TV WRITING ADVICE

For those of us who have fantasized or seriously thought about pursuing a career in writing for television, there are a lot of books on the subject. Many of these are not whole books but chapters in books; with cover titles like, "How to Get into Movies and Television".

There is a book that I just finished reading last evening. I read it in just two days -- which is good considering I never have enough time for this hobby of mine -- as it was quite the page turner: A Friend in the Business - Honest Advice for Anyone Trying to Break in to Television Writing.

The author, Robert Masello, is a fairly successful writer and script editor for various television series.

Needless to say, he has the inside scoop.

What makes the read even more enjoyable is the fact that, before he moved to Los Angeles and took a stab at writing for the tube, Masello had a successful career in New York City as a regular writer and contributor to various publications such as the Washington Post, New York magazine, Elle, Cosmopolitan; in addition to writing a few novels. So his skills as a storyteller were entrenched.

And as the author says in this book, many writers of your favourite television programs are not that talented. Masello is right, I'm sure, and they probably could not write a book as interesting, funny, and thorough as A Friend in the Business.

Masello goes over just about all the experiences -- some are bizarre, to put it mildly -- that you would suffer if you became a seller of stories or scripts to tv, or were to be lucky enough to score big by being hired as staff on a regular series.

One thing I found appealing about his writing is that Masello doesn't ignore or bury the reason why writing for television can be so much fun... the money. He opens up the book by talking of the almost criminal amounts of money that he and his peers make for doing something that is more or less fun; you are after all a writer, and you are being paid good coin to do your thing. (He talks about the inequity in the writing trade, as in what the television brand get remunerated compared to those who contribute magazine articles or journalistic pieces for newspapers.)

The author does change the names of people and also titles of television series that he was a staff member on... you can see why. If you were on the inside and you wanted to tell the truth to the dreamers and practical types the real story, you would have to talk openly of those experiences. Good and bad:

People in the biz, even fellow writers who have made a dent, are helpful, or at least appear to be helpful, when you are starting out. Breaking through the clubhouse walls is difficult, but it can be done. And the WGA (Writers' Guild of America) is an outstanding union, in Masello's humble opinion.

It is positively creepy just how creepy some people can be in that business. Oh, really?!

Agents are known for not doing their jobs.

And, what, a lot of these television writers are not particularly outstanding? Ya, think?

Robert Masello's point is, there are some positive reasons for you to give it a shot if you really want to write for the form -- the rewards are wonderful; it is a hard battle, and should be in his opinion, or something isn't right, but you have a good a chance as any...

"Provided, of course, that you do have one thing, and that is... a modicum of talent." ("A modicum will do.")

Talk about, or, read about, demystification!