If you’re interested in going to Friday Night Social, check my Events section. Our next one is Friday 10/4/19. I don’t have the info up. It should be up in the next week. Friday Night Social is at the District of Hannah An from 6:30 pm to 9:00 pm. I hope to see you there!
Over twenty years ago, Jen Grisanti started her career as an assistant to Aaron Spelling, who served as her mentor for 12 years. She quickly climbed the ranks and eventually ran Current Programs at Spelling Television Inc., covering all of Spelling’s shows including Beverly Hills, 90210, Melrose Place and Charmed. In 2004, Grisanti was promoted to Vice President of Current Programs at CBS/Paramount where she covered numerous shows including Medium, Numbers, NCIS, 4400 and Girlfriends.
In January 2008, Grisanti launched Jen Grisanti Consultancy, Inc., a highly successful consulting firm dedicated to helping talented writers break into the industry. Drawing on her years of experience as a studio executive where she gave daily notes to executive producers/showrunners, Grisanti personally guides writers to shape their material, hone their pitches and focus their careers.
Since launching her consulting firm, Jen Grisanti worked with over 1000 writers specializing in television, features, and novels. Due to her guidance, over ninety of her clients have staffed as writers on television shows, fifty-three have sold pilots, and six of those pilots have gone to series.
Screenwriting consultant and former studio executive Jen Grisanti discusses crafting stories that resonate, finding your voice as a writer and building a network of professional relationships.
With experience as a story consultant, TV staffer, and mentor in the CBS Diversity program, Jen Grisanti is dedicated to helping writers make it as working film & TV professionals through the Jen Grisanti Consultancy.
Learn more about her new 10-week STORYWISE TV Writing Tele-seminar and training series HERE.
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I am constantly analyzing new series to see what works with story structure. One of my favorite new shows is Atypical on Netflix. I find this show explores in-depth familial dynamics at the same level as Friday Night Lights and This is Us. Understanding how structure can influence emotion and bring your audience to tears is what great storytelling is all about.
Structurally, a story tool that I’ve drawn from watching Atypical is the recognition that all the character arcs stem from the main problem of the main character and that sets up the series. It is when we feel it all linked, that story can reach such tremendous heights of emotion. This is because we feel the concept through all of the characters and the choices that they make. It often comes from the same wound but seeing it play out through different choices and different worldviews.
The main problem in Atypical is that Sam, a young boy that has autism, expresses his to therapist his desire to date. The series/season 1 is about this choice and his family’s reaction to it. The story explores how love is hard enough for a “neuro-typical” person to experience. With Sam, this pursuit becomes a lot more complex but the gift of it all is showing that the desire is real and it is doable.
We watch Sam take actions and hit obstacles in his pursuit to find love from filling out an online profile to learning how to approach girls that might be interested. It really gives us a glimpse of how he sees the world and shows us how things that might be considered simple for us are that much more difficult for people with autism. Seeing Sam take actions towards finding love connects with all of us.
We immediately feel the father’s wound to his son’s autism when he mentions buying his son tickets to a Mets game simply because he wanted to find a way to connect with him. He wanted them to have one thing in common. So, his reaction to Sam’s choice to date is to support this. He reminds his wife that they met around Sam’s age. It is clear that he hopes this experience will bring him and Sam closer together.
With Sam’s mom, Elsa, her reaction is panic because of her worry and the codependent relationship that she shares with her son. She clearly needs him to need her. So, the idea that he wants to find love, in her mind, threatens this. We see that Sam has become her life. This has gotten in the way of the intimacy that she and her husband share. The mother remains resistant despite the therapist sharing with her that autistic people have the same desire to love and be loved. They just don’t know how to approach it in a typical manner.
We see Sam’s problem play out in his sister, Casey’s arc when she punches a student that taunts another student. Casey is the protector. This is her role because of her brother’s condition and the fact that she is his older sister. We feel her angst. The irony is that it is due to her role in Sam’s life and this action she took that her first opportunity at love and romance comes into her life with Evan, who is the brother of the girl she protected.
Sam’s pursuit of love continues. When Sam gets an online response, we see the trials and tribulations that Sam has to go through in preparation for the date. When he hears that she wants to meet at a café, he has to find a way to block out the noise by wearing headphones. Sam hits an obstacle and the date doesn’t work out. Sam tries again when a girl at his work makes eyes toward him. This leads him into a situation where she offers to have sex with him. He hits an obstacle when she touches him in a way that he doesn’t like to be touched. This opportunity takes a turn for the worst.
