STORYWISE EBOOK: HOW TO WRITE A TV PILOT SCRIPT

Contact Information Jen Grisanti Consultancy Inc.

www.jengrisanticonsultancy.com Phone: (323) 944-0962

E-mail: jennifer@jengrisanticonsultancy.com Copyright2014JenGrisantiConsultancyInc.,AllRightsReserved

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Hello,mynameisJenGrisanti.IamaStoryConsultant,WritingInstructorforNBC'sWritersontheVerge,BloggerforTheHuffingtonPost,andauthorofthebooksStoryLine:FindingtheGoldInYourLifeStory,TVWritingToolKit:HowToWriteAScriptthatSells,andChangeYourStory,ChangeYourLife:APathToSuccess.Inthisworkbook,IplantotellyouaboutabreakthroughmethodthatIdiscoveredduringmypast22yearsofanalyzingstory.IbelievethatthismethodwillhelpyoutowriteastrongerTVpilotscript.Itallstartswithastronglogline,thesetupofapowerfultriggerincidentthatpushesthecentralcharacterintoadilemmaandacleargoalthatstemsfromthedilemma.Iwillgomuchdeeperintothisphilosophyinalittlebit.IcreatedthisworkbookbecauseIrecognizethatthepilotscriptisthehardestscripttowriteoutofanyscriptoutthere.Iwanttohelpunmasksomeofthemysterybehindtotheprocessofwritingastrongpilotscript.Iwanttogiveyouthetoolsthatwillhelpyoutosucceed.First,I’dliketotellyoualittleaboutmybackground.IstartedmycareerasanassistanttoAaronSpelling22yearsago.Aaronwasmymentorforthenext12yearsasIclimbedtheranksandeventuallyranCurrentProgramsatSpellingTelevisionInc.coveringallofSpelling’sshowsincludingBeverlyHills,90210;MelrosePlace;andCharmed.CurrentProgrammingisthedepartmentthattakesovertheshowsonceDevelopmentsellsthepilotstoseries.Duringmyclimb,AaronusedtosendmeallthepilotstoreadandgivenotesoneventhoughmydepartmentwasCurrentProgrammingversusDevelopment.IloveddoingnotesonbothpilotsandseriesbecauseIlovedunderstandingthewholeprocess.In2004,IwaspromotedtoVicePresidentofCurrentProgramsatCBS/ParamountwhereIcoveredshowsincludingMedium,Numbers,NCIS,The4400andGirlfriends.InJanuary2008,IlaunchedJenGrisantiConsultancyInc.,aconsultingfirmdedicatedtohelpingtalentedwritersbreakintotheindustry.Bydrawingfrommy12-yearexperienceasastudioexecutivewhereIgavedailynotestoexecutiveproducers/showrunners,Ipersonallyguidewriterstoshapetheirmaterial,honetheirpitches,andfocustheircareers.Sincelaunching,Ihaveworkedwithover600writersworkingintelevision,featuresandnovels.I’vehelpedover50ofmywriterstostaff,28havesoldpilotsandfourhavegonetoseries.Idoseminars,teleseminarsandIhaveapodcastseriescalledStorywisethatgivestheindepthstorybehindsomeofourtopstorytellers.It'sonitunesandmywebsiteat:

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www.jengrisanticonsultancy.comWRITINGTHEPILOTSCRIPTIamgoingtostartbygivingyoualittlemoreinformationaboutmyphilosophy,startingwiththelogline.IliketohavewritersstartbywritingwhatIrefertoasa“LoglineForYourLife.”Thisisawaytostartidentifyinguniversallifemomentsandthemesinyourownlife.Ibelievethatyourwelliswhereyourgoldforyourwritinglies.Withaloglineyouwanttothinksetupofwho,dilemma,actionandgoal.LOGLINEFORYOURLIFETohelpyouunderstandhowtowriteloglinesforyourlife,let’sdissectaloglinefromthemovie,PrettyWoman:“Acutthroatbusinessmanwhowantstoremaindetachedneedsadateforsomesocialengagements,andhiresabeautifulprostitutehemeets...onlytofallinlove.”Thisloglinesetsupthedilemmawhilemakingusfeelempathyforthecentralcharacterwiththewords,“Acutthroatbusinessmanwhowantstoremaindetachedneedsadateforsomesocialengagements....”Then,itgivesustheactionthathetakes,“andhiresabeautifulprostitutehemeets....”Theironyisthegoal:“fallinlove”iscompletelytheoppositeofwhathesetouttodo.Anexternal/internalloglineformylifeis,“Whenaworkobsessedcorporateexecutiveistoldthathercontractisnotbeingrenewed,sheisforcedtoturnherplanBintoherplanAanddiscoversthatherplanBwasherplanAallalong.”Thesetupofthecentralcharacteris,“Whenaworkobsessedcorporateexecutive....”Thedilemmais,“istoldthathercontractisnotbeingrenewed....”Thisisbecomingalifeexperienceformillions.Thedilemmaisprevalent.Whatdowedowhenour“moment,”whichwe’veworkedforallofourlife,ends?Theactionisrepresentedwith“SheisforcedtoturnherplanBintoherplanA.”Manyofuscanconnectwiththeideathatlifetakesaturnandweareforcedtodesignanewplan.Afterthishappens,manyofusdiscoverthattheuniversenudgedusbecauseitwasourtime.Thegoalis,“anddiscoversthatherplanBwasherplanAallalong.”Thisutilizesironyaswell.Thisisveryuniversal.Wecangobacktoourcoreandfigureoutwhatmadeushappyaboutdoingourjobsinthefirstplace.Then,wecandesignanewplan.

