Quote: Tim Walker @ December 2 2009, 2:27 PM GMTThis is a point that often rears its (potentially) ugly head around these parts, Micheal. In your experience is it a common problem that a "new" writer often struggles to write anything of worth beyond episode one?
I've always kind-of assumed that if I really know my set up and characters well enough in the pilot, then I will be able come up with at least five other stories for them. (I tend to write the "annoying" way, however, where I take a tiny initial idea and develop a plot and a structure as I explore it.) Some producers take the line that if a writer can write one great episode they should always be able to write more. I would presume a new writer on their first series commission also gets a great deal of support and input on the approach to writing episodes 2-6?
Have there been instances where a writer has been commissioned and then simply couldn't write a full series? And is this more common than we hear about?
Hi Tim.
It's not a common problem, and indeed it's quite uncommon. It's more usual that writers crack up and can't do it than that they only have one good script in them. There's always one bastard episode in a series which doesn't work, but the thing there is to bin it rather than try to make it work, and write a new script.
Generally, if there is interest in a series, the writer will be commissioned for a second script, and there will be, as you say, a lot of help (if needed) on the remaining four.
I think one can tell in a pilot script whether the characters and situation have possibilities across several series, and sometimes it's just a matter of talking to a writer, trying to provide confidence and reassurance where necessary, or equally trying to reign in some wilder flights.
There have certainly been shows where the writer runs out of puff and someone else has to be brought in,but not often.
Producers are generally confident - it's often the people higher up who need reassurance.
I hear you!
Personally I am pretty useless at plotting out a story and a scene structure in advance. I take a one line idea for a plot and then just run with it, see where it goes. I am aware that this is not a method necessarily favoured by producers, who tend to want to know upfront what the story is going to be about.
