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much of that was out the window.īut let me also say this: If this situation isn't exactly ideal for the writers, it's definitely not ideal for the executives either. their individual storylines that make up each episode. The good news is that the overall arc of the season didn't change - meaning, where each of the characters starts the season and ends the season is exactly the same - but the paths they take to get there. lots of coffee (yes, with vanilla creamer).
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I'll be honest, it's been pretty stressful. So, that was the world I marched into at the end of July. and that's when you take a moment with your blankie, and you cry. with only a month to go before the start of preproduction. all the way back to the characters' loglines in some cases. and the notes are significant enough that you have to go back to square one on your scripts.
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See: Not a huge deal.Įxcept then there are times when the imperfect world is experiencing a full moon and mercury is in retrograde and toilets start flushing the opposite way and the hot water tap delivers cold water and some of the key executives have been - for reasons completely beyond anyone's control - unable to weigh in on any of the documents you've turned in until you're months into the project, with several scripts in progress, and the rest of the beat sheets in development. So, you forge ahead with all the notes you do have - and then incorporate the new notes from the recently-rescued executive once you get them. but with preproduction deadlines looming and eight scripts to write, you don't have that luxury.
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It would be nifty if you, the writer, could simply kick back with a margarita and your TV remote and just relax in your barcalounger until that executive is able to give his or her notes.
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For example, maybe you turn in a draft of a beat sheet but one of the execs who needs to give notes is on set for another show, or is traveling, or is buried under piles of paper in their office waiting for Search & Rescue to come save them. Usually, those things are not a huge deal. In an imperfect world, all the execs are doing their absolute best to get us notes as quickly as possible - but sometimes things get in the way. Sounds perfectly do-able, right? Aaah, I can almost hear the birds chirping in my happy writing wonderland.Įxcept that we don't live in a perfect world. and then by the time you've done several drafts of a script, the notes are mainly dialogue polishes. by the time you write the first draft of the script, the notes are typically not story-changing but are focused more on character, story clarity, tone, etc. So, for example, the first draft of a beat sheet may (and probably will) get you significant notes that cause significant story and/or scene changes. In a perfect world, the notes get less significant - and there are less of them - the more drafts of something you do and the farther along you are in the process. Notes are a usual thing you get whenever you turn in a draft of anything, be it the overall arc for the season, an episode beat sheet, a script, or the lovely little haiku you composed about global warming (note to self: network execs are way too busy to fully appreciate the glory of first-draft haikus on global warming). I don't suppose it will help to say that I'm just now coming back up for air after an intense (and challenging) couple of writing months? Or that my brain has been fried? Or that the dog ate my homework? Okay, okay, ya got me: I don't have a dog. I've been doing my best to keep up with everything, and my apologies to those of you who keep checking here only to find the same old information. You may have noticed that I haven't posted in a while.