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Bywritingthesestypesofloglines,youcanfindyourtruth.Byfindingyourtruth,youcanwritestoryfromanauthenticplace.Thiswillhelpyoutoidentifyyourvoice.WRITINGALOGLINEFORYOURSCRIPTWritingaloglineissomethingthatmostwritersdoafterthey’vewrittentheirscript,butIencouragewriterstowritetheirloglinebeforewritingtheirscript.Yourloglineisyourstory.Itisyourroadmap.Ittellsyouwhereyouaregoingandhowyouplantogetthere.Italsotellsyouifyouaretakingawrongturn.Ifyourloglinedoesn’twork,moreoftenthannot,somethingaboutyourstoryisnotworking.Asdiscussedearlier,whenyou’rethinkingofyourlogline,youwanttothink,“who,dilemma,action,andgoal.”Whendescribingyourdilemma,drawapicturethatmakesusfeelempathyforyourcentralcharacter.Next,includetheactionthatheorshetakesasaresultofthedilemmaand,finally,includeyourcharacter’sgoal.Veryoften,yourcentralcharacter’sgoalattheendofthestorywindsupbeingtheoppositeofwhatitwasatthestart.Thisiswhereironycomesintoplay.Ironyisakeypartofasuccessfulloglineand,therefore,akeypartofasuccessfulstory.EXAMPLESOFLOGLINES:BREAKINGBADLOGLINE–“WhenWalt,ahighschoolchemistryteacherwithawifeandahandicappedson,isgivenadiagnosisofterminalcancer,heturnstowhatheknowsbest,chemistry,anddecidestomakeanddistributemethinordertohavesomethingtoleavehisfamily.”WHO–AhighschoolchemistryteacherwithawifeandhandicappedsonDILEMMA–isgivenadiagnosisofterminalcancerACTION–decidestomakeanddistributemethGOAL–inordertohavesomethingtoleavehisfamily.SeriesDilemma–Walt(BryanCranston)isdiagnosedwithterminallungcancer.Hehasverylittletoleavehisfamilyifhediesbecauseheisachemistryprofessor.Hecomesupwiththeideaofdealingmeth.Thetwosidesofhisdilemmaareifhedealsmeth,herisksgettingcaughtandgoingtojail,buthewillhavethemoneytoleavehiswifeandtheirhandicappedson;second,ifhedoesn’tmakethemeth,hewillhaveverylittletoleavehisfamily,andhewilldiefeelinglikehedidn’tprovideforthem.

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MADMENLOGLINE–DonaldDraper,aconflictedadmaninthe1960’s,mustfigureouthowtokeepthesecretthatthepicturehepaintsandtheworldhecreatesisnotfromanidentitythatishisowninordertoremainatthetopofhisgame.THEGOODWIFEAbetrayedhousewifemustpickupthepiecesafterherhusband’sverypublicandpoliticalscandallandshiminjail,andshereturnstotheworkforcetosecureherfamily’sfuture.DILEMMAWhatisadilemma?Wikipediaoffersthisdefinition,“Adilemmaisaproblemofferingatleasttwosolutionsorpossibilities,ofwhichnonearepracticallyacceptable;oneinthispositionhasbeentraditionallydescribedas‘beingonthehornsofadilemma,’neitherhornbeingcomfortable;or‘beingbetweenarockandahardplace,’sincebothobjectsormetaphoricalchoicesarerough.”Dilemmasprovidetremendousopportunityfordrama.Ifyouadddilemmatoyourstoriesorstrengthenyourexistingdilemmas,itwillelevateyourwriting.We’veallbeenthroughdilemmas.Starttobeconsciousofthedilemmasyouhavefacedandarefacinginyourlife.DuringmostofmycareerasaTVexecutive,Ianalyzedstorybyfocusingonthegoalofeachstoryline.Itwasn’tuntillaterinmycareerthatIgottoknowandunderstandthetruevalueoflinkingthetriggerincident,dilemmaandpursuit.Byanalyzingstoryforover21years,Ihavelearnedthathavingacleargoalthatstemsfromthechoicemadeinyourdilemmathatwascausedbythetriggerincidentwillgiveyourstoryamuchstrongerchanceofworking.Itiswhenthegoalofthestoryisunclearthatthingsfallapart.Ifindthatmostwritershaveaproblemwiththisareaofstorybecausethemajorityofpeoplearenotclearaboutwhattheirownlifegoalsare.Thinkaboutyourgoalsatthemoment.Aretheyclearlydefined?Ifnot,thinkaboutwaysyoucanclarifythem.Wewritewhatweknow.Ifwedon’tknowwhatourgoalsare,itwillbehardertowritetowardthisinyourstory.

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TRIGGERINCIDENT,DILEMMAANDPURSUIT(GOAL)Ibelievethemostimportantkeytothesuccessofyourstoryisbuildingastrongtriggerincidentthatforcesyourcentralcharacterintoadilemma.Then,thechoicethattheymakeinthedilemmadefinesthepursuit/goal.ThisshouldhappenbytheendofActI.Startingwiththegoal,themostimportantquestionyouneedtoanswerwhenwritingyourstoryis:Whatdoesyourcentralcharacterwanttoachieve?Dilemmasprovidetremendousopportunityfordrama.Ifyouadddilemmatoyourstoriesorstrengthenyourexistingdilemmas,itwillelevateyourwriting.STRUCTUREFORADRAMASERIESTEASERSetupthepersonaldilemmaofthecentralcharacter.Showtheworld.Setupoftheme.Haveastrongtriggerincidentthatforcesthecentralcharacterintoadilemma.Decideifyou’regoingtohaveaseriestriggeranddilemmaandapilottrigger,dilemmaandpursuit.Ifyoudostartwithaseriesarc,makesurethatitlinkstothepilotarc.ACTI Ifyou’regoingtohaveapilottrigger,showthepilottriggerthatleadsyourcentralcharacterintoadilemmaandpursuit.Setuptherestofyourcharacters.Setuptheconflict.EndtheactwithtotalclarityonwhatthegoalisfortheAstory.Veryoften,thegoalintheBstoryisalsoestablishedbytheendofActIbuttheactshouldendontheAstory.Thegoalshouldstemfromthechoicemadeinthedilemmaineachstoryarc.YoucouldendtheactwiththeclearsetupofthegoalorthefirstobstacletothegoalintheAstory.ACTII YourcentralcharactersinboththeAandBstoryshouldstartactivelytryingtoachievehis/hergoals.Endtheactonanobstacleorescalatingobstaclethatdirectlygetsinthewayofthisgoal.ACTIII Whenyourcharactergetsoveroneobstacle,presentanotherone,escalatingthesituationsinyourAandBandsometimes,Cstories.Keepinmindthatyouarebuildingtowardyour“allislost”moment.Thismeansthatyoucouldn’tbefurther

