Sandra Leviton @Lil_SJL
(writer/producer Under the Stars Entertainment) How TV works from the
network side (business, hiring, development process, etc).
Moderator: Sarah Newman
@SarahAlexis4
Sandra brought incredible insights into the world of TV at tonight's chat. Read the
full transcript on the Storify site or scroll below.
Sandra Leviton @Lil_SJL #scriptchat Transcript September 27, 2015
IT’S O’CLOCK w (writer/prod Under the Stars Entertainment) How TV works from the network side.
moderating
Hey everyone!! Happy Sunday night!
Thanks for having me! I love talking TV.
Hey Chris! *waves* Welcome
Hey, Sandra! Thank you for doing with us!
hello ... it has been a while
Q: Regarding specs, do you find that more shows are wanting to see original work, rather than specs?
Ugh, sorry I have to miss this! Looking forward to reading the recap! Have a great chat!
I was there for 5 yrs. So definitely got a lot of shows under the belt.
. This is an excellent question. 1. It depends on the network, studio, & showrunner. >
Right now many people do want to see original work. They want to get a sense of your unique voice & what your strong points are.
@filmwrit4 tends to ask really good questions
So, if someone sends your company a script you like, what is the next step?
There are many that still do want to see specs. Particularly agents. They want to know you can match the voice of a show -
Q: One other thing I've wondered - is it harder to write a serialized show, or would a procedural be best to do?
and have a variety of samples to send. But as a whole, the industry has shifted to original material. But DO have a spec too.
What advice do you have for those who are just starting out, who want to end up in network television?
First off, I learned a TON. And recommend all writers, if they have the chance to work at an agency, management co, or prod. co.
It influenced me in terms of what I write and process. It helped shaped my taste & style.
How would you go about getting your work to an agent, and what should you look for in terms of genres they prefer?
It helped give me a sense of what sells, who the buyers are, and what kind of work they gravitate towards.
it is good to see you Chris!
Combining that with my personal taste and style...and it really acts as a roadmap for my own work.
. Are you asking in terms of what happens at the network? Or for my own company now?
Having fun yet? Nice to see you doing this.
Q. do you think networks really are invested in diversity, and telling the stories of diverse characters right now?
Q: As I've discussed before, I am writing a web series. Would producing several at once be a greater opportunity...
Q: for agents/networks to notice what a writer is capable of?
Well, it's changing every season - but there are patterns.
For example - every other year, there is a glut of doctor, cop, lawyer shows. Then the next, it's a lot of fantasy, scifi, etc.
Q: Are networks looking for certain genres like Comedy vs Drama or Sci-Fi/Fantasy, or is it pretty open?
It's a pendulum. But right now, they want things that are noisy. TV is starting to turn the way film studios did - big splash.
There is so much competition for eyeballs, especially now with digital competitors. They want things that's going to stand out.
Q: Regarding procedurals, would there even be room for shows that didn't deal with cops, lawyers, doctors, etc.?
So that may be because of a high concept, an existing property, big actor, big writer, director, etc.
Not necessarily your company. Generally, if a prodco like yours likes a script submitted to them, how do they proceed?
It doesn't have to be loud in terms of storytelling - but it does have to create intrigue.
So many questions!! Stick with me! Will do my best to get to them all with good responses. :-)
Q: Something revolving around a reporter, or a PR manager or any career field that involves taking on clients, etc.?
Thanks so much for taking the time to respond to these. You're doing great Sandra!
. It really depends on the network. As you well know, diversity is such a huge spectrum right now.
They come fast and furious. You're doing great.
However, shows like , characters on , etc. are showing people that diverse voices drive eyeballs.
And the TV gods are listening.
RT :However, shows like , characters on , etc. are showing people that diverse voices drive eyeballs.
, , , , are doing amazing work
(Wish I had something to ask)
def not comedy. Comedy has beed dead for yrs.
Change happens very slowly in media.& they're still going to go with people they know and trust. So much of it starts with them.
And by "them" I mean showrunners and talent.
It takes time to build that trust
But they are listening. And I think we will start to see more of it.
Yeah. Comedies just die so quickly every fall. Hard to find a new show that sticks.
Why is that? Comedy failing. There's a need for it.
Is it something in the nature of comedies that makes it hard for them to compete in the current landscape?
