • Type Nine is receptive, reassuring, agreeable, and complacent.

Tip: A great resource to help you keep track of all your character traits is this Character Trait Chart and Personality Components on WOW!

Monk photo http://techpp.com/2009/08/06/10-ways-to-watch-monk-season-8-online-for-free/
Columbo http://www.ioffer.com/si/compete series?view=0
Matlock http://panel.sygna.pl/matlock-imdb


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