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fromtheinitialgoal.Inafour-actscript,your“allislost”momenthappensattheendofActIII.Inafive-actscript,youcanendthisactonastrongerobstacleoraturningpoint.Maybethegoalshiftsasaresultofthelastobstacle.Youcansendyourcentralcharacteronanewmission.ACTIV Thisactendswithyour“allislost”momentinafive-actscript.Inafour-actscript,thisisyourresolution.Yourcentralcharacterachievestheirexternalgoal.ACTV Inafive-actscript,thisisyourresolution.MakesurethatyourcentralcharacteractivelysolvesthegoalthatwassetupattheendofthefirstactintheAandBstory.InthinkingaboutyourBandCstory,youshouldalsosetupatriggerincident,dilemmaandgoalforyourcharacters,haveobstaclesthatgetintheway,anescalatingobstacleorturningpointandan“allislost”momentandaresolution.Everysinglesceneinyourstoryshouldhavepurposeandinformthegoal,theobstacle,theescalatingobstacleandorturningpointandtheresolution.Thiswillgiveyouthemostwellroundedstory.Ifyouhaveaclearunderstandingofyourgoalineachstory,thenyou’llunderstandmuchbetterhowtomapouttherestoryouractoutsbecausetheyshouldallreflectbacktothegoal.STRUCTUREFORASITCOMThesitcomstructureissimilartothedramastructure.Theonedifferentiationisthatthereareusuallytwogoalsinasitcom.ACTI Setupfirstgoal.Showthefirstobstacle.Showtheactiontakenbyyourcentralcharactertoovercometheobstacle.Endtheactinjeopardy.ACTIIEscalatethejeopardy.Setasecondgoal.Thecharacter/charactersgointoactiontosolvethedilemma.Itgetsworse.There’satwist.Then,thereisaresolution.BeginandendyouractswiththeAstory.MakesurethatyourBandCstoryhaveabeginning,middleandend.Thematically,tiethemtogether.

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STRUCTUREFORATHREEACTSITCOMI’venoticedthatsitcomsthatare3-4actsarebeingwrittenmorelikedramas.Thereisonegoalforeachstory.Thegoaldoesn’tchangeattheendofthefirstorsecondact.COLDOPEN-Setupofworldandofconcept.ACTISetupoftriggerincidentanddilemmaintheAandBstory.ThegoalfortheAstoryshouldbeestablishedbytheendoftheact.Thegoalshouldstemfromthetriggerincidentanddilemma.EndtheactonanobstacletogoalintheAstory.ACTIITopofAct,escalatetheobstacleintheAstory.ShowobstaclesintheAandBstories.YoucouldalsohaveaCrunner.EndtheActonAorBstoryinjeopardy.ACTIIIHitanotherobstaclewiththegoalsandthentheresolutionsineachstory,endingontheAstory.TAG Yourtagcouldtakeanelementofanystorymentionedandexpanduponit.I’veseenstrongtagsstartwiththeresolutionintheAstoryandendonabeatfromtheCrunner.GOALSANDDILEMMASINCURRENTPILOTSBREAKDOWNFORSILICONVALLEYKidRockperformsatanewmillionairespartyinthedot.comcompany.There’sagroupofcomputernerds(RICHARD,EHRLICH,BIGHEADandmore)thathaven'tmadeityet.Theyarethepoorestonesattheparty.(CREATEEMPATHY)Ehrlichmotivatesthemtonetwork.Itisclearthathewantstheguysinhisincubatortofindthesamekindofsuccess.TheguygivesaspeechaboutthesuccessofHooliandthehugedealthatwasmade.(SERIESTRIGGER&DILEMMA)

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ACTIEhrlichtalkstoRichardandtellshimthathethinkshisideaforPiedPiperisweak.EhrlichtellshimthathehastodomoretopullhisweightinEric'shouse.(PILOTTRIGGERANDDILEMMA)GavinspeaksaboutHooli.StakesforRichardwhenhementionstoBigHeadthatEhrlichthreatenedtokickhimoutofthehouseandhowhecan'taffordtolivethere.(PERSONALSTAKES)RichardandBigHeadtalkabouttheupcomingTedtalkwithPeterGregory.(ACTION)Richardtalkswprogrammers.TheyaskaboutPiedPiper.Richardsendsitovertothem(ACTION)andthenrealizesthattheywereteasinghim.(OBSTACLE)TheylistentoRichardattheTedTalkaboutcollegedropouts.Peterisprodroppingout.Hequestionsthesystem.RichardapproachesPeterGregory.Togethisattentionhetellshimthathedroppedout,butcouldgobacktocollege.(ACTIONTAKENTOWARDGOAL)ThisgetsPeter'sattention.HepitcheshimPiedPiper.Peter'sgirlwalksupandpointsoutwhatcouldbeanobstaclewiththeconcept.RichardloseshischancewithPeter.ShetellsRichardthatshe'lllookupPiedPiper.(OBSTACLETOGOAL)ProgrammerscheckoutRichard'swebsite.Theyareshockedbythequalityofthesound,thefilesizeandhowquickthesearchisonacompresseddatabase.Gavin'sguy,Jerod,tellshimaboutthestrengthsofPiedPiperandwhatitcouldbeusedforotherthanjustmusic.Ehrlichhearsapitchatthehouse.It'snotwhathewants.Atthehouse,RichardgetsacallfromJerod.HetellshimthatGavinlikesPiedPiperandwantstomeetwithhim.Richardsharesthenews.Ericsaysthatheowns10%ofPiedPiper.(ACTIONTOWARDGOAL)