And these shows are tackling important issues in society, in a very mature way
Q: With the glut of Movies-As-TV-Shows being developed,would U say at some point we would need 2 start developing those instead?
Let's come back to 's question.
They just don't seem to funny. They seem clever, but are usually blueprints of old shows.
The process at each company is a little different but for the most part follows a similar path -
That feels like it's always been the argument against comedies, though.
If you create a series, they get a showrnner what are the chances you, as creator stay on the project, if you are collaborative?
you have to wonder if our increased awareness, thanks to the Internet has something to do with it
First off - it depends if your script came to the company via a representative or yourself.
if we look at a lot of the comedies from the past, they would not be considered very PC
If they like it - they then assess if it fits their development needs. If it does, they negotiate.
I can't tell which responses go to which questions... :)
If they don't, but they like you're writing, they'll also let you know.
Q: What would you suggest people look for in an agent?
. Unless you have the rights to that film, you won't be able to develop it.
Q: And how would you go about finding one?
However, let's say you own a film that played Sundance...
Yeah. Comedies get a lot of grief...
You own those rights. It's done well on the circuit & has distribution. Then it may be something to consider doing.
Hey Chris, poppin' in-- Don't worry about an agent until you need an agent
But most of the shows based on films right now are owned by studios. It's all synergy right now.
Cab catch on for the next 1/2 hour
. Quite high actually. TV values the voice of the creator.
Sorry, hit enter too fast LOL-- when you have something ready to sell, really ready-- that's when you need an agent
Do you think comedies just aren't taking the kinds of risks that dramas are these days?
You may not be running the show or the head writer. But you will get credit. You will be in the room. AND you WILL be important.
It's okay Lisa. Thanks so much!
Usually, you get to learn and work closely with the showrunner.
The key is to be collaborative. Be flexible and open. Know when to put your foot down & chose your battles.
Some are: Always Sunny, South Park, etc. Cable comedies. Network, syndicated? I dunno.
Thanks! if it's something you want and you buy it from the writer, how then do you get a network/channel involved?
If you have a feature and you're adapting to a 90 min pilot, is it best to cut a subplot or tightn? difficult to say?
I saw an ep of some TV-MA sitcom that TBS made and it felt crass without being edgy or interesting
But if there's a good relationship & the show survives, there will come a time where you will be running your own show.
If you're combative, they will kick you off or run you out. So it's in your best interest to be collaborative.
Really great feedback, Sandra, thank you so much for being here.
I always say "you don't want what's in your head, you want better than what's in your head." Best way to get that is collaborate
Thank you ! I see a new film being developed 4 TV everyday and was worried original specs might go the way of dinosaurs!
That is definitely good to hear!
Q: If a network or cable channel were to buy a web series, who would be in control? How does that typically work?
Yeah, that's what makes me think the network ones fail so often. Too afraid to break the mold.
and they gotta get to a hundred so they can syndicate
It's an original concept we have into a few studios and prodcos, both TV and film-- trying to figure best route...
I get excited about characters & stories I have never seen before.
I want to be taken on a journey. I look for different things when considering for TV vs. film, but that's the commonality.
I've also heard there's a lot of agism in TV? It doesn't worry or bother me-- but want to know what the hurdles may be, if...
That's the thing. good comedy is hard to write! theres a fine line between crass and witty
I find myself brainstorming both routes, the benefits and drawbacks of each
Hey Chris! Hope you're having good writing days lately!
and crass is used as a crutch far too often
And fun. Stories and characters need to fun. I need to want to spend my time with them. That doesn't mean ---
:D Thanks Megan! I am! Hope you are too!
they can't be depressed or annoying or an asshole, it means that I need to want to get to know them despite this.
I love the thought of TV and the opportunity to really delve deep into characters.
Oh my god, I can't tell you how important "fun" is to me. Dramas can be fun or energizing w/o being upbeat
. A web series that is bought by a studio is owned by that studio. ---
You gotta manage that mood. Okay, a character's depressed and wallows, but the show can't wallow around him.
In the acting world, comedy is much harder than drama. Finding that is true in writing too.
the shows that are successful are staying relevant to the times. South Park could go on endlessly
Even though you have created it, they are buying most of the rights from you. They are in control once those papers are signed.
Got it. As for the writing/producing, does the show creator still retain control over the scripts/series?
