Les is MooreComplications Ensue
Complications Ensue:
The Crafty Screenwriting, TV and Game Writing Blog




Archives

April 2004

May 2004

June 2004

July 2004

August 2004

September 2004

October 2004

November 2004

December 2004

January 2005

February 2005

March 2005

April 2005

May 2005

June 2005

July 2005

August 2005

September 2005

October 2005

November 2005

December 2005

January 2006

February 2006

March 2006

April 2006

May 2006

June 2006

July 2006

August 2006

September 2006

October 2006

November 2006

December 2006

January 2007

February 2007

March 2007

April 2007

May 2007

June 2007

July 2007

August 2007

September 2007

October 2007

November 2007

December 2007

January 2008

February 2008

March 2008

April 2008

May 2008

June 2008

July 2008

August 2008

September 2008

October 2008

November 2008

December 2008

January 2009

February 2009

March 2009

April 2009

May 2009

June 2009

July 2009

August 2009

September 2009

October 2009

November 2009

December 2009

January 2010

February 2010

March 2010

April 2010

May 2010

June 2010

July 2010

August 2010

September 2010

October 2010

November 2010

December 2010

January 2011

February 2011

March 2011

April 2011

May 2011

June 2011

July 2011

August 2011

September 2011

October 2011

November 2011

December 2011

January 2012

February 2012

March 2012

April 2012

May 2012

June 2012

July 2012

August 2012

September 2012

October 2012

November 2012

December 2012

January 2013

February 2013

March 2013

April 2013

May 2013

June 2013

July 2013

August 2013

September 2013

October 2013

November 2013

December 2013

January 2014

February 2014

March 2014

April 2014

May 2014

June 2014

July 2014

August 2014

September 2014

October 2014

November 2014

December 2014

January 2015

February 2015

March 2015

April 2015

May 2015

June 2015

August 2015

September 2015

October 2015

November 2015

December 2015

January 2016

February 2016

March 2016

April 2016

May 2016

June 2016

July 2016

August 2016

September 2016

October 2016

November 2016

December 2016

January 2017

February 2017

March 2017

May 2017

June 2017

July 2017

August 2017

September 2017

October 2017

November 2017

December 2017

January 2018

March 2018

April 2018

June 2018

July 2018

October 2018

November 2018

December 2018

January 2019

February 2019

November 2019

February 2020

March 2020

April 2020

May 2020

August 2020

September 2020

October 2020

December 2020

January 2021

February 2021

March 2021

May 2021

June 2021

November 2021

December 2021

January 2022

February 2022

August 2022

September 2022

November 2022

February 2023

March 2023

April 2023

May 2023

July 2023

September 2023

November 2023

January 2024

February 2024

June 2024

September 2024

October 2024

November 2024

 

Wednesday, March 26, 2008

Q. I am currently working on a spec pilot and have a series bible to accompany it. In the bible, I give synopses of each of the characters--long, one-page descriptions of the major characters, a few paragraphs for the supporting characters, and brief blurbs for the rest.

My question: how much of these descriptions should I carry over to the pilot, and embed into the teleplay?

On the one hand I don't want to clutter the script with a lot of material that is found in the Bible, both because it's redundant and because it breaks up the pace.

On the other hand, just introducing the lead character with "Claire, 23, has long hair, wears little makeup, and tends to favor clothing with a 60's and 70's flair" doesn't provide any context for her actions, and it seems likely that whoever is reading this thing is going to do so before plowing through the Bible.
A pilot should stand by itself. It should read like an episode of a show. It should leave you with a sense of having experienced a great episode of television, while clearly showing the reader what each episode of the series is going to be like (its template).

I keep description down to a minimum. I try to show what the character is like by having them immediately bust out a line that only they would ever say, and do something only they would ever do. So instead of saying, "JESSICA, 16, sarcastic and sulky," better to have Jessica just start in with, "Go ahead, be a dick about it."

Show, don't tell.

I generally avoid physical description of core cast because an actor reading for the part may be perfect, but feel dissed if you said "tall" and they're short, for example.

Try to avoid telling us overall details, anyway. How do we know Claire tends to favor clothing with a 70's flair? Just put her in a tie-dyed blouse.

In the US you generally go out with a pilot script, not with a bible. In Canada, because there's more development money floating around for political reasons, you can set up a project with a one-pager or a six-eight page pitch bible. I use the latter because I find it's hard to sell my ideas off a single page. These both contrast with the kind of bible you might see in a writer's room, which would have synopses of all the produced episodes, detailed character descriptions, etc. You would never go out with one of those. No one has the time to read one unless they're staffed on a show.

I wouldn't overdo descriptions in the bible, either. Tell us who the character is, not what he or she looks like. Tell us what he wants, what he's scared of, what is going to put him in conflict with the other members of the cast. You probably don't need to describe more than the core cast in the pitch bible, unless you have heavily recurring characters. If your show goes into production, someone may or may not put together character descriptions of minor characters, but those will change regularly anyway, so no need to do it now.

Labels: , ,

1 Comments:

Since the script is what we see on screen, I'm not quite sure what the point of putting extra long descriptions in it would be. If it doesn't come across in the dialogue or action, then who exactly are you writing it for? And if what you want doesn't come out in the action and/or dialogue, then maybe you need to figure out how better to get across the characterizations. How is a viewer going to understand that Beth has a love/hate relationship with men because of issues with her father if it's not somewhere in the dialogue?

I have conjured up pretty deeply layered characters in my scripts, especially for the pilots I've written. But is it realistic to bring out every part of a character in one episode? One thing I find attractive about writing for episodic television is that you can take your time developing characters. In a movie, you might be on page 70 and realize that you still haven't told the audience that the main character likes to collect barbies and have to try and jam that in there. One of the great things for the viewers is to slowly discover more things about the characters.

Of course, I may not be exactly qualified to give advice on this matter, but I thought I'd add my two cents.

By Blogger Tim W., at 2:39 PM  

Post a Comment

Back to Complications Ensue main blog page.



This page is powered by Blogger.