Comic Con Analysis for TV Watchers and Wannabes Part One

You've probably seen all of the news smothered over the internet like Smuckers raspberry preserves (yum), and you may have even seen some of the panels.

Now I want to pick it apart and analyze it all. What does all of this MEAN?

The week before Comic Con a little event called the TCA Fall Press Tour happened...not that'd you'd know, because it got a thimble-size of the press Comic Con received. Anymore the networks realize that connecting with fans is as important (if not moreso) than chattering at TV critics and reporters who cover this stuff for a living. Granted, most critics are also TV fans, and it becomes evident as they pick good quality shows to support which just don't get the ratings they need to survive. It happens every year.

Still, getting fans engaged, the kind who go to big events like Comic Con can be "make or break" for a film, and now for TV shows too. Lost set the precedent (though I'm sure other shows have visited before that show launched) for launching at Comic Con and getting fan support early. If the fans like you, buzz builds online and people get excited for the show.

The lesson learned in 2007 was it is not enough to hype the pilot. Too many shows (See: Invasion, Surface, Bionic Woman and Journeyman) placed too much emphasis on the pilot and not on the whole show. The good news, is that for the shows that approach the marketing of their shows with creativity and flair (and let's be fair, we're talking mostly 'genre' shows here), it can pay great dividends. Two years ago Heroes was the belle of the ball. Last year the big buzz was around Pushing Daisies and Sarah Connor Chronicles. All of those shows saw good sampling based in part on their launches at Comic Con.

So what about this year? Who has benefited the most from their appearances at Comic Con. Let's give each network a grade.

ABC presented panels for Lost and Pushing Daisies, both returning shows. ABC hasn't picked up their midseason shows yet, and their new fall shows don't really qualify as 'genre'. Both panels were packed and response was very positive. The "Lost" panel gave away some fun prizes to people who asked questions and showed a short teaser video tieing into the new ARG running this year. They put the panel in the largest room (Hall H) which shows just how much demand there is for the show at Comic Con. "Daisies" also got good buzz going again with some clips for next season (the benefit for returning shows this year is that most have already started shooting at least a couple of episodes, so there was stuff to show). ABC did a good job with their show promotion, though I think "Daisies" could have used a stronger push. Overall, a good job. Grade: A-

CBS had no presence at Comic Con this year. Their only new genre show is Harper's Island which was nowhere to be seen. Viacom makes up for this shortcoming with its Showtime offerings, which we'll get to later. Grade: D

Fox pulled out all the stops for its shows. Not only did the new J.J. Abrahms show Fringe get lots of viral marketing, a panel and a screening of the pilot, but Fox was there to strongly promote Season 2 of Terminator: Sarah Connor Chronicles and other returning shows. Offerings ranged from the obvious (The Simpsons, Family Guy, 24) to the surprising (Bones, Prison Break, American Dad. And then there was Joss. Of course, nothing could hold back the hordes of Whedonites who needed their fix of Dollhouse. The panels were all well attended (although Fringe was less full than I expected), the marketing was really great for the fall premieres, and definitely buzz was built for the new shows. I think Fox knows how to promote their genre offerings. Grade: A

NBC After mixed results from their Comic Con promotion last year, I was glad to see that NBC bounced back and charged ahead aggressively. They too presented some unusual offerings -- The Office writers panel? (A dream for us!) But they were in full force for freebies and viral campaigns for Knight Rider, Chuck, The Office, and Heroes. They also did well to give lots of early info on midseason show Kings which got some good buzz and attention at the Con. Disappointments: No Merlin or Crusoe news. Their booth in the exhibit hall was similar to last year, but the giveaways were good, and the Comic Con exclusive merchandise was very popular. Grade: A-

The CW Okay, so I know Supernatural and Smallville were both there, but where the heck was Reaper?? Grade: C- (Kudos to WB for promoting their studio backed shows -- they had the Nerd Herd car giveaway/drawing)

Hard to believe that was just the network presence! Next post: The cable nets, and how does this impact writing specs?

UPDATE: A myriad of panels!

NBC's Show Panels

The Hot Specs of 2008 - The Dramas

This is a work in progress. I encourage everyone to submit their opinions and any information they have regarding the viability of specs for shows I've listed or those I haven't. I will update with your suggestions if it appears reasonable.

It's time again for my annual list of the "hottest" shows to spec for TV writers. Keep in mind, that is very important now to not only have a couple of good episode specs, but also a spec pilot, a spec feature or a play, to show how you can create your own "universe" and story. Showrunners/agents/managers today want to see both.

But, the traditional TV Spec is far from dead. It's still a valuable tool many showrunners use to assess new writers, and agents/managers like specs because it gives a good indicator of how well you can mimic voice and tone of a show, important for getting you staffed.

So, without further ado, here are the hottest specs this year, in order of perceived "hotness":

1. Dexter

Everyone I know is writing a "Dexter" spec. This could be good or bad, depending on your viewpoint. The feeling is you can do a lot of edgy stuff with Dexter you can't really do with even, say, "Criminal Minds". Like "House" last year, it runs the risk of being over-specced, but for now, this is a good bet if you have a great idea you can execute for the character and the show.