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RichardiskeptwaitingforGavin.AVPtellshimthatheonlygetstoseehim10minutesamonth.(OBSTACLETOGOAL)Gavinmakesacommenttohisspiritualguruaboutwhateachgroupofcomputernerdsseemtobemadeupof.RichardgetsacallfromPeterGregorywhileheiswaiting.HetellsJerodthatPeterGregoryiscalling.(ACTIONTOWARDTHEGOAL)Richardistalkingw/PeterGregorywhenGavinshowsup.RichardasksPeterGregoryifhecancallhimback.JerodpitchesRichardaboutwhatGaviniswillingtoofferhim:araiseandpromotion.Ehrlicharrivesw/BigHeadandannouncesthatheowns10%.GavintellsRichardthathe'llgivehim$600,000forit.PeterGregorycallsRichardonBighead'scell.GavintellsRichardthathe'llgivehim3million.Peteroffers$300,000for10%.Gavinoffers4million.Peteroffers$200,000for5%andsaysthathewillhelphimtobuildthiscompany.RichardtellsGavinthathehastogotothebathroom.Gavinoffers10million.Richardleavessayingthatthey'lltalkinabit.(ESCALTINGOBSTACLETOTHEGOAL)Richardthrowsup.Hegoestothedoctor.Thedoctortellshimthathehadapanicattack.Richardtellshimthathehastomakethedecision.Thedoctortellshimthestoryofaguyinasimilarlifecircumstance.Hetellshimthatheshothimselfbecausehedidn'ttakethemoney.Then,hesaidthathecouldn'trememberwhatheregretted.ThedoctorpitchesRichardanideaandtellshimthatthey'relookingforinvestors.Richardleavesandthrowsupagain.Monica,thegirlthatworkswithPeterGregoryapproachesRichardoutsidethedoctor'soffice.Hetellsherthatheisgoingw/Gavin.ShetellshimallthethingsthattheybelievethatPiedPiperwillbeabletodo.Shesaysthatthisisgamechangingandquestionswhyhewouldn'twanttobeinthedriver'sseatwhenthishappens.DoeshereallyjustwanttoturnitovertoHooliandwalkaway?Sheofferstogivehimaride.Richardgetshome.HeaskswhattheguyswouldfeelabouttakingPeterGregory's

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offerandstartingitfromscratch.RichardtellsEhrlichthathe'sgoingtogowithPeter'soffer.Hetellshimthathe'sexcitedabouthischoice.Richardacceptstheofferandtellshisgroupthathe'dlikefortheircompanytobedifferentandthinkdifferent.(GOALACHIEVED)BREAKDOWNFORTHEBLACKLISTReddingtonturnshimselfin(SERIESTRIGGERINCIDENT)InformationisgivenonReddington.Stakessetupwhenherevealsthatsomeonethoughttobedeadisactuallyalive.Thissetsupthedilemma.Reddingtonrevealsmore;hetellsthemthatthreemajoreventstheyviewasseperatearelinked.Hesuggeststhattheyworktogether.Reddingtontellsthemthathe'salive.Theyconfirmit.Reddingtonsaysthathe'llgivethemZamani,buthehasonerule,hewillonlyspeakwithElizabethKeen.(PILOTTRIGGERANDDILEMMA)Elizabethtellsherhusbandthatshe'snotgoingtoletthejobcomebetweenherandherfamily.AfleetpicksElizabethup.(SETUPOFPERSONALDILEMMA)MeetingbetweenCooperandKeen.ShetellshimthatshehasnohistorywithReddington.Cooperaskshertoprofileherself.LinkbetweenherfirstdayasaprofilerandReddingtonthinkingthathecanmanipulateher.(SetupofWHYNOW,WHYHER)KeenmeetswithReddington.Welearnaboutherwound,(abandonedbyafatherwhowasacareercriminalandamotherwhodiedofweaknessandshame).HetellsherthatZamaniwillabductaUSGeneral'sdaughter,Beth.KeentellstheFBIthatshebelievesReddington,Bethisgoingtobetaken.Keentellshusbandthatshewon'tbeabletomakethemeetingwiththeadoptionpeople.(OBSTACLEINPERSONALARC)Herpersonalwoundwithherpast,beingabandonedbyherfather,isconnectedtoherpersonalgoalofadoptingachild.Italsolinkswiththeprofessionalgoalof