Doing battle with a massive rewrite. Hope it's worth it in the end! :)
I can't plot comedy well. But my scripts wind up being funny just b/c I'm me
They will want you involved usually. And depending on the studio/ network will depend on your creative control.
don't fight it, dance with it.
seems to be amazing today but sadly this is my only writing time in the day. Have fun without me, gang!
yes! This is really clarifying a lot of things
. Excellent way of explaining it!
thank you. Took far too long for me to figure that out
I am definitely on the collaborative side... not combative, but know when the intention needs to be clarified--
That's probably the best way to approach it.
Chris, have you tried working on A/B/C storylines for sitcom episodes?
Using our combined experience in the TV & film worlds, Miranda & I consult with writers to help them reach their full potential.
There's a thousand ways to tell a story, the goal is to find the one, as a collaborative team that best suits the film.
no... my few ideas for sitcoms weren't hot enough for me to really dig into episodes
We do a full analysis & work closely with writers to be a fresh pair of eyes & help guide it towards success.
yes! Stereotyping is also very common, especially with minority characters in comedy it seems
I have payed with them for some of my drama ideas, though. Character usually drives plot ideas
Our clients have been staffed on shows, gotten repped, won contests. We are so proud of all of them.
once I know the kind of things the characters need and want, I can make those play off each other
Q: Going back to specs, what shows would you personally recommend writing (if any)?
Totally. It seems so lazy to me.
a lot of it is about timing for both acting and writing
I'll be hanging around for awhile tonight guys - I want to make sure I answer everything.
have a good writing session
1 of the key takeaway for writers-especially TV, but in all mediums - be collaborative. Hear the note. The note behind the note.
Oh, good call, Dominick. That is very, very true.
And don't be afraid to discuss it. The second anyone gets defensive, the other side shuts down.
I love that you do these ... you always offer such fantastic information and guidance!
I feel like this happens with my writing partner, as well... she is very funny unintentionally
I'm very joke-y when I'm creative... it usually leads to insights I wouldn't have otherwise
Thank you so much for sharing the great advice with all of us, and for taking the time to do so!
Because some lead you down a really cool path that helps solve more than one issue.
Thank you for your amazing advice. Learning a lot!
It will most likely mean fewer jobs in the traditional TV space. However...
Q: Let's say we just finished a pilot spec, and days later, a similar one is announced. Scrap it, or use as a sample anyway?
Many shows have smaller rooms now too.
The good news is that there is a huge growing digital market with lots of opportunity. It's not as well-paying...yet.
But it will be. And funny enough the digital space is already organizing in traditional models...building networks.
professors in film school made it clear to be nice to everyone, because you never know where next job may come from
But in regards to the saturation point - we've hit it. It will constrict. Financially, the market won't be sustainable.
But change isn't always a bad thing. ;-)
The amount of competition & saturation has actually been great for TV.
yeah sucks, Ilove comedies myself, wrote a few.
I read that today. Very interesting, and concerning at the same time.
The quality of shows now are off the charts. We have SO many great shows...because of the competition.
(Distracted by reading that article)
As writers, it's upping everyone's game.
it's like on PG last wk when o1 of the Dir said, what if we say we'll walk? Chris Moore "we can find another dirc
Q: I read that Vox article and since Netflix/streaming is prominent these days...
While the market can't support the quantity, we are seeing a lot of quality.That will eventually transition into other spaces.
I can't figure it out, no one laughs anymore??
yes.... we can be replaceable
Q: I wonder if the sheer amount of streaming content makes for too many options, if there is such a thing
On top of all the broadcast and cable shows, etc.
And that's why relationships are so important, people want to know they can trust the people they work with
. It does. It's what Landgraf (head of FX) talks about. And it's why everyone wants something noisy.
there is a lot of ageism for women in Hollywood, along with sexism, ableism, racism, homophobia, transphobia etc.
There's a study about toothpaste...(stick with me here...)
I feel like it's getting a little better on TV though
There is no such thing as too much content LOL--
Where it showed that beyond 5 choices of toothpaste, people got overwhelmed by the quantity.
It seems like comedies are trying to capture the old days instead of being new.
It made choosing that much more difficult. Media, in general, is like that. It is an onslaught.
With so many choices, what DO you do? You go with what's familiar. Hence the remakes, sequels, books.
