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"JOB SCOUT: Weekday Aug. 28, 2008"

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free*lance: n (1820) 1 a. usu free lance: a mercenary soldier esp. of the Middle Ages: condotierre.

Editor: Michael A. Casano
Publisher: George Giokas/StaffWriters Plus, Inc.

Welcome to -30-, found exclusively at the StaffWriters Plus Web site. One of the most common challenges faced by freelance writers today is keeping up with the latest trends within the industry and the changing needs of their customers. This is where -30- will help. Each installment of -30- will deal with a topic or issue of interest to the freelance community, from ideas on how to grow your current client base to techniques that can enhance the quality of your work. We hope you find -30- a useful tool in your pursuit of new business.

We also look forward to hearing from you. Please submit your messages and thoughts for future articles to (info@staffwriters.com).

IN THIS ISSUE:

In this issue of -30-, our feature story examines the art of writing situation comedy scripts for television and features an interview with J.J. Paulsen, a writer/producer for the hit CBS series, Cosby. Our Q&A segment focuses on StaffWriter Claire Curry, who discusses how she successfully made the transition from being a full-time employee to a full-time freelance writer. Finally, Melanie Hauser will set the record straight on what is the true writer's life (here's a hint: it doesn't involve daydreaming on the beach!)

ABOUT OUR NAME:

Reporters used the symbol -30- at the end of their typewritten copy to indicate to editors that they have reached the last word. It was adapted by the pencil press from teletype operators who used the symbol to indicate the end of a transmission.

Friday.

class="maroonNormalText">IT'S ALL ABOUT THE CHARACTERS
The Art of Writing a Successful Situation Comedy
by Michael A. Casano

Unlike other writers working on situation comedies, J.J. Paulsen cannot say he grew up watching TV shows to become the next Larry Gelbart or James L. Brooks. In fact, you could say Paulsen's career choice was purely accidental. "I was a poet and a student at Columbia University," said Paulsen. "My girlfriend, who was also a student, got her own show on what was then The Comedy Channel. So, I would sit there with her show's writers as they pitched jokes and story ideas. [While I was there] I would say, 'what about this and what about that?', and they used a lot of stuff that I said. After one of the writers took a job with David Letterman, they asked me if I would want to work full time. Shocked, I said, 'you'll pay me to do this?' And, I've been working ever since." Ten years later, J.J. Paulsen is one of television's highly regarded sitcom writers. A writer/producer for the CBS's successful series, Cosby, Paulsen's credits include writing for In Living Color, Hope and Gloria, Grace Under Fire and The Carol Burnett Show. When a show like Cosby is in production, Paulsen explains that there a lot of things going on at once. Writers and producers are not simply working on the script to be taped that week. Instead, they are also working on scripts to be taped weeks down the road, even if they have five or six of them already written.

Once a script idea is agreed upon for Cosby, writers usually break down the story, noting specific scene changes, act breaks, and other production issues. After the idea is approved, an individual writer, like Paulsen, or a team of writers will prepare a brief outline and bring it back for review. When the staff is finally satisfied with the outline, the first draft of the script is ready to be prepared. Paulsen's work week on Cosby begins with a Monday production meeting at 10 a.m. and then a reading of the week's script with the actors at 11 a.m. "On our show, everyone leaves for the day [after the reading] except for Bill [Cosby] who will sit there and say what he likes about the script," said Paulsen. "He'll indicate slight changes he wants to make or other ideas for a particular scene. Then, he'll leave and we'll do a rewrite for the next day's rehearsal." Later on Tuesday, the writers will do another rewrite based on what they see during rehearsal with the actors. There is more rehearsal time spent on Wednesday, and with it comes more changing and tweaking of the script (although there is generally less work done on the script as the week goes on). The show is then taped twice on Thursday, with work on the following week's production beginning on Many believe, "it's who you know and not what you know," when it comes to becoming a sitcom writer. Paulsen disagrees, seeing it more as a seller's market because shows are always looking for good writers. "A lot of people think it's about connections but I think that's really secondary," he said. "I know a lot of people that do get an opportunity because they have connections but are thrown into it too early before they know what they are doing. They don't have the writing skills and that's not good because people form an opinion about your work." Paulsen suggests that aspiring sitcom writers concentrate on the craft of writing a script early on, studying shows they like to learn how to tell a story and present a joke. They should then write a few spec (sample) scripts for that particular show to give them a chance to understand the process. "I would also seek out someone in the industry that is willing to give you notes or mentor you," added Paulsen. "While that may sound intimidating, there are people out there willing to help if you approach them from a writing point of view." Paulsen also feels writers should know that writing for television is very deadline-oriented. If you have a script on a Monday and it absolutely fails or doesn't work at all, you have to write a new one for Tuesday, it still has to be a very good script. An understanding of the characters they are writing about is also essential. Paulsen said: "The worst television sitcom writing is what we call 'joke-to-joke.' It's just one joke and another joke but it doesn't reveal character. If you look at the best television, the individual lines on their own are usually not funny. But they become funny when they're said by the character at a particular time. Seinfeld was a great example of that. When you go back to a show that you really like, you'll find it's not about the jokes. It's about the moments coming from the characters that make it funny." If you do succeed in writing for situation comedies, Paulsen wants you to realize how fortunate you are to have made it. "I feel lucky and blessed to be able to do something that I love to do," he said. "When I choose to go from show to show, it's always based on if I'm going to enjoy the people I'm with. Am I going to enjoy writing the show? If I have to be there at four in the morning, am I still going to enjoy my job? Following my heart in doing the stuff that I love, and choosing shows that I love to do, has made [writing] all the more enjoyable."