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savingachild.KeengoeswithfleettopickupBeth.(ACTIONTAKENTOWARDTHEGOAL)Theircarishit.Zamani’smenaboutabouttotakeBeth,KeenpromiseBeththatshewillfindher.Zamani’smentakeBeth.EndofActI.(OBSTACLETOTHEGOAL)ReddingtontellsKeentotellhimaboutthescaronherhand.Hetellsherthatshewon'tfindBethunlessshelooksatthesituationdifferently,likeacriminal.Heinstructshertomakeitpersonal.KeenfiguresoutthatZamaniisdyingandconnectsthekidnappingtoanactiontakenbytheUSGeneral.Zamaniwantsrevenge.HeisgoingtouseBethtosettlethescore.(ACTIONTAKENTOWARDTHEGOAL)Reddingtontellsthemthathe'llneedtotravelfreelytohelpthemout.Keengetshome.Zamanihasherhusband.Hetorturesherhusbandashetriestogetmoreinfo.Shecalls911.ENDOFACTII(ESCALATINGOBSTACLETOTHEGOAL–PERSONAL/PROFESSIONAL)KeenspeakswithReddington.Shestabshimintheneckwithapen.(ACTIONTAKENTOWARDTHEGOAL)ReddingtonandZamanimeet.WelearnthatReddingtonwasbehindwhathappenedtoherhusband.ReddingtontellsKeenthatZamaniwantsmorethanjusttheGeneral'sdaughter.HeasksLizzywhatshesawwhenshewasinthehousewithhim.ShefiguresoutthatZamaniisgoingtobombtheDCZoo.(ESCALATINGOBSTACLEANDSTAKES)KeenfindsBeth.Shehasabombstrappedtoher.Therearelessthan3minutesontheclock.Zamaniiskilled.KeentellsBethabouthowwhenshetouchesherscar,itmakesherbrave.Thebombisstopped.Daughterissaved.

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Themanwhosavesthegirltakesoffwiththebomb(GOALACHIEVED)ReddingtonspeakstotheFBI.Hetellsthem,thatZamaniisonlythefirstnameonhislist.ItiscalledTheBlacklist.HetellsthemthatZamaniwasasmallfish.ReddingtongivesthemhistermsincludingthatheonlyspeakswithElizabethKeen.Elizabethfindsaboxfullofcashandfakepassportsbelongingtoherhusband.(SETUPOFTHESERIES)FOUNDATIONINWRITINGAPILOTSCRIPTTherearesomanythingstothinkaboutwhenyousitdowntowriteyourpilotscript.Herearesomeimportantquestionstoconsider:Whatismyworld?Isitaworldthatcontinuousstorycancomeoutof?Whenandwheredoesittakeplace?Whoaremycharacters?Whatistheirbackstory?WhatisthestoryI’dliketotell?Isthereahook?HowcanItellmystorysothatithitstheaudienceinauniversalway?DoesthegoalstemfromthedilemmasintheAandBstory?DoIwritecharacterinawaythatyoufeelempathyfortheleadsothatyouarerootingforhim/hertoachievethegoal?Whataremycharacters’motivations?Whatistheconflict?Whataretheemotionalstakes?Whatistheworstthatcanhappenifmycentralcharacterdoesnotachievehis/hergoalorthedilemmaisnotresolved?Withinthestory,doIhearmyvoice?Whatisthestructureofmyseries?Isitmoreaboutthecasesthatcomein,orisitmoreabouthowtheyresonatewithmycharacters?DoIsetuptheseries?CanIimaginewhatepisode#100willbe?Canthereader/viewerimaginethis?Inthisnextsection,Iwillbreakdownsomeoftheelementsthatgointowritingastrongpilotscript.

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THEWORLDDoesyourstoryhaveafranchise?Whatisyourworld?Isthereastrongengineforstory?Themostpopularworldsaremedical,legal,andlawenforcement.Overtheyears,televisionhasevolvedtoaplaceofmuchmorecomplexandintelligentstorytelling.Whenyou’redesigningyourworld,thinkofanarenathatappearstohaveendlessstorythatcouldcomefromit.Chancesarethatit’sanarenathathasbeenexploredbefore.So,addanoriginaltwisttoitthatdoesn’tmakeitderivative.Somenewshowsthathaveaddedstrongtwiststoexistingworldsinclude:MADMEN,BREAKINGBAD,BIGLOVEandDAMAGES.THEPLACEWheredoesyourstorytakeplace?Whatistheplacelike?Doestheplacefueltheconceptevenmore?Ifit’saserializedshow,isthereonemeetingplacewherethecorecastcomestogether?WHENWhendoesyourstorytakeplace?Isitinthepresentorisitaperiodpiece?Thinkaboutwhatyourconceptisandconsiderwhathistoricaltimeframelendsitselfbesttomakingyourconceptinteresting.A,BandCStoryLinesYour“A”storyisyourdominantstoryinyourpilot.Thisistheprimarystory.Mostofyouractoutswillusuallyendonyour“A”story.Your“B”storyisalsoveryimportant.Youdon’tspendasmuchtimeonitbutifdonewell,your“B”storycanelevateyour“A”storybyexploringthesamethemebuttakingadifferentapproachtoit.Inproceduralshows,manyofthemusethe“A”storyasthecaseandthe“B”storyasthepersonalstory.Your“C”storyisoftenyourrunner.Youspendtheleastamountoftimeonyour“C”andsometimes“D”storiesbuttheycanstillhaveanimpact.Theyoftenaddhumorandarelighter.Withyour“A”and“B”story,youwanttothink:setupofdilemma,establishmentofcleargoal,obstacle,escalatingobstacleorturningpoint,“allislost”moment,andresolution.Youwanttohitallbeatsinbothstorieseventhoughyour“A”storyismoredominant.

