Nashville Screenwriting Conference 2012
It’s hard out there for a screenwriter. The spec market is a shadow of its former self, shrinking studio development slates mean drastically less rewrite work, and those writers who manage to win jobs often earn a fraction of their former quotes.
In this talent-glutted market, the Nashville Screenwriting Conference has some surprising advice for frustrated writers: Try reality television.
In a panel called “The Reality of Reality Television: What Works and Why,” four non-fiction TV veterans will review the ins and outs of working in the medium.
But wait a second: Isn’t reality TV, by definition, unscripted?
Yes and no, says panelist Sheila Conlin, the veteran television producer whose credits include the upcoming Fox reality show, “Take Me Out.”
“As far as people writing pages every day for people to say, that’s not happening,” Conlin says. “We’re not writing scripts. But the overall show has a structure.”
And, as with features and scripted television, that narrative structure doesn’t happen by accident. “The writing is definitely happening in setting the outline and then guiding it,” Conlin says. The producers (they’re not called writers) “create the show, develop the show, and then lay out the structure of the show. We do follow an outline.”
Still, traditional scriptwriters don’t hold reality television in the highest regard. As veteran showrunner Ken Sanzel (“Numbers,” “NYC 22”) puts it: “Writers want to tell compelling stories. I don’t know one who thinks that the best medium to achieve those is reality TV.”
Conlin concedes that in prior years when she’s attended the NSC — this is her first time as a panelist — the writers there “ridiculed” her (good-naturedly) for working in reality. But she was also “bombarded” by participants wanting to discuss ideas with her. The panel was created in response to that pent-up demand. “I think … people feel they have a lot more access … than in trying to get into the scripted world,” Conlin says. Ultimately, reality television “is popular and it’s where a lot of the work is. It’s a place to make money.”
Panel: “The Set Piece”
Phil Hay Panel with John Hamburg & Marti Noxon
Panel: “The Reality of Reality Television: What Works and Why”
Scott Zolke, Rac Clark & Sheila Conlin.
Moderator: John Frankenheimer, partner and chairman emeritus, Loeb & Loeb LLP
“Robotard Theater 8000 8012!”
Alec Berg, Jeff Lowell and Phil Hay screen an “astoundingly atrocious movie and spout nonsense throughout.”
Panel: “Life’s a Pitch” – Styles and Strategies for Breaking Stories and Pitching
Panelists: Jared Stern, Geoff Stier, and Alec Berg. Moderators: John Requa and Glenn Ficarra
Anastasia Brown’s Music in the Movies Luncheon & Panel
Panelists: Frankie Pine, Dawn Soler, Julia Michels, Randy Spendlove, Erin Scully and Bill Meadows. Host: Anastasia Brown.
Panel: “Top of the Pile: Writing Ideas that Agents, Producers & Executives Want to Read!”
Panelists: Jeff Lowell, Alec Berg, Phil Hay, and Malcolm Spellman. Moderators: Marianne & Cormac Wibberley.
Dinner, drinks and singer-songwriters performing in the round.
Panel: “The Art of the Sell”
Panelists: Dante Harper and Michael Goldenberg. Moderator: Howard Rodman
Panel: “Turn On The Television and Start Writing”
Panelists: Callie Khouri and Michael Brandt
• Tunesmiths get chance to make perfect pitch