Why not hire new writers?

[Colibri]

Moved to Cafe Society from GQ.

Colibri
General Questions Moderator

[NAF1138]

@Argent_Towers

I’m not a frustrated amateur writer though; what I am is a frustrated television watcher. Most of the stuff on TV is absolute trash. First of all, less and less of it is even written by anyone nowadays; so much of it is in the “reality TV” format that has so infected television. But most of what is written is crap, and that includes even the elite, top-tier shows on premium channels like HBO (Big Love, for instance, which I hold up as one of the worst examples of TV writing ever in its last two seasons.) I am unwilling to believe that if the morons who wrote this show went on strike, it would have ended up any worse if HBO had just hired some semi-talented amateurs.

You are complaining about a lack of talent when the issue is a lack of skill. The talent pool is shallow, you sometimes have to hire people who are short on talent who can get the job done anyway.

There are more “writers” in Hollywood than almost anyone else. Hollywood is in constant need of writers, and yet it still hires people who are short on real talent because even with all the “writers” floating around there just aren’t that many of them who have any talent. The ones that do get work are the ones with the skill levels to pull off the job. Does this mean that they are brilliant writers? No. It means that they can turn out scripts on demand and have them be workable teleplays. Many talented writers aren’t able to do this.

Like I said, the hacks are still hacks, but it takes more to be a working television writer than most people are capable of.

[Belowjob2.0]

@kunilou

TV writing (really, any writing) is more than just having a great idea, it’s about having an idea that fits into a usable format. Even for your basic crap sitcom episode, you have to:

a) start with a situation that can be resolved in 22 minutes

b) within established production standards and budget

c) using existing characters with defined personalities and mannerisms

d) consistent with the overall direction of the show

e) with enough flexibility that it can be adapted for last minute contingencies, and

f) on a deadline.

And the ability to do that more than once is what separates professional writers from “great writers.” It may not be what you consider to be “talent” but it’s definitely a skilled craft and not something that you can fake simply with “networking, making connections and hustling.”

Right on target, Kunilou.

Argent Towers seems to have an amazing amount of confidence in his ability to judge TV writing. He’s completely off base, but when has that ever stopped anybody? (I’ve worked as an production assistant and AD on a number of TV shows. In general, American TV writers are very, very skilled at producing material that delivers viewers.)

In general, hiring new writers in the face of a strike doesn’t work for 2 reasons:

Without Union wages, benefits, and protections, no one can afford to dedicate their time and energy with the intense focus that’s required to become a TV writer. (This is a problem for TV shows produced in other countries b/c it’s tough for them to sustain a talent pool. )

There just aren’t that many talented writers who can produce quality scripted material on time and on budget that meets the demands of production and the shows’ target audiences.

[Balthisar]

@Belowjob2.0

Without Union wages, benefits, and protections, no one can afford to dedicate their time and energy with the intense focus that’s required to become a TV writer. (This is a problem for TV shows produced in other countries b/c it’s tough for them to sustain a talent pool. )

Which other countries are union or non-union, and which have problems? Anyone can pay high wages and benefits (union or not), but “protection” seems meaningless in truly competitive market (which unions, of course, prevent). I mean, you’re always protected if you’re in demand.