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Withyour“C”story,eventhoughyoudon’thitallthebeats,youwanttohaveabeginning,middle,andendwithitaswell.FORMULAWhenIspeakaboutformula,Imeanhowyourshowisstructured.Whatareyourstorybeatsattheactouts?Also,whatgoesintoyourformulaisknowingwhatyour“A”storywillbeversusyour“B”storyfromweektoweek.Usuallyyour“A”storyisabouttheworldofyourseriesandyourcentralcharacter.Veryoften,your“B”storyisyouremotionalstory.Inotherwords,your“A”storyisoftentheprofessionalpartandthe“B”isoftenpersonal.Thinkaboutallyourfavoriteshows.Starttofigureoutwhataretheelementsthatyouseeintheir“A”storiesversustheir“B”stories.Youwillalsowanttothinkofthebalanceofyourshow.Whatisthebalanceofprofessionaltopersonal?Someproceduralsareallaboutthecaseversusothersaremoreaboutthecharactersandjustusethecaseasawaytoenhancethebanterbetweenthecharactersandbuildontheirsituations.So,thinkaboutwhatyouwantthebalanceofyourshowtobe.CHARACTERSInthepastfewyears,thecharactersintheseriesthatworkandgothedistanceareveryoften,complex,flawedandvulnerable.Youwanttosetupyourstorysothattheaudienceempathizeswithyourcentralcharacter.Youwanttoseegrowthbetweenwherethecharacterstartsandwherehe/sheends.Youwanttoconnectwithandrootforhim/her.ThisstartedwithTHESOPRANOSandTHESHIELD.Welearnedsomuchaboutthevalueofhavingaverystrong,butflawed,characterthroughthebrillianceofthewritingintheseshows.Sincethen,someothershowsthatexplorethebeautyofcomplexcharactersinclude;HOUSEOFCARDS,HOMELAND,ORANGEISTHENEWBLACK,MASTERSOFSEX,THEGOODWIFE,HANNIBAL,THEBLACKLIST,BREAKINGBAD,MADMEN,andDAMAGES.Recognizethatgoodstoryrevealscharacter.EXERCISE

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Whenthinkingaboutwhothecharacterswillbeinyourworld,createabioforeach.Asyoudesignyourcharacters’lives,makesureyoutakeadvantageoftheresourcesyouhaveatyourdisposal.Thinkofallthepeopleyouhaveinyourlifeandaroundyou.Thinkofthefriendsorfamilywhobotheryouthemostorgetonyournerves.Thinkaboutthequalitiesthatcontributetoyoufeelingthisway.Observepeopleandtheirhabitswhenyou’reout.Writedownwhatyousee.Nevermissanopportunitytorecognizethevalueofasituation.Honestly,yourgreatestgoldforstoryisyourownwellofexperience.So,starttolookattheawfulthingsthathavehappenedtoyouwithanewlight:thesewillbegreatonthepage.Thinkaboutyourownqualities.Veryoftenwhatwehateinothers,wehateinourselves.Thisiswheregrowthisinspired.STORYWhatdoyouwanttosayinyourpilot?Whatisthestory?Doyougetastrongsenseofthejourney?Doyourootforyourcharacter?Forthoseofyoucontemplatingwritingautobiographicalstories,Iencourageyoutodothisasanexerciseofgettingstoryout,notasyourpilot.Inmyexperience,itisbettertodrawfromyourlifeexperiencestoenhanceyourfictionalizedstory,nottotellyourownstory.It’srarethatourstoryisgoingtobeasinterestingtoothersasitistous.Itisbesttotellstoryinamoredetachedway.Whenyouaresoclosetoastory,youcannotseethingsthatyouwouldotherwisebeabletosee.Instudyingstory,Ihavefoundonekeyquestionthatisrelevantacrosstheboardtostoryineverymedium:Whatdoesyourcentralcharacterwant?Fortelevision,doyouclearlysetupthegoalstemmingfromyourdilemmaofyourcentralcharacterbytheendofActI?I’vediscoveredthatifyoudon’testablishwhatyourcentralcharacterwantsinthefirstact,yourstorywillnotbuildaseffectivelyasitcould.Everyotheractoutshouldreflectbacktothisinitialgoalinsomeway.I’vealsofoundthatclarityisthekeytoeverything.Ifweunderstandwhatyourcharacterswantandwhytheywantit,yourstorywillconnectbetterwithyouraudience.Herearesomestorymistakesthatarecommoninpilotscripts:ToomuchstoryandnotenoughcharacterConfusingstorylines

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NotenoughtimespentsettingupyourworldandthestorythattravelsthroughitNotenoughtimespentonthedevelopmentofyourcharacters.Makingthefirstfouractsmostlybackstoryandhavingtheseriesstartinthelastact.ThebiggestquestionIaskmyselfwhenIamwatchingapilotoranepisodeoftelevisionis“WhydoIcare?”IfIdon’tknowtheanswertothisquestionin20minutes,Ichangethechannel.Makesureyouanswerthisquestionasearlyaspossible.HOOKDoesyourstoryhaveahook?Ifnot,thinkofhowtowriteitsothatthereisone.Ahookissomethinguniquetoyourstorythatsetsitapartfromtherest.WithBREAKINGBAD,thehookisthedilemmathecentralcharacterfaceswhenheisdiagnosedwithterminalcancerandhastofigureouthowtoprovideforhiswifeandhandicappedsonafterhe’sgone,eventhoughheonlymakesateacher’ssalary.So,utilizinghisknowledgeasachemistryteacher,hedecidestomakeanddistributemeth.MADMENissetintheworldofadvertising.Thehookistheworld,thetimeperiodandthebackstoryofthecentralcharacterandwhathauntshim.BIGLOVEisabouttheworldofpolygamy.Itshookisitsexplorationofwhatit’sliketobeapolygamistandoneofthemultiplewivesparticipatinginthisworld.Itexploresanexistencethatmanyofusdon’tknow.UNIVERSALTHEMESWhatisauniversaltheme?Thisisanexperiencethatappealstothemasses.It’showyouraudienceconnectstoyourstoryandyourcharacters.Iloveawriterwhohasthematurityandtheknowhowtoexecutethemwell.Howdowefinduniversalthemes?Iteachthatwecanfindtheminourownstories.Thinkbackonyourlife.Thinkofallthefirstsyouwentthrough:thefirsttimeyourodeyourbike,thefirsttimeyougotthroughadayofschoolwithoutmissingyourmotherorfather,thefirsttimeyouplayedasportandexcelledinit,thefirsttimeyougotagoodgrade,thefirsttimeyouwerepunished,thefirsttimeyoufeltrealisolation,thefirsttimeyoukissedsomeone,thefirsttimeyoufellinlove,thefirsttimeyouhadyourheartbroken,thefirsttimeyouheardaboutyourparent’sdivorce,thefirsttimeyoufeltbetrayedbyafriendorlover,etc.Thelistisendless.