2. Mad Men

It's weird -- this show is probably the least seen of all the 'hot specs' and yet I continue to hear people talking about how this is *the* show to spec. I am a bit dubious, but since so many people are doing "Mad Men" specs, I feel it has to be this high on the list.

3. Pushing Daisies

It's rare to see a first year show so far up the list, but because this show has such a distinct voice, a lot of people feel like they want to give it a try. How showrunners will respond to a "Pushing Daisies" spec is the question, as there is so little else on the air like it, what would it really help a showrunner understand about your type of writing. I suppose "Ugly Betty" or a couple of other shows with some 'whimsy' to them would be plausible.

4. House

It's still a 'go-to' spec for most procedural type shows. It's more fun to read than your standard CSI/L&O/Criminal Minds spec, but still shows you can do procedural. This has been so popular for so long, I wouldn't be surpised if it wears out its welcome this year, so write it fast and use it quick before it goes stale.

5. The Closer

Also good for showing chops at witty lead character and procedural elements, it seems to have really gained in appreciation the last year or so.

6. Ugly Betty

Only in its second year, it's still fresh enough. If the ratings continue their downward slide however, it may not last longer than another year. Time will tell.

7. Brothers & Sisters

I had a tough time determining whether this was #6 and UB was #7, but ultimately, I think this one has longer term potential, but there's still a lot of people out there who haven't seen it. Still, if you need a serialized spec to go with a procedural for your portfolio, this one might meet your needs but if you like writing teens...

8. Gossip Girl

Another first year show with some upside. This will continue to gain in popularity. You might wait until summer to write this one -- just to see what kind of changes are in store for next year. (of course, if you can suss out any show changes, it's a good thing for any of these).

Lukewarm They aren't as hot as they used to be, but they still get some mileage:

Desperate Housewives
Nip/Tuck
Rescue Me
Big Love
Grey's Anatomy (the love affair is waning)
Heroes
Supernatural
Lost

The Wildcards These shows may become popular specs this year, but right now I can't find many people willing to take on the challenges they present. Still, I think this category of specs should be considered:

The Riches
Chuck
Damages
Friday Night Lights
Burn Notice
The Sarah Connor Chronicles (now that it has been renewed)
Dirty Sexy Money
Life (I have a great idea for this one, but I don't know that the popularity of the show is high enough to rate)

The Aged and Infirm These specs are nearing or past their expiration date. Even if you have a great one of these, it may be time to consider writing a new spec. An agent or manager might read it, but you know, it pays to stay timely:

Criminal Minds
L&O, L&O: SVU and L&O: Criminal Intent
Cold Case
The Sopranos (seriously? it's over! move on)
Without a Trace
Boston Legal
Smallville
Medium

AVOID AT ALL COSTS! You may love the show, or think you have a great idea for it, but I can assure you, no one will read it if it is for any of these shows:

The Ghost Whisperer
NCIS
ER
Prison Break
Battlestar Galactica (unless you are trying to get staffed on 'Caprica')
Men in Trees
The Unit (all but cancelled)

Other thoughts or opinions on the dramas? I'll post the comedies tomorrow.

It's that time again....

Yes, spec season AND contest season are here. And I realized this morning I need a new spec.

Bugger.

So, I guess I'll do a new post on 'what to spec', just as soon as I figure that out...

Writing while the WGA pickets...

So, I'm contemplating my own future during the strike. Mystery project which had just gotten some MAJOR MOJO is now in limbo as we wait it out. There will be no joy in Mudville, and certainly no selling.

So, off I go to contemplate other projects. There is of course the new spec pilot I'm writing, which I will continue to crank on. Then there's the graphic novel I'm seriously considering. Oh, and I'm thinking of trying out another pilot as a longish narrative story first, just to help figure out the beats. And then there's the web series.

I'm very much looking forward to getting the web series off the ground as I think it's a cool idea and unlike most series which seem to be talking heads, this one might actually be interesting to some people. But here's my question of the day...

...if you were to watch a web series, what is the longest an episode could be before you'd get distracted/bored/stop and need to watch the rest of it later? My thought is 5 minutes is about the most someone will take in a sitting. But maybe it's less, maybe it's more. I know pacing and the goodness of the material accounts for a lot and can help the time fly by. But I'm interested in any other opinions.

Irrational Anxiety

So far, I've had no luck with any of the contests I've entered specs in this year. Austin -- didn't even make it to the second round. Expo -- no dice. Scriptapalooza -- QF one script. PAGE -- nada.

It makes me incredibly nervous about ABC and WB, the two I really want to do well with (obviously). It's starting to make me wonder where I've gone wrong with these specs.

Yeah, yeah, I know. It's subjective. My scripts could be so brilliant they are blinding the readers to their brilliance. Or, maybe I'm just missing something...

Keeping my fingers crossed for the big 2 "contests" left...

Dink, dink, goose.

The Medium and the House spec got dinked at Austin. The House made it to 2nd round last year.

