It’s a good documentary for TV writers, especially, and TV lovers may also enjoy learning about what goes on behind the scenes.
As I watched, one of the things I couldn’t help notice was that in every writer’s room (where most of the Showrunners were interviewed), there were white boards. They were huge, and they lined the walls. They were covered in neatly scrawled outlines for episodes and for seasons. I would have loved to take a closer look.
The reason I’m so interested in white boards is that it might be the most useful tool I’ve learned so far in graduate school. When I studied at Writers Boot Camp, the curriculum was more movie than TV-oriented, and none of my teachers had a television background. When I started to write TV Pilots, I always ended up with too much content and too many pages. When I cut pages, my pilots would end up story-dense – in other words, too much story for the available page count. Learning to use a whiteboard has helped me to write lighter page-counts, and then I can add the content that will most enrich my characters, rather than having to cut, cut, cut.
Since my grad school program is Writing and Producing for Television, all my teachers have TV backgrounds. And that, I’ve learned, means using a white board. The first semester program included a six-hour class where my cohort wrote an original pilot together. While I could go on about the folly of having 13 strangers write a pilot together, for the purposes of this blog, I’m going to concentrate on the whiteboard.
We started by plotting out the season. We didn’t plot it out in detail, just the broad strokes, including major events at the mid-season mark and the season finale, and how to get from here to there. Once that was complete, we turned to the pilot episode. That’s where it got interesting.
The teacher divided the board into four sections (one for each act) and numbered from one to six in each of the four sections. We had a good idea of the A story line by then. We started with the broad strokes, again filling in the set-up event, the act-outs and the end, until we had two or three scenes per act fleshing out the story. Using different colors, we proceeded to fill in the other story lines. Soon, had the beginnings of an outline. From there, we wrote the actual outline on the computer, and then scenes, updating the board as we went along. Soon, we had a first draft. This process is known as “breaking story.”
For me, using a whiteboard has revolutionized TV writing. In my own pilot-writing process, there are a lot more steps to go through before I plot anything out on the whiteboard, including making sure each story line stands on its own. Before consolidating my story lines into a script, however, the whiteboard helps me to make sure I’m ending the acts on the strongest moments, spreading out the story lines in a way that works for the story, the timeline, and the overall balance, so there’s not too much of any one story line back-to-back. Whenever I’m planning a rewrite, I can see at a glance where changes will be made and how to make room for new content.
While there are many facets to writing an original pilot that using a whiteboard won’t help with, such as characters, relationships, theme, symbolism, and plot development, this was the missing tool in my arsenal and I’m very happy to have it in my toolbox.