Hello all:
Some of you may recall that I was converting my feature epic sci-fi spec to a TV pilot. I set it up and paid for a review yesterday and it came back today. Yep that's right, a one day turnaround.
It's got some good things to say, but just like the feature they nailed me HARD on the budget. I think the reviewer has a good point of view. So, would scaling it down help? Running it through the lens of only the two main characters? There are actual 6 main characters.
So, I've decided to write three more projects before I actually tackle writing the Novel. Then I'll bounce back to features/TV.
So, I need some advice on how to potentially exploit these specs. Does anyone care that you can create a complex world that feels real. Does this have any value in a writer's room? I guess maybe the writer's room is to focus on the showrunner's idea's an not your own-- so scatch that.
I don't have an agent, so how do I get my work in the hands of a showrunner? Or is that a futile goal without an agent? I guess, what I'm really asking, is how to I turn this into something that gets me one step closer to getting a writing gig? Or is it better to keep moving on, which is what I'm doing. Working on a smaller crime noir thriller.
Can it be used to get a OWA? I know they stick to known writers, but is it good to have my manager submit them as samples? How does one turn a writing sample into a gig?
I appreciate an advice you may offer-- I'm just another writer trying to find her way in... I just want to write all the time.
Also, if any knows, is it possible to use these specs to send to a novel agent to get a publisher to commission the novels? I'd love to get paid to write them, you know. I know, pie in the sky.
If you'd like to read the pilot, it's available to writers to download. Don't worry, it really doesn't have triple digit characters and the It's only 63 pages, so hopefully it's not a drag
The title is WASTELAND: THE SIXTH STATE -- PILOT
BLACK LIST REVIEW
Era:
2463
Locations:
Alternate Future Earth
Genre:
Action & Adventure, Adventure Drama, Sci-Fi & Fantasy, Sci-Fi Disaster Films
Logline:
In a post-apocalyptic virus-ravaged future, six utopian cities stand protected by a force shield, encased from all sides by the forgotten, unprotected wastelands. When Tessa, a young heir to the throne, is called upon as a healer, a great adventure gets set in motion. An adventure that threatens to reveal dangerous political alliances that could bring down the empire itself.
Strengths:
A well written, action packed sci-fi pilot, conceived on an epic scale and coming across as what could only be described as BORDERLANDS done in the style of GAME OF THRONES. The scope of this futuristic premise is nothing short of immense (literally every scene involves ground up world building), but skilfully, the complex idea of an epic post-virus Utopia is presented in a way that never feels too complicated, thanks to a clearly laid out post-apocalyptic opening, and a comfortable reliance on well established genre troupes. The dialogue seems so committed to this reality, sprouting future slang and sci-fi terms like they were common place, at some point, the reader just joins in on the ride. The sheer amount of characters introduced here is often daunting (possibly approaching triple digits), but the pilot shines at its best when focussed on the wasteland anti-hero Novak (cut from the same cloth as Star Lord or Han Solo), and doomed royal heir Tessa (a fun twist on a princess archetype). The bringing together of their stories in the last act opens up a huge spiderweb of narrative directions for further episodes, and seems loosely structured around this very idea. Styx, the robot sidekick, is another great creation, and is so compelling (and amusing) at times, he threatens to steal the entire show.
Weaknesses:
Whilst we are certainly in a golden age of television, the budget required to pull of even a third of this pilot would be nothing short of the most monumental undertaking in network history (and from a business stand point - very unlikely as it’s original I.P). The scale of this pilot needs to be brought down to ever get taken seriously. Less worlds (cities). Less characters. Less explosions. It currently reads like a very expensive Hollywood feature film, stripped in half, with very little in the way of reusable assets. Prime Minister Ayres makes for a fun, morally ambiguous villain, and the use of Tessa’s “future-dreams” is a great way to glimpse into his machiavellian plans, but his more “political” moments in script (particularly the Consortium scene on pg. 26) echo a little to closely to the Galactic Senate concept that was used in the Star Wars Prequels. A concept that is universally despised for a reason. Laying out the exposition for this complex world through the eyes of Tessa is a far safer option, and a reason why the school visit scene (on pg. 43) works so well. It also helps with the scaling issue currently at hand. Tessa and Novak are the clear protagonists of this show. This would work far better if the entire story was only ever framed through their eyes.
TV series potential:
In its current incarnation, prospects for a sale are unlikely. It’s not that the idea isn’t strong enough, it’s simply to do with the sheer size and cost. It goes from a fun idea to commercial suicide, and most producers will likely view this as a solid and creative writing sample as opposed to something they’d ever actually undertake. The writing is strong, and some of the concepts in here are HUGELY imaginative and marketable (eg. what kid wouldn’t want a moodipet plush?). There hasn’t been a rugged, Indiana-Jones like adventure hero such as Novak on tv screens for a long time, and this is another huge asset to the work, but further development will be essential before sending out. The scale is just unmanageable as it is, even for tv.