I think that is true... I try to watch as much TV as possible, and it's hard to keep up
I saw a question about ageism --- can you resend it?
definitely! plus who wants to be around negativity all the time?
Great to see you here, as always
Isn't it possibly a reason why TV is creating such create content-- the middle ground in features is disappearing
You go with what is the least risk.
. It depends on how similar. But keep it in your arsenal. Use it as a sample. These things happen all the time.
A good business decision.
By noisy, you mean either high concept, reboots, sequels, prequels (like in today's movies)?
Hey Bob! *waves* Great to see you here
Key things to keep in mind while writing a pilot - there's a few so get ready...
1. You have 5 pages to impress. So make them the best 5 pages you can.
If you are a script writer and not asking my friend questions, correct this now.
Next week’s topic: Networking (Okay, its written and polished, now how do I get it noticed?)
Coming Oct 1st: SELLING BLUE BOOK. How to break in! Meetings. Assignments. Connections. MORE! Over 300 pages.
hell, I wrote a spec and submitted it to and that got canned lol.
2. Character. We will devote hours & years of our lives to them. Make them complex, interesting, & want to spend time with.
Hey folks - is putting out some key notes for TV pilots. Definitely worth a gander at her timeline now.
3. It's TV. You need intrigue. The compulsion to watch through distraction, commercials, & weekly happenings.
Thanks so much for joining us tonight !
Without compulsion to come back - either through wanting to spend time with character & world, then there's no reason to watch.
Sandra, this is awesome. You definitely should write this in a blog post, in addition to the tweets.
4. Don't leave too much out. It's a balance of giving enough to get into it & leaving enough out to want more.
Sandra, so great to see you here, and thank you for your great advice.
5. Know your target audience. Know your genre. Know the networks. DO THE HOMEWORK.
Every aspiring/current TV writer should follow . When it comes to writing for TV, she knows of what she speaks.
Re: Target Audience. Read an interview w/ game creator who picked ONE person to be his target audience. "What does s/he want?"
If you're writing a teen coming of age, know which networks you can target. You want options of buyers.
yeah, seems like keep wanting to do Al Bundy. . won't work.
6. Don't take it personal.
7. BE COLLABORATIVE. I can't stress this enough.
Thanks for being with us tonight and sharing! It's been wonderful!
Thank you for moderating and thank you for sharing your insight
Wasn't able to pay attention to the whole chat, but loved what I saw. Will read the transcript.
8. Know that if you're just starting out, chances are your pilot is a sample. But treat it like it's going on air tomorrow.
Sandra, thank you so much for everything you've shared with us tonight. Incredible insight and we've all learned a lot.
Might as well go to 10, right?
9. LOVE what you're writing. We all know if you don't.
she also is a really good friend!
She is a great friend! :D
10. HAVE FUN. Seriously. So many people forget this. We are so lucky to do what we do. Be smart. Have fun.
All my life, I treated writing and drawing as work. Once I made them fun, my skills in both increased dramatically
Awesome list. Will definitely apply it all to my scripts. THANK YOU so much Sandra.
thank you for having me :-)
And I wish you all the very best with Scriptchix and your projects too!
best job in the world :-)
Thanks so much for having us, and for having Sandra here to discuss TV writing with us! :D Enjoyed it as always!
If you do join us, I will talk your ear off about TV. ;-)
Okay, off to get a few more pages in before bed. Good night lovies!
So very happy for you and proud of you, and congrats on the success of ZONE 2!
Night Megan! *HUGS* Have fun!
Thank you everyone for having me!! I'm going to stick around to try to keep answering questions I missed.
Night everyone! :D *HUGS* everyone
. Thank you so much for moderating! This is a blast!
Thanks . Been taking notes. You've shared a lot of value! Best wishes for Zone 2.
Next time I write scripts, I'm not going to treat it as work. I'm going to treat it as fun!
That's the secret. You wanna have fun as a viewer, why wouldn't you have fun as a writer?
*HUGS* Thank you so much for everything!
Thanks for joining! Follow me on twitter if you're not already & we'll have more . :-)
These are some really great tips. Thank you!!
What are you currently watching that you love?
You're welcome! So glad you are finding them helpful!
@Lil_SLJ Thank you so much for taking the time to answer everyone's questions! Really appreciate the insight we rarely get!
grabbing the transcript now! Thanks so much, Sandra!