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Superficially,wehavealotoftheseexperiencesincommon,ifnotallofthem.Yet,nooneexperiencesjoyandpainexactlylikewedo.It’sthisuniquepersonalinterpretationthatinformswhatmostofuswanttofind,ourvoice.TRIGGER/DILEMMA/GOALThesetupofthetriggerincidentthatleadsyourcentralcharacterintoapowerfuldilemmaisthekeytoyourstoryworking.Asaresultofyourdilemma,yourcentralcharactermakesachoice.Thischoicedefinestheexternalgoal.Themostimportantquestionyouneedtoanswerwhenwritingyourstoryis:Whatdoesyourcentralcharacterwanttoachieve?Ifyoudon’tknowtheanswertothis,youneedtofigureitoutbeforewritingyourstory.ThestrongeststoriesI’veseeneventakeitastepfurther.Ratherthanjustsettingupagoalforyourcentralcharacter,attheendofActIyourcentralcharacterisfacedwithadilemmawhereneitheroptionisastrongchoice.Thisiswhereallthedramacomesfrom.Afterdeterminingyourcentralcharacter’sexternalgoalconsidertheirinternalgoalaswell.Whyisitimportanttothemonanemotionalleveltoachievetheirexternalgoal?Howwillitchangetheminside?Exercise-StartstudyingTV.Whenyou’rewatchingapilotthatyoulike,figureouttheformulaoftheshow.WritedownhowtheTeaserends.WritedownthestorybeatattheendofActI.Writedownthestorybeatsattheendoftheremainingacts.Thinkabouthowtheywork.Intheshowsthatresonatewithmethestrongest,allactoutsreflectbacktotheinitialgoalinsomeway.Thisdoesn’tmeanthateveryacthastoendonyourAstory.YoucanhaveanactendonyourBstory,butitshouldstillresonatebacktothegoalinyourAstory.Ifyoufollowthismethod,youwillbegintounderstandstoryinawholenewway,justlikeIdid.CHARACTERMOTIVATIONWhatmotivatesyourcharactertodowhattheydo?Onceyouclearlysetupyourgoalstemmingfromyourtriggerincidentandthechoicemadeinyourdilemma,youneedtoalsoclarifywhyitisimportantforyourcharactertoattainthisgoalorfigureoutthedilemma.Throughexploringbackstoryorcurrentstory,yourevealinformationaboutyourcharacter.Ifdonewell,youcommunicatetoyouraudiencewhyyourcharacterisdoingwhatthey’redoing.Whenyousetupyourcentral

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character’sgoal,thinkofthefollowing;whatistheworstthatwillhappenifyourcharacterdoesnotattaintheirgoal?Whyisitsoimportanttoyourcharacterthattheyattaintheirgoal?Ifyouexplorecharactermotivationthroughdilemma,makesurethatyousetupbothsidesofthedilemma.Whyisyourcharactertornbetweenthetwochoices?ACTIONWhatactiondoesyourcentralcharactertaketoachievehis/hergoals?Makesurethatyourcentralcharacterisactiveinachievinghis/hergoal/dilemmaversusjustbeingreactive.ThinkabouttheexerciseImentionedintheUniversalThemesection.Duringthetimesinyourlifewhenyoufeltextremejoy,sorrow,isolation,ortheexperienceofyourworldbeingturnedcompletelyupsidedownandyourrealityshifting,whatdidyoudotohealorescape?Writedownyouranswerstothisquestion.Considertheseaspotentialmotivationsforyourcharacter.CONFLICTWhatobstaclesdoyourcharacterorcharactersrunintoinwhilepursuingtheirgoal?Howbigistheconflict?Howimportantisittoyourcharactertogetoverthisconflict?Ifyourcharactersolvesoneobstacle,makesurethatwhenyoupresentanotherobstacle,youescalatethesituation.Yourconflictalsohastodowithyouremotionalstakes.Withthetellingofstrongstory,everythingtiesintotheoverallaffect.Anexerciseyoucanusetobrainstormconflictforyourcharactersistothinkaboutallofyourownproblemsatthemoment.Writethemdown.Thinkaboutthem.Whatistheworstthatcanhappen?Thinkbacktoyourpast,whatweresomelifemomentswhereyoufeltyouweredealtinsurmountablecircumstances?EMOTIONALSTAKESWhatistheworstthatcanhappentoyourcentralcharacterifhe/shedoesnotachievehis/hergoal?Doyousetupyourcharactersinawaythatweunderstandjusthowimportantthisspecificgoalistothem?Doyourootforthem?ElevatingtheemotionalpartsofascriptisprobablyanareathatIworkwithwritersonthemost.Forthestorytoworkinthebestwaypossible,itisnecessarytoexecutethiswell.Gotothecoreofwhatisgoingoninsideyourcharacters.AsImentionedearlier,inadditiontothinkingabouttheirexternalgoal,alsodecidewhythisgoalis

