Several years ago my partner, David Isaacs and I wrote a pilot for one of the major networks. A conference call was arranged for us to get second draft notes. The VP of Comedy Development was a young guy, fairly new to the job. He started the conversation by saying there were very few notes. I liked him already. And then he went on and on about how amazing our script was. I’m paraphrasing now but I swear this is pretty close.
“This script has such a nice flow. I can’t believe you guys introduced all these characters, set up the premise, told a very clever story, and made it really funny all the way through. The jokes all advance the story, and you did all this in just 45 pages. Wow!”
Needless to say, that was lovely to hear but I couldn’t stop thinking –
Uh, isn’t that the job?!
We didn’t reinvent the form. That’s what you’re SUPPOSED to turn in. That’s what they’re PAYING you for. We weren’t amazing. We were just being professional. What were the other pilots like that he received?
By the time a network approves a writer to do a pilot, generally that writer has had several years of experience working on staff and doing script assignments. He should be seasoned enough and skillful enough to weave in all those elements that the Comedy Development VP listed.
I was certainly flattered by his reaction but would have been more flattered if he had said, “You guys have some wonderfully fresh ideas in here. You’ve created characters I’ve never seen before.” That holds more weight to me than we got everything in in 45 pages.
Has the bar been lowered so much over the years that what was once just satisfying requirements is now considered a big artistic achievement?
My advice to network development departments: If you can’t get a polished well-written draft from the people you’ve hired to write your pilots then get different people.
Hire the writers who do strive for fresh new ideas and whose high standard of execution is just a given.