TV Writers Vault Newsletter   Greetings Writers! We're in full swing this fall with a huge amount of activity from production companies scouting new projects in the TV Writers Vault. Reality concepts seem to be the most popular searches, with Drama Series scripts running a distant second place. Give extra special attention to the development of character relationships within the framework of any drama spec. It's the key factor beside your own talent. This month, we welcome two new production companies to the fold; Prizmhead Pictures and From The Street Productions. Best of luck with all with your current and new projects under review. We're also very pleased to have one of our favorite writing members, Timothy Centner, here to share his journey into the development and production world since he's sold multiple concepts via the TV Writers Vault. His article shares some pearls of experience that any new Writer would want to know. Enjoy this newsletter, and thank you all for your continued commitment to the creative process within the television community. Scott Manville Centner Speaks! Writing Member Shares His Experience From the Inside The TV Writers Vault has helped many writers new to the industry, but most notable is member Tim Centner of Alabama. You can read Tim's success story HERE. Tim has taken the time to share with other writers some real world advice now that he's landed a deal and is interfacing with producers on the development and production of his project.   Centner Speaks! By Timothy Centner Hi everyone! TV Writers Vault recently approached me about writing a piece for the newsletter, sharing with other writers what I've learned since I first sold my shows and have been collaborating with a Producer. I agreed the topic might help enlighten our community. I can tell you, it’s been quite a ride from where I was just a few short months ago. Working with my producer has been an eye-opening experience in a number of ways. For one thing, the company that I’m currently working with is completely down to earth. Mark at MDR is truly a nice guy with the best interests of my properties in mind. It's also been interesting to see how I've changed my approach to developing concepts, and discovering how different the process is once you're in the hands of a producer. So then, how do we as writers and concept creators make it happen, especially if you’re just getting started? Hone your craft. Write something every day, doesn’t matter what it is. Random thoughts of a chaotic mind. Focus in on what in this world inspires you. What do you find compelling? Then when you have a creative brainstorm, you’ll be ready to put those thoughts into the framework that makes it all the more attractive to an industry exec. Additionally, research trends. I realize this sounds simple, and it can be, but take a look at what the networks are showing. Read articles that indicate where the mood is in the industry. Next, focus on things that you’re passionate about! If you focus on what you’re passionate about and create from that perspective, I can almost guarantee that the money and success will follow. Don’t be afraid to do something that you think is completely off the wall. It took me almost 25 concepts over the course of 2 years or more to get a deal. Most development executives have their hands in several dozen at one time, and go through hundreds to finally create one that has the legs to go the distance. For me, the show that initially got picked up, I was passionate about, but thought it might be a little too fringe for someone else to “get”. I was, um, how shall I put this- wrong. Another thing, use technology, it’s your friend! When I found TV Writers Vault, I stuck with it once I started getting reviews. I did try the conventional way; find out the guidelines for submission for a company, type up a proposal to those specs, send it in, and then wait. And wait, and wait. Did I mention waiting? At the very least, the fact that I knew my concepts were getting reviewed at the TV Writers Vault, and I knew in real-time who was looking, was enough to keep me diligently banging on this keyboard, scouring my mind for the next greatest concept. And last, but not least, feel the fear and do it anyway. I’m as protective as anyone about my creations. I worry all the time I’m going to turn on NBC one night and BANG- there’s a new series, almost WORD FOR WORD from my concept that’s sitting on my desk! Could happen, might just be a variation on the same concept. You know what? These days, I’d take that as a sign that I’m working in the right direction! They just beat me to the punch and I suspect it would get the gears turning even more quickly in my brain to come up with something that would trump that! It's the nature of the business that companies and writers work on the same concepts simultaneously. It's our job as writers to get our projects to the mountain top first. Now, what takes place after a company options your project? I immediately discovered it’s then a very different world. In many cases, mine included, Mark Rodriguez, the Executive Producer, had a slightly different format that he uses when taking a new pitch in to his contacts at the big networks. We developed logo identity and branding using pictures and graphic design, as well as rewriting the treatment/synopsis to make a network exec. understand exactly what they’ll be watching. You see that last part? It’s something that I didn’t really get before, and as it turns out, ends up being one of the most important elements of any proposal that will ultimately make the cut. And, as it happens, it was one of the first questions out of Mark’s mouth to me. “Ok Tim, so what are we really watching?” I’m sure I said something stupefyingly brilliant like, ”Um, you can't see it?” Here’s what I learned. You can have the most outstanding, far reaching, cutting edge concept in the world, but