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importanttotheminternally.WhenIreadscripts,Ithinkaboutwhatinterestsmethemostwithinthestory.Then,Iaskmyselfwhetherthewriterexploredthisasmuchastheycould.Yourownuniversalthemesplayintoyougettingasdeepasyoucanemotionally.Gointoyourdeepestanddarkestmoment.Thinkabouthowyoufelt.Isthereaparallelwithwhatyourcharacterisgoingthroughinyourstory?Iencourageyoutogothere.Itisinthisexperiencethatyoubegintofindyourvoice.FINDINGYOURVOICEFindingyourvoiceshouldbeoneofyourbiggestgoalsinwriting.Whatdoesthismean?Itmeansgoingfurtherthanyoueverhave.Itmeanstakingusfarenoughintoyourcharactersthatwereallyunderstandwhattheyfeelinthemoment.Attainingthisisyourgold.Thiswillcomefromyourwelloflifeexperience.Thinkofallthethingsthatcrossyourmindbutthatyouwouldneversayoutloud,becauseitwouldmakeyoufartoovulnerable.Haveyourcharacterssaythesethings.Bewillingtogodeeperthanyoueverhave.Bewillingtotakearisk.Whenalineofdialogueinyourfavoriteshowreallyspeakstoyou,it’softenbecauseawriterhasmasteredusinghis/hervoice.Youwanttoachievethis.Thiswillmakeyourscriptstandout.SETTINGUPYOURSERIESMakesurethatbytheendofyourpilot,youraudiencehasaclearunderstandingofwhatyourseriesis.Whywilltheywanttocomeback?Inyourpilot,didyougivethemastrongsenseofthetypeofstoriesthatthey’llbewatchingfromweektoweek?Or,didyouspendtoomuchtimesettingupthecharactersandsituationandnotenoughtimeonthestory?Thegoalofwritingyourpilotistoprovideasenseofwhattheserieswillbe.Veryoften,writerswaituntilthelastacttoexplorewhattheserieswillbe.Anotethatiscommonlygiventopilotsis“MoveActIVtoActI.”Ifyoudothis,youcanexplorewhatyourshowwillbe.Inotherwords,donotspendseveralactssettingupbackstory.Yourbackstorycanrevealitselfandyourcharacterscanbeestablishedthroughoutyourstory.Asawaytohelpwritersdeepentheirwritingtohelpmaketheirscriptsstandout,Iliketoteachthemaboutuniversallifemomentsandthengetthemtowritea“LoglineforyourLife.”Inmybook,STORYLINE:FINDINGTHEGOLDINYOURLIFESTORY,Iexploretheseconceptsindepthandhowyoucanseewhenthewriterfictionalizestheirtruthintheirwriting.

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AstrongplacetoutilizeyourtruthandfictionalizeitintoyourwritinginyourpilotscriptisinActsIII,IVandV.Theseareoftenstrongplacestorevealmoretoyouraudienceaboutwhyyourcentralcharacteristhewayhe/sheis.Whentheyareinthemomentofanescalatingobstacleorthe“allislost”moment,itisagoodtimetofleshyourcharacteroutmore.Whatmakesthemtick?Drawingfromyourtruthinthesemomentsandfictionalizingitinyourwritingwilladdmoreauthenticitytoyourstoryallowingyourreadertoconnectmorewithit.EXERCISEOnegreatwaytobeginthinkingofpivotalmomentsinyourlifeistogothroughphotoalbums.Thisisanexcellentwaytoextractstory.Thereisoftensomuchemotionbehindeverypicturewetake.Ifyougothroughyouralbums,youwillbeshockedathowmanystoriesyou’reremindedofandhowtheymakeyoufeel.Weoftensmileforpicturesbecauseweknowthatourpictureisbeingtaken.However,weknowthetruthbehindthemask.Itishavingthecouragetogothereandunderstanditthatisthetruetestofawriter.RESOURCES

SCRIPTMAGAZINEIfyouwantadeeperunderstandingofmyconcepts,youcanreadmyblogsonstorystructurewithScriptMagazine.

STORYSTRUCTURE:THEEVOLUTIONOFANIDEAhttp://www.scriptmag.com/features/story-structure-evolution-of-idea-script

STORYSTRUCTURE:THEARTOFTHEDILEMMAhttp://www.scriptmag.com/features/story-structure-the-art-of-the-dilemma

AWARDWINNINGSTORYSTRUCTUREFORFILMFESTIVALShttp://www.scriptmag.com/features/award-winning-story-structure-for-film-festivals

STORYSTRUCTURE:LINKINGYOURSERIESDILEMMATOYOURPILOTDILEMMA

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http://www.scriptmag.com/features/story-structure-linking-your-series-dilemma-to-your-pilot-dilemma

STORYSTRUCTURE:EVOLVINGTOADEEPERPLACEhttp://www.scriptmag.com/features/writer-profiles/story-structure-evolving-to-a-deeper-place

THEHUFFINGTONPOSTFormoreofmyBLOGShttp://www.huffingtonpost.com/jen-grisanti/

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FILMCOURAGEINTERVIEWShttps://www.youtube.com/watch?v=Pdu9oeG5vvg&list=PLez8jOvskc-OUbv7miv0DNQzcj1Rhw-VQ&index=2

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WithmyPremiumStorySubscription,for$22.95,youwillgetStoryTipsandPodcastTips.Everymonth,youcanturnin3-5loglinesandora1-2pagepitchdocumentandIwillgiveyouwrittenfeedback.Thisisvaluedat$300.00.Yougetitfor$22.95amonth.

FRIDAYNIGHTDRINKS/SOCIAL:

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http://jengrisanticonsultancy.com/events/friday-night-drinks-friday-august-1-2014/

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