Persistence Pays Off for This Freelancer

A conversation with Claire Curry

Claire Curry believes in setting goals -- and reaching them. When she was in college, Curry vowed one day to break out on her own as a freelance writer. Today, with her own business, Claire Curry Communications, and a frequent project writer for StaffWriters Plus, Curry finds herself in demand with a variety of clients ranging from major universities to financial services organizations. And, she is a contributor to Long Island's Distinction magazine and the assistant editor for Long Island Weddings of Distinction.

Curry's decision to freelance full-time did not come overnight. Curry set specific goals along the way, which included working in full-time jobs until the moment was right ("In fact, I think in some ways I approached my career as a training ground in order to reach this goal").

In this month's Q&A, Curry discusses the path she followed to become a full-time, freelance writer, and gives some advice to other writers looking to reach the same goal.

Q: Where did you last work before going out on your own?

CC: I was a Chief Marketing Officer for a graphic design firm. I was with the company very early on in my career when there were only five employees. When I left the company, I think there were more than 50. Being able to learn and grow along with that company gave me a lot of tools that I actually use to market my own business.

Q: What timeframe did you follow before giving notice?

CC: When I decided to leave my job, I didn't do it and give two weeks notice. I actually decided to leave my job six months before I did it. I gave myself plenty of time to build up a bank account to purchase computer equipment and establish my office without the pressure of not having paychecks.

Having the opportunity to build confidence without the stress of worrying about your financial stability is a great thing. If I were talking to people who are interested in launching their own business as a freelance writer, I would strongly suggest developing some freelance business on the side [before leaving their current position].

Q: What marketing tools did you use to grow your business?

CC: E-mail has been a very valuable tool for me in this business because it's a way to communicate with a lot of people without having to be in the office. Networking has been a tremendous help, and has gotten me new business. And I manage the sales process by developing a database of prospects, reviewing the database, and doing systematic "keep in touch" kinds of efforts over the course of time.

Q: Were there marketing tools that were more successful than others?

CC: When I first started the business I had obtained a list of directors of communications at different universities and hospitals in the area. I then did a test e-mail mailing with the names on the list and got two clients out of that mailing! Most people are afraid to try something like that. I know I was. But what it does is get you noticed. You're right there in their face on their desktop. And if they have a need and the timing is right, you get the business.

Q: Are there any challenges you face professionally when working alone full-time?

CC: Sometimes, it's just the ability to throw some ideas at somebody else. The thing I find most challenging is not having a team to say, "What is the creative concept?".

Q: What professional goals do you set as a full-time freelance writer?

CC: Each year, I take a step back, look at my portfolio and see how it's changed in that year. Then I think about what isn't in there and what other work I want to be doing. For example, during the first year of my business I wanted to land a university account. After I accomplished that I then set a goal to resume writing for magazines. Now, my goal is to increase my exposure and experience in web development.

Q: Other than the professional challenges you mentioned, what do you miss most about not being a full-time employee?

CC: I miss my buddies from the job. You develop very close relationships with the people that you work with, and unfortunately, that's something I don't have the opportunity to do that everyday working freelance. But I think you can make up for that with your client relationships. That's the upside to having such diversity in the work you do -- it keeps you interested in your job all the time.

Scribbler's Scrapbook

A Few Novel Approaches to Writing

by Melanie Hauser

I curled up in my living room (er, office) the other day with my monthly fix of writer's magazines. After managing to kill a whole hour under the guise of educating myself about my profession, I was about to chain myself to the computer when one last article stopped me in my reluctant tracks. It was an interview with several famous authors who coyly shared their innermost secret with the expectant world: just where and how they managed to produce their best-selling masterpieces.