unless you write it in a way that makes an executive know immediately what they’re actually watching, it won't go anywhere. What are the scenes? How does it fit together, what’s the interaction between characters, or in the case of reality, what’s the actual situation and probable result that will create compelling content that we are viewing? At first I didn’t really understand this nuance at all. But when I did, it really empowered me to include that in all of my writing going forward, at once making my concepts more fleshed out and more compelling to read. It really boils down to this; unless you can properly translate your concept into a stunning visual representation, it’s not going to make it. The other thing that sticks out in my mind about the difference between my shows before and after working through the development process is that, even though I’ve changed the format some, and we’ve added all this other stuff to them, they end up coming out even more polished than they were. What I mean is, in concept form, you can only take your vehicle so far, when you get to the development stage, it’s like new paint. You get deeper into the episode breakdowns and begin to see if what you’ve created has a long term franchise in it. The reason this is important is the fact that it allows you to “pre-think” those possibilities in advance of your show actually being optioned when you’re creating new concepts. Now, rather than just stick to the formula that I had learned to create concepts, I start thinking about what will make it a great show too. It becomes less about shot-gunning concept after concept, hoping one will stick to the wall, and more about building “exceptional value” right into the original concept to start with. That's where you create your originality that separates you from the herd. In addition to everything else I just said, one thing remains perfectly clear to me. I’ll continue to learn and adapt each and every day. I suspect that when my show actually hits the air, I’ll be back to write about what’s changed since then, and it’ll probably be a LOT. I hope you get as much out of this piece as I did writing it. And to everyone out there waiting for something to happen, it can, and it will. Just keep doing what you’re doing, keep learning and- expect success. Tim Centner Story     PrizmHead and 'Streets Join TVWV The Television Writers Vault is pleased to welcome PrizmHead Pictures and From the Streets Productions as our newest production companies to join our services in scouting new material from writing members. PrizmHead Pictures sells to all major distributors, and boasts an extensive production background in both film and television. From The Streets Productions is a newly formed independent production house with a background in short film making. Best of luck to all of our writers with any new projects under consideration by these and other companies at the TV Writers Vault. Production Company Members     MDR Entertainment Interview Keep an eye out for a new interview with Executive Producer and member of TV Writers Vault, Mark Rodriguez of MDR Entertainment. Visit our Executive Interview section for this, and others. Other TV Executive Interviews     Idea Power Selling Your "Idea" For a TV Show Television is an advertising vehicle in a storytelling medium. A network has sometimes less than 15 seconds to convey the basic idea and hook of a new television series being marketed to the public. Just as they have to sell the public an "idea", you have to be able to convey your ideas just as efficiently to a producer. The most critical element in any pitch written is the logline. That one line description of your "idea", written correctly, does three important things; It tells the producer what the hook or point of the show is, gives them confidence in the potential of the idea as it is developed, and makes them believe it can be marketed in a clear and clever manner. Too many times a new Writer will leave the idea description vague, or even cryptic. When writing one or two sentences describing your concept, you must describe what we would be watching. Your talent will allow you to do that in a way that is compelling and makes a producer want to know more... and as a result, read your entire treament and contact you for a development deal. For some detailed advice and examples of logline creation, visit the Creating Loglines page within our site, as well as other advice in the Creating For Television section. Most times you'll find that the better your concept is, the easier it is to write the logline. Creating For Television     Advertise With Us Want the eyes of the industry on your project or website. Consider advertising at The Television Writers Vault. We're a unique and target-specific venue reaching aspiring writers, professional writers, television development executives, producers, and network executives from the television industry. General traffic flowing through the Television Writers Vault pushes a half-million hits per month from those seeking advice and resources in the following areas of the entertainment industry; News, writing, intellectual property marketing, producing, program development, “how to” guidance, as well as products and information to assist in the craft of writing. Additionally, The TV Writers Vault is used daily by over 70 leading Production Companies and Networks, along with an expanding roster of member Writers numbering in the thousands. These members are unique to advertisers, as they are individuals who have invested in the creation and marketing of their product and hold a vested interest in developing knowledge and relations within the world of entertainment. Each member-user logs in multiple times each day, bringing your advertisement directly to this niche audience. Ad Specs and Details   email: webmaster@tvwritersvault.com web: http://www.tvwritersvault.com