Larry Brody - Television Writing from the Inside Out: Your Channel to Success
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- Book:Television Writing from the Inside Out: Your Channel to Success
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- Publisher:Applause
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- Year:2003
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Several terrific writers and good friends helped me in the writing of this book by supplying material from their own personal files.
Bonita Alpert, Gerry Conway, Dorothy Fontana, Stacey John Hoskin, and Ed Scharlachmany thanks. Couldntve done it without you!
Thanks also to William Scarpetti, for helping me come up with the title, and special thanks to Gwen Lea Brody, without whom I could never have written this, and Katrina Wilson, without whom I would never have written this.
My thanks to you all.
Just as television writing demands that the action be shown whenever possible instead of merely told, so does a book about television writing demand that the reader be given concrete examples so the new 
v writer can see exactly what goes on in a writers work from step to step.
Theres just one problem. If all the samples Ive gathered were printed here in exactly the right format with precisely the correct font, layout, and design this book would be over twice as long as it is. It would be unaffordable to publish and outrageously expensive to buy.
So to avoid this problem and yet give you, the aspiring television writer, all you need and deserve, the folks at Applause and I have come up with a first. Telvision Writing From The Inside Out. Your Channel To Success is now a multi-media extravaganza, with draft after draft, version after version, of episodes of televised drama shows, sitcoms, animated shows, and even sitcoms available for your perusal at either of these URLS:
http://www.tvwriter.com/insideoutinsiders/
http://www.televisionwriting.com
A veritable font of further information awaits, clickable online Table of Contents and all. (And while youre at it, check out http://www.tvwriter.comits my favorite website, which probably doesnt come as a surprise.)
Sooner or later, youre going to have to put together a list of your professional credits. Either youll do it in order to attract the attention of an agent, or youll do it at the behest of an agent so the agent can attract attention to you.
I dont know anyone elses career as well as I know my own. Heres my list so you can see the best format I know.
I dont know what reading this book has done for you, but I can tell you what writing it has done for me. Its made me think about my life and my career. About my work and my dreams. About the art and the business of TV. Here are my conclusions. Maybe youll like them. Maybe you wont. But I think you should know them.
Good writing sells. It sells itself and it sells the writer. Passionate writing is good writing. Passionate writing in which strong characters are involved in strong situations and express strong feelings that elicit strong responses from readers and viewers sells .
It doesnt matter if youre writing on the backs of envelopes in longhand and mailing it in from Peoria or if youre using the newest formatting program on the newest computer. If your work touches an emotional chord, it will be bought and you will be discoveredand the next thing you know youll be in the middle of Hollywood, enveloped in all the trappings.
Television buys writers the way people buy houses. Because they create some grand feeling in them. Because they fill an otherwise empty cavity in life. Many times home buyers completely remodel their newly bought houses. And many times television, as an industry, completely reshapes the writers as well. But both processes are done out of an awesome combination of need and love.
Knowing story structure and being able to write dialogue that flies off the page are crucial in TV. Everything elseknowing where you should live and what you should wear and who in Gods name you should be are bonuses, extras, lessons to be learned and applied in conjunction with writing that perfect script, the ultimate sample episode.
But if that sample episode is a work of genius, who the hell cares about the rest? Youre in, and you deserve to be in. And if your spec script isnt a work of genius, then what the hell are you doing?
Does television as a medium need another mediocre writer to bring mediocrity to millions of viewers, who simply by being living, breathing, feeling human beings deserve more?
Do all the viewers who turn on their sets hoping for entertainment and enlightenment and an insight into the world around them need more mind-numbing pap?
Do you as a writerand a human beingwant to be just another purveyor of unaffecting nonsense content because, Hey, Im a pro?
Write television. Please. But write great television. Reach into your soul and put what you find out there on the page for everyone else to see. Write the best you can write. Be the truest and most open you can be.
Dont settle for being a contender. Go for champ. Those who love you, those who are waiting to love you, those who need you, and those who are waiting to need you will all be much better served. Youll be much better served.
Listen to your muse. Check things out with your inner editor. Confirm them with your inner salesman. But listen to your muse.
Please.
LARRY BRODYWRITER / PRODUCER
Current Employment
CLOUD CREEK INSTITUTE FOR THE ARTS | 2002
NON PROFIT CORPORATION FOR THE ADVANCEMENT OF THE ARTS
President & Executive Director
Previous Employment
VEGAUNIVERSE, THE VIDEOGAME CHANNEL | 20012002
New Cable Channel Financed by Sega S.A.
President
Television Staff Positions
SPIDER-MAN UNLIMITED | 2000
Fox Kids
Executive Creative Consultant/Writer
DIABOLIK |1998 - 2000
M6 Network (France)
Producer / Creative Consultant/Writer
THE SILVER SURFER |19981999
Fox Kids
Creator/ Creative Consultant/Writer
SPAWN 1998
HBO
Executive Consultant/Writer
SUPER FORCE |1990--1991
Syndicated
Supervising Producer/Developer/Writer
THE NEW ADVENTURES OF RIN TIN TIN |19881990
Family Channel
Executive Producer/Writer
MICKEY SPILLANES NEW ADVENTURES OF MIKE HAMMER |19851987
CBS
Supervising Producer/Writer
PARTNERS IN CRIME | 1984
NBC
Supervising Producer/Writer
AUTOMAN | 1983
NBC
Executive Producer/ Writer
THE FALL GUY | 19811983
ABC
Supervising Producer/Writer
POLICE STORY | 19761978
NBC
Producer/Executive Story Consultant/Writer
BARETTA | 19721973
ABC
Executive Story Consultant/Writer
GIBBSVILLE |1975
NBC
Executive Story Consultant/Writer
MEDICAL STORY | 1974
NBC
Executive Story Consultant/Writer
THE STREETS OF SAN FRANCISCO | 1971
ABC
Executive Story Consultant/Writer
THE MAGICIAN | 1970
NBC
Executive Story Consultant/Writer
Motion Pictures for Television
THUNDER BEACH
Lifetime Movie of the Week
Supervising Producer/Writer
ROCK CITY
Showtime Pilot/Home Box Office Movie of the Week
Executive Producer/Writer
THE RETURN OF MIKE HAMMER
CBS Movie of the Week
Writer
FARRELL FOR THE PEOPLE
NBC Movie of the Week
Writer
THE NIGHT THE CITY SCREAMED
ABC Movie of the Week
Writer
Episodes
Writer of over 500 episodes of primetime TV series, including:
THE HUNTRESS
ACE LIGHTING (BBC)
DIAGNOSIS: MURDER
STAR TREK: VOYAGER
WALKER, TEXAS RANGER
HEAVEN HELP US
STAR TREK: THE NEXT GENERATION
SUPER FORCE
THE NEW ADVENTURES OF RIN TIN TIN
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