A typical excerpt from the interview went like this: "After rising at dawn to greet the sun as it rises over the ocean outside my front door, I seclude myself in a log cabin located a mile down the picturesque shore, where I spend six or seven hours in absolute privacy, no phone or television allowed to intrude upon my den of creativity. Whenever inspiration is slow in arriving, I walk my two Labradors along the ocean, allowing the waves to gently soothe my tormented thoughts into tranquil fragments of brilliant narrative...blah blah blah blah blah."

And so each eminent author went, each revealing to the world their nauseatingly perfect work habits. After finishing the article, I was convinced of three things:

1) All authors live on the ocean (or at least a large lake).

2) All authors own large dogs.

3) All authors are childless, spouseless, and have inherited great wealth. (Of if they do possess children and spouses, these are the most understanding, low-maintenance children and spouses in the entire universe.)

After reviewing the above, I arrived at one conclusion:

1) I am not an author. Nor are any of the other poor misguided souls of my acquaintance who labor under the delusion that they are, too.

Puzzled and outraged, I decided to conduct my own little interview. I shooed my son off the phone and called up three authors from my monthly writing group. Thus enlightened, I spent five days typing up this column in the teeming thoroughfare of a narrow hallway between my front door and kitchen. The only intrusions upon my creativity were those times when I had to run errands, wash clothes, make beds, run the vacuum, feed my family and cats, referee fights over the Nintendo, say hello and good-bye to my husband, and answer a condescending neighbor's question of "What is it that you do all day in there?" with a withering glare.) And whenever I found myself grappling for just the right word or phrase, all I had to do is look at my dwindling bank account for inspiration. Herewith, the results, which I title, "Working Habits of the Middle Class and Obscure."

Don, an aspiring science fiction writer specializing in love affairs between inhabitants of parallel universes (he sometimes has trouble figuring out the logistics of sex scenes between his characters) shares his typical writing day:

"When my boss isn't around, I hide myself in my secluded work cubicle and furtively type a couple of paragraphs at a time. When the real world interferes (as it often does in the form of spread sheets and interoffice memos), I sometimes take refuge in the men's room, where a few splashes of cold water from the sink can provide me with enough inspiration to write another paragraph before the boss returns, if I'm lucky."

Wendy, a mother of two toddlers who is trying her hand at romance writing (she tried to work with Don on his love scenes once, and now they no longer speak), reveals her secrets to unpublished success:

"After preparing, fighting over, and sometimes cleaning up breakfast, I run to the den and turn on my computer. Then I dress the twins, put a load of laundry in, sometimes dress myself, pour a cup of burnt coffee, and open the file I am working in. After preparing, fighting over, and sometimes cleaning up lunch, I take the twins to preschool. Then I have an hour and a half of uninterrupted bliss, during which I can write a page or two of my novel. Whenever I am stuck in a particular passage, I gaze out over the picturesque piles of unfolded laundry blanketing the couch, which usually provide me with the inspiration I need to turn my computer off and fold the damn clothes."

And finally, Stan, an investment broker and father of two teenage boys who has been working on the same children's book since his first son was born, relates his writing habits:

"When the soothing sounds of our nightly family arguments and squabbles have dwindled to the percussive punctuation points of bedroom doors slamming shut (note: Stan also dabbles in poetry), I am alone, at last, to kindle the creative process. It is now usually 11:00 p.m., and all the world is drifting off to sleep, except for my cat, who jumps up on my desk and meows loudly because my son Jason forgot to feed her again, as well as empty the litter box, both of which I remedy. Sitting down once more to my computer, the phone rings, piercing my solitude. It is Jason's girlfriend, who I gently remind that it is too late to be calling, which Jason, unfortunately, overhears me say as he has picked up the phone in his room, which leads to yet another prolonged argument, during which the girlfriend hangs up. Now it is 12:30 a.m., and I am starting to think about my busy day tomorrow, and the 7:00 AM train I need to catch, (also, Jason is stomping around in his room located right above my head), so I, quite reluctantly, quietly switch off the computer and let the cat out."

There you have it: real authors, and the real lives they lead. No wonder none of us are best-selling celebrity writers being interviewed by eminent writing magazines.

Then again, a wise friend recently reminded me that Steven King wrote his first novel, a little trifle called Carrie while running sheets in a laundry for $1.60 an hour.

Maybe there's hope for us yet.

Past Issues:

[March '00 Newsletter]

[December '99 Newsletter]

[April '99 Newsletter]

[February '99 Newsletter]

[November '98 Newsletter]

[September '98 Newsletter]

[July '98 Newsletter]

[June '98 Newsletter]