Pages:
63
Some of you may recall that I was converting my feature epic sci-fi spec to a TV pilot. I set it up and paid for a review yesterday and it came back today. Yep that's right, a one day turnaround.
It's got some good things to say, but just like the feature they nailed me HARD on the budget. I think the reviewer has a good point of view. So, would scaling it down help? Running it through the lens of only the two main characters? There are actual 6 main characters.
So, I've decided to write three more projects before I actually tackle writing the Novel. Then I'll bounce back to features/TV.
So, I need some advice on how to potentially exploit these specs. Does anyone care that you can create a complex world that feels real. Does this have any value in a writer's room? I guess maybe the writer's room is to focus on the showrunner's idea's an not your own-- so scatch that.
I don't have an agent, so how do I get my work in the hands of a showrunner? Or is that a futile goal without an agent? I guess, what I'm really asking, is how to I turn this into something that gets me one step closer to getting a writing gig? Or is it better to keep moving on, which is what I'm doing. Working on a smaller crime noir thriller.
Can it be used to get a OWA? I know they stick to known writers, but is it good to have my manager submit them as samples? How does one turn a writing sample into a gig?
I appreciate an advice you may offer-- I'm just another writer trying to find her way in... I just want to write all the time.
Also, if any knows, is it possible to use these specs to send to a novel agent to get a publisher to commission the novels? I'd love to get paid to write them, you know. I know, pie in the sky.
If you'd like to read the pilot, it's available to writers to download. Don't worry, it really doesn't have triple digit characters and the It's only 63 pages, so hopefully it's not a drag
The title is WASTELAND: THE SIXTH STATE -- PILOT
BLACK LIST REVIEW
Era:
2463
Locations:
Alternate Future Earth
Genre:
Action & Adventure, Adventure Drama, Sci-Fi & Fantasy, Sci-Fi Disaster Films
Logline:
In a post-apocalyptic virus-ravaged future, six utopian cities stand protected by a force shield, encased from all sides by the forgotten, unprotected wastelands. When Tessa, a young heir to the throne, is called upon as a healer, a great adventure gets set in motion. An adventure that threatens to reveal dangerous political alliances that could bring down the empire itself.
Strengths:
A well written, action packed sci-fi pilot, conceived on an epic scale and coming across as what could only be described as BORDERLANDS done in the style of GAME OF THRONES. The scope of this futuristic premise is nothing short of immense (literally every scene involves ground up world building), but skilfully, the complex idea of an epic post-virus Utopia is presented in a way that never feels too complicated, thanks to a clearly laid out post-apocalyptic opening, and a comfortable reliance on well established genre troupes. The dialogue seems so committed to this reality, sprouting future slang and sci-fi terms like they were common place, at some point, the reader just joins in on the ride. The sheer amount of characters introduced here is often daunting (possibly approaching triple digits), but the pilot shines at its best when focussed on the wasteland anti-hero Novak (cut from the same cloth as Star Lord or Han Solo), and doomed royal heir Tessa (a fun twist on a princess archetype). The bringing together of their stories in the last act opens up a huge spiderweb of narrative directions for further episodes, and seems loosely structured around this very idea. Styx, the robot sidekick, is another great creation, and is so compelling (and amusing) at times, he threatens to steal the entire show.
Weaknesses:
Whilst we are certainly in a golden age of television, the budget required to pull of even a third of this pilot would be nothing short of the most monumental undertaking in network history (and from a business stand point - very unlikely as it’s original I.P). The scale of this pilot needs to be brought down to ever get taken seriously. Less worlds (cities). Less characters. Less explosions. It currently reads like a very expensive Hollywood feature film, stripped in half, with very little in the way of reusable assets. Prime Minister Ayres makes for a fun, morally ambiguous villain, and the use of Tessa’s “future-dreams” is a great way to glimpse into his machiavellian plans, but his more “political” moments in script (particularly the Consortium scene on pg. 26) echo a little to closely to the Galactic Senate concept that was used in the Star Wars Prequels. A concept that is universally despised for a reason. Laying out the exposition for this complex world through the eyes of Tessa is a far safer option, and a reason why the school visit scene (on pg. 43) works so well. It also helps with the scaling issue currently at hand. Tessa and Novak are the clear protagonists of this show. This would work far better if the entire story was only ever framed through their eyes.
TV series potential:
In its current incarnation, prospects for a sale are unlikely. It’s not that the idea isn’t strong enough, it’s simply to do with the sheer size and cost. It goes from a fun idea to commercial suicide, and most producers will likely view this as a solid and creative writing sample as opposed to something they’d ever actually undertake. The writing is strong, and some of the concepts in here are HUGELY imaginative and marketable (eg. what kid wouldn’t want a moodipet plush?). There hasn’t been a rugged, Indiana-Jones like adventure hero such as Novak on tv screens for a long time, and this is another huge asset to the work, but further development will be essential before sending out. The scale is just unmanageable as it is, even for tv.
Pages:
63
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