Restrained by Robots

Just wrote that line. Sounds like a great title, band name, etc.

Write from another character's POV

I’ll write out the whole story from the villain’s point of view, both to track that the logic works, and also to gain insight on why they’re doing what they’re doing.

He Smiles, She Smiles

A smile jumps from her lips to his.

Instead of Bookstore try "Chain Bookstore"

Instead of “BOOKSTORE” or “BARNES AND NOBLE,” try “CHAIN BOOKSTORE.” The reader gets what you are trying to say, and the line producer won’t hyperventilate.

For Shazam!, I just wrote a scene that takes place “INT. STARBUCK’S-LIKE COFFEE SHOP.” It should be clear to the line producer, production designer and everyone else that it doesn’t have to be Starbucks. It just needs that vibe.

What Makes a Good Pilot Spec

Stephen in Canada has a good question about writing spec pilots. He wants to know if he should write something similar to what's already on television, or if he should try something more wild and strange.

Hm, that's an interesting question. Well, obviously, both ends of the spectrum are dangerous. It's going to be hard to make a Law and Order clone stand out, for example. And, at the other end, a 45-minute all-CGI bisexual space-musical might not demonstrate a knowledge of what is currently hot within the television market. (I have no idea if this is what Canadian Stephen is into, by the way.)

The answer, I think, is to take the best of both ends. Keep enough of the traditional in the show so you can demonstrate that you know the basics. Then add something unique either in concept, or by doing something interesting with character, or both. The pilots of Jericho and Big Love would have been good spec pilots, because the concepts are so arresting. The pilots of House and Ugly Betty would have made good spec pilots, because the characters are so unique. A show like Dexter might be the perfect spec pilot, with a shocking concept and a unique character. Weeds is probably a better model for a spec pilot than Desperate Housewives is. Housewives is more traditionally saleable, but Weeds is the one that makes people curious. At this stage in your career, where you're trying so hard to stand out from everyone else, curiosity is your friend.

If it was me, I would start by thinking of the types of shows I love and admire, and then consciously think about what I could add to them that pushes the boundaries a little bit, to make them different and a bit daring. Two years ago a whole bunch of pilots were purchased that fit established patterns except that the hero was mentally ill in some way. If they hadn't already done that, it would be a perfect model for what I'm talking about. But the basic recipe is still good. Take the basics, then pervert them, twist them, stretch them just a bit.

"Short Answer..."

Running gag, or simply piece of characterization.

"Short answer, yes." or "Short answer, no."

"Are You Off Your Meds?"

"Yes!"

or

"Yes, but..."

You Mean There's Three of Them??

Twins make each others lives bearable. They've got a good thing going - #1 does the stuff #2 hates, and vice versa.

Conflict arises when they both fall for the same woman? Perhaps, one woman they're seeing dumps him/them, and the twin who's there (accidentally?) kills her. Lots of identity issues and swapping throughout Act 2.

However, at the end of Act 2 we discover - they're TRIPLETS. Sort of like Fight Club, etc., except every person here is real, not imagined.

Fun With Dialogue Spelling

Per Jane Espenson:

Something I'm dying to do, and I can't imagine why I haven't done it already, is to write a British character's dialogue with all British spellings. I think it would be hilarious on the page:

AMERICAN GUY
Are you insulting my honor?

BRITISH GUY
Your honour? Certainly not.

Wingmen

Title: Wingmen

Comedy about two guys - one 20's, the other 40's - who find they make a great pair on the dating scene.

Think Max Fischer and Bloom in Rushmore.

Bach's Office

Not sure. Just a play on words.