I’d still suggest plotting it as a comic book. That way you could stretch it to twelve installments, Jim would be happy (ha! he’d say six max!), and these people who’ve said they’re interested would be equipped to help out, unless you guys have experience writing episode-length screenplays, which I don’t. And it would also help solve the clutter of characters you’ve assembled. Plus, the market. I kept thinking, Farscape, Firescape, Farscape while reading the outline . But your idea of a bastards version of Farscape is pretty much exactly what a comic book would do in the current market. “What if the characters from Farscape/Babylon 5/Deep Space Nine were all cunts?”
I actually see it more like Galapagos, the Kurt Vonnegut novel, but set in space and with a war backstory.
Here’s where you get some
I really don’t think it’s worth doing it as a comic, especially as it’s for fun and learning beyond anything else. A writer’s room for a 22 page comic book would be a real waste of man power.
It has to be remembered that the amount of characters listed do not need to be even close to main characters. Most are very much there as background characters and much of the drama of the pilot, for instance, happens between on the bridge between the bridge crew and a few others.
Once I have the pilot final drafted I think it will be clearer - the pdf is a lot of information that isnt overly relevant to anyone but the writer’s room.
I hope this isn’t tasteless of me, but, has anyone considered drafting a contract between the co-writers?
And, yes. I know writerduet.com exsists only to sell their app. And the WGA is looking only to fill it’s pockets…but…this would be spec work, right?
Only join WGA IF there’s some interest from business types? Right?
My understanding of this business is zilch. I just don’t want to miss the opportunity to do something fun because of lingering doubts. If I’m misunderstanding how spec works, and I have my head up my ass, please let me know. Thanks, Hazard AKA jason
You can find/download WGA contract under #1 tip
My terms are simple.
Complete and unquestioned creative control and rights.
I don’t think you’re entirely off-base. If this were actually done, and a whole season was written, that’s a lot of work and a lot of credit at the very least.
I was just want to bounce some fun ideas around and maybe have something cool to read back at the end of it.
Okay, so I did a little research. A typical hour-length episode is anywhere from 45 to 55 pages long. A page consists of about a minute of screen time. I think it helps to know this.
Not at all. I have intended to do this with with whoever is on board as while it isn’t something that might be truly viable to bring to TV based on a number of factors, there is absolutely no reason we can’t digitally publish the scripts or even have them adapted to some sort of digital novella.
I see you’ve mastered the voice of Vicieux’s character already.
I’m a stickler for credit, the fact it will all be documented in a thread is heaven for me!
Of course, that’s the general idea and to learn how to work in a team like that - and hopefully grow as a writer - but there’s no reason that if there was work that was good that it should sit in our drawers.
My intention for this is not simply for writers writing scripts but for story advisers, too. Some of my favourite things in the world have had multiple people coming up with the ideas - there is as much room for that as the nitty-gritty of writing scripts in my eyes. I’ll be working as a sort of showrunner/lead writer in the sense that I will work to keep scripts consistent in both voice and tone, but ultimately everyone can shape that in writers room debate or interaction - which for me is the fun part. I have a strong idea of what tone of delivery is needed and what characters will or won’t do, but I’m open to everything - including being wrong.
Here’s how I see the breakdown in credit -
Say I provide a basic plot I would get a ‘story by’ credit
If young Duke were to write the brunt of the script then he would get the screenplay credit.
If He and Tom both wrote scenes that were used, both would get screenplay credit.
Say I reworked some of the dialogue, I would merely get a script editor credit.
Anyone who put ideas in would be billed as story advisers.
If someone did all those things and an episode came to the table perfect, no one else needs credited. However, that’s something I don’t necessarily want - I would still like to see absolutely everything honed by the team until it hums like a well oiled machine. Ideas are the lifeblood on which the whole thing should exist.
Yep, one page equals one minute of time as a general standard.
We’re thinking non-network budgeting here so the sort of scripts we are talking about should be closer to 50 to 65 pages as we don’t need to figure in advert space (and networks are going to 2 mins of commercials per hour very soon, so even network shows will be longer from next season).
Right now we have @Tom_Punk and @Hazardpay on board and pm’d me… I’m thinking we need 5 to start and we can add people later if they want to join in. Again, all credit will be documented in the Writer’s Room Private Mail thread.
I am working to get the pilot script the way I want it to begin so it shows the tone and gives a blueprint but I am struggling with time from real life work. This is all going to be a slow process with no pressure but that actually is a good thing in terms of storywriting so the thing can be worked on properly and not rushed.
Oh also, if any of you need help in finding decent script writing software, have in questions about how to go about putting together a script or if there is issues while writing I will always be on hand to help.
I’ve just noticed this. That’s not something I wouldn’t worry about at this stage. We will make sure we have an agreement in writing that covers any work we put in, if it were to get to the stage it was optioned for television those are different bridges. I won’t lie, the chances of something like this getting optioned with a host of writers already involved is slim (even if it were the most incredible show ever), but as I say, the credit will be documented and there are alternate options for making money if we felt it should be published. They main thing everyone can take from this is experience in this type of work, even if it’s only a simulated version.
WGA is not something that you can just join anyway. You have to sell something in order to join. And indie/low budget doesn’t count. You have to earn “24 units” within three years to be eligible to join, and the initial fee is then - I think - $2400 or $2500.
It occurs to me that there a lot of ways to share notes, written scenes. Dropbox? Discord?
Maybe a simple blog format like WordPress? We share a password. Someone posts a short scene. Another writer makes small changes (dialouge and the like) and then posts the revised scene? Their name or user name written obnoxiously big and bold so we know who did what.
Maybe the private forum is the best way to go…but I just want to suggest alternatives.
There is definite benefit to using those type of things in a lot of cases where writers work together, but in this instance I feel you would really lose the feeling of a writer’s room as things went off in a tangent as opposed to one simply place for all communication. Two writers could discuss the story over a few beers but it would still all have to be discussed by everyone round a table the next day. For all intents and purposes the PM thread is a virtual room.
Here’s how it will work.
We pick a solid story for an episode.
We then ‘break’ that episode between us in the thread posts. ‘Break’ means to basically work out the story and agree what plot and events definitely need to be covered by whoever is writing that episode script.
Then whoever is writing that episode will go off and write the script.
Next, the writer’s room will go through the script and the writer will go off with notes for the rewrite.
This latest draft will then be been gone through again by the room where we will work out changes, cuts or even if, say, someone else would like a shot at some of the scenes. These new scenes could work or be discarded depending on what the room feels about them. This is never personal, it’s just simply that sometimes, as a writer, you see things differently and think your voice can hit certain story notes better. Sometimes a writer is right, sometimes wrong, the team decides for the good of the story.
Then finally the script supervisor/editor, which is me (for this season at least), goes through and makes final edits to tone or dialog. These would be minor alterations, with story or pacing issues or anything else have already been brought up in the context if the writer’s room working together in the thread discussing any issues.
The final draft is now complete.
Just on that note, when speaking of a writer’s room set-up - It is both important in terms of learning, and any fun aspect, that the same factory type ethic is kept to for every episode. Obviously, like if it were your actual job, you have to be very open to your personal taste not always being completely satisfied - here’s a metaphor for the process - if we were all chefs working in a kitchen, we couldn’t just only cook the food only we liked, and if it’s a difficult dish, having others help cook parts of it should only ever be a relief, not a disappointment. There is a lot of pressure in professional writing, just as there is in the kitchen of a top restaurant, it’s important to rely on your fellow chefs/writers and trust them. Even if someone is contributing as a story advisor, they are there to be relied on as much as posdible to get the best story we can in those finished scripts.