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.