*sigh*

Meanwhile, this doesn't change anything with all of my super secret happenings...

Starting from scratch

I know you've been there. You're working on an idea, you've even got it vaguely sketched out in your head. It's a BIG IDEA, and it's daunting. And then you try to cobble it together quickly so you can get some feedback, figure out if you are going in the right direction...

...and you confuse everyone. They barely get it. It's frustrating.

That's where I am right now on the new pilot I'm writing. For some reason, I can't just write a simple little cop show or maybe a nice dramedy. No, I have to go EPIC. It has to be ginormous scope, and little me trying to rein it in, tackle it to the ground and make it do my bidding. I went through hell and back with the last one, and this one looks like it is going to be the same process. The only good news is I went through the wringer once, so at least I know what to expect.

Oh, and by the way this is the *third* pilot idea I've started in a month. The first one wasn't working, the second one was too similar to someone else's, so now here I am, third idea. I was saving this one back because I felt like I needed more time to envision it before putting it on paper.

Looks like I was right. Another high concept idea, comin' right up.

Ack! Jane's sharing my brain again!

Lady Jane ponders putting a Brit's dialog in the proper British spelling of words.

I actually did this with my House spec. I was rather pleased with myself. I doubt anyone has noticed. :(

Welcome to Specville (or What to Spec, Part III)

It's that time again. Time to knuckle down and hammer out a new spec. Based on a number of sources, I present to you a partial list of what shows are "specable". Also, since most people assume a show not on the list should never be spec'ed, I include a list of the shows you should UNDER NO CIRCUMSTANCES condsider a spec for. Anything which isn't on either list could be considered, but probably didn't make the 'hot' list for one reason or another. Most likely, because no one mentioned it.

UPDATE: The Riches and Dirt on FX have been renewed. I think there *may* be a case for a spec of 'The Riches' -- but I am skeptical about 'Dirt'. I also think 'Psych' is a borderline choice. Stick with shows which actually get some ink in the trades or online...

Hot Specs (Drama):

Ugly Betty
Heroes
Shark (likely to be picked up next season)
Dexter
The Closer
House
Criminal Minds
Desperate Housewives
Boston Legal
Men In Trees
The Wire (one season left -- get in while you can)
Big Love (I'm personally skeptical, but I know someone who mentioned it, so it's on the list)

Losing Ground, but still viable (Drama):

Medium
Cold Case
CSI
L&O: SVU
The Unit
Monk
Rescue Me
Veronica Mars (until it gets cancelled)


Forget it; Spec only if you enjoy rejection:

Las Vegas
CSI: Miami
The Ghost Whisperer
Prison Break
Crossing Jordan (likely cancellation)
Close to Home (possible cancellation)
What About Brian (possible cancellation)
24

Hot Specs (Comedy):

Entourage
Weeds
The Office
How I Met Your Mother
My Name is Earl
The New Adventures of Old Christine
30 Rock

Fading, but still viable:

Everybody Hates Chris
It's Always Sunny in Philadelphia

Don't Bother (Comedy):

The Class (likely cancellation)
The War at Home
The George Lopez Show

Spec episode or spec pilot?

There's been some debate this week about the viability of specs, thanks to a blog post from Jane Espenson unofficially declaring the spec episode of an existing show dead.

Fortunately for us, BooM started asking questions. Her answers are a bit of a relief.

Let's hope the spec episode isn't completely dead. Either way, start writing some pilots people.

The new hot specs list

While not all of this season's crop of shows has had their fates decided, it's getting easier to read the tea leaves. I'm also hearing buzz about certain show specs from friends and industry contacts:

New 'hot' one-hour specs: (in order of perceived hotness)

Ugly Betty
Heroes
Dexter
Grey's Anatomy
The Closer
Criminal Minds
House
Brothers & Sisters

*This does not mean other shows cannot be specced. I'll be posting the revised hot specs list within a few weeks.

New 'hot' half-hour specs: (in order of perceived hotness)

The New Adventures of Old Christine
The Office
My Name is Earl
How I Met Your Mother
Scrubs
Two and a Half Men
Everybody Hates Chris (this has really fallen off since last year)

My year in review

2006. I had a plan. For the most part, it succeeded. For the most part.

The year started out pretty uneventfully. I was writing my Cold Case spec. My House spec first draft was finished. I had set a goal to complete at least one more TV spec by end of year and finish my pilot.

Check. Check.

Having set out a writing plan and having stuck to it, I can honestly say I will be doing this every year. I might not make it every year, but the plan at least gives you a roadmap. And let's say you get an opportunity -- a contest win, an agent or A JOB. Obviously the plan changes. But let's say these things don't happen, the plan keeps you on track. The goals keep you focused. They keep you writing.

This year my plan consists of rewrites and polishes, one new spec starting in April, and one new feature. That's right, this year I'm finally circling back to where I started.

And I want 2007 to be the year I finally get my foot wedged into the door. I doubt I'll end the year with a job, but I plan to end the year with an agent. This is it, I have decided, and it WILL happen.

You watch.