When the parents go to dinner, we really see the opposing viewpoints to Sam finding love and the rift that it has caused in their relationship. This leads Sam’s father to buy his mother passes to a dance class. After class, she goes to drinks. This is when Elsa meets a bartender that opens her eyes to the fact that her son will never have the choices that he does. This begins an exploration toward finding intimacy.
In Casey’s budding connection with Evan, we see that Sam comes first in her life. This could cause a problem for the possibility of her finding a true connection with Evan.
When Sam learns that 49% of marriages end in divorce, Sam goes with his father to look at a place with penguins. Sam says that penguins mate for life. So, penguins aren’t like people. They’re better.
The structure in Atypical all stems from the main wound. This really works for connecting the audience to this concept and the characters in this world. This is a very strong story tool that all writers can learn to utilize for the concepts that they write.
Writing the TV pilot is one of the most challenging scripts to write,
and to write well. I’ve helped in the development of thousands of scripts over the past 20 years. I was a Studio Executive at two major studios for 12 years, I am currently a Writing Instructor
at NBC, and I’ve been a Story/Career Consultant for 10 years.
From the 48 pilots sold from the writers I’ve worked with since starting my business 10 years ago,
there are the five questions that I believe every writer should ask themselves when they are writing
their TV pilot:
Does my series trigger push my central character into a powerful enough dilemma to set up season one?
Is there a personal component that sets up the personal dilemma of my central character?
Does my central character actively make a choice in the pilot trigger and dilemma that leads to a pursuit?
Is my pilot goal clear?
How do I setup the series?
Trigger & Dilema
With your series trigger and dilemma, you want to think about something that happens to your central character
that knocks their life out of balance. At this point in the story, your central character is often reactive versus active.
The dilemma should make us feel empathy for your character.
With the personal component, you are setting up the personal dilemma of your central character that leads to the
professional pursuit. This sets up the void. The pursuit is one step towards filling this void. With the personal part,
you want to think about the arc of the wound. The best pilots have a childhood wound that the series trigger and
dilemma splits open. The personal component in your story is the emotional part of your story.
With the pilot arc, your central character goes from being reactive to active. With the setup of the series arc, they react to what happens to them. Then, they make an active choice that leads to the setup of the pilot arc. In the pilot arc, we should be clear about what your central character wants and why they want it by the end of Act One.
If the pilot goal is not clear, the story doesn’t work. In each act, the central character should take an action, hit an obstacle, and the stakes should be raised to the pilot goal. If the goal is not clear, you cannot link these points. We should feel what your character wants and what is in the way for every scene.
Series Set Up
After the resolution of the pilot arc, you need to set up the series. When I see this done well, it bookends
what happened in the series trigger and dilemma setup and helps to build the next level of the concept. The
point of this is to make your audience so enthralled that they can’t wait to see what happens next.
Mastering a story by utilizing the right tools is what will lead you to a sale.
Start your pitch off with passion. Tell them what inspired your story. If there is a link with a personal story that you have that connects to the concept and establishes that you are the perfect writer for this pitch, use it here.
What is the world of your concept? What is the time period? Is there a wish fulfillment element? Bring it all to life here.
SERIES LOG LINE
Use the formula set up of who (create empathy) dilemma, action, goal with a twist of irony.
*The purpose of sharing your series log line is to give your audience a general idea of what your show is.
PILOT LOG LINE
Give a log line for the A story. This tells your audience how you are going to enter the world through the central character in your A story.
Give a few lines about your central character. Tell us about your character through showing his/her personality in a situation.
TEASER OR CLIMAX
Tell your story in a way that your audience can visualize your powerful opening or a compelling climax. If you pitch your Teaser, give a strong sense of your opening dilemma. What is the thematic question going out of your opening? How is your series an answer to this question?
SUPPORTING CHARACATERS/CHARACTER DYNAMICS
If there are 2-3 other central characters, give one or two lines about them. You just want to define their characters. Do not give a paragraph/paragraphs on each of your characters; you will lose your audience. Give a strong sense of your character dynamics.
Think about my exercise Log Line For Your Life and write one for each of your characters. Remember to think, what is the wound that is driving my central character? What is the flaw that gets in the way? How does the pursuit heal the wound?
What are some of the themes that you plan to use in your pilot and your series?
In this section, you want to give your audience a universal sense of your concept.
What we will see week to week in your series? Make it clear that you have a strong engine for story.
Loop back around to what inspired your show, why you think now is a good time for it and any last tidbits that will excite them about your concept and make them feel your passion