A whole buncha notes from Shonda Rhimes’s Masterclass on screenwriting for TV

The best Masterclass I’ve watched to date. Shonda’s lessons are practical and detailed and really get into the nuts and bolts of how to create a TV show, how to pitch it, and how to write scripts.

If you haven’t heard of Shonda: Grey’s Anatomy, Scandal, and a grip of other network hits.

Here are some edited and simplified notes from the course. Most notes are verbatim, even if they aren’t in quotations…

Notesies

  • Understand the difference between procedural and serial shows (procedure is like Law & Order; serial is like Breaking Bad)
  • A movie has an ending; a TV show could go on for 7 years
  • When deciding on an idea: “It’s like a song that you can’t get out of your head”
  • The key is “compelling characters with compelling dilemmas”
  • For Grey’s Anatomy, the a key was finding the sort of gut wrenching cases that center each episode, that people would talk about over dinner the next day
  • Plan as much as you can upfront – especially episode ideas; once the show gets going, you’re not gonna have time
  • For every one of her shows, the title came at end; usually they’re written and shot as “Untitled Shonda Rhimes project”
  • “I don’t think [the name] matters” – that’s left to the marketing gods
  • Even character names change due to legal clearances (her broader point is, “don’t get too attached to any of your ideas”)
  • The key for her characters is to act and sound TRUTHFUL
  • Characters are like a band – it’s not individual perfection but group harmony
  • For the main character, you need them to have a confidant, and you need someone to tell them when they’re wrong
  • The importance of specific and small character details, like each character in Greys Anatomy having a favorite drink
  • in GA, she used Wizard of Oz tropes in a rough way (Izzy wanted a brain, George wanted courage, Christina wanted a heart, etc)
  • What makes a bad pitch: No structure, No sense of arc, Too much stuff / too long
  • The best pitches focus on character – Why do we care about this or that character?
    • Paint the picture, but don’t get too specific – let their imaginations do the work
    • Have a clear way to market the show – eg, Grey’s was “Sex and Surgery” (from Sex and the City)
  • A 1 hour drama has 5 acts
    • ~55 pages
    • Sometimes an opening teaser
    • Act 1 – introduce characters and world in an exciting way; present problem; setoff A and maybe B stories
    • Act 2 – things escalate, expand world, meet more people
    • Act 3 – the center, middle 11 pages, things start to peak, worst / exciting, start a ticking clock (or Act 2)
    • Act 4 – story turns in different direction, in procedural it’s a new piece of evidence, or ticking clock, or real character reveals
    • Act 5 – moment of victory, reveal / cliff for next ep
    • Each act should end make the viewer lean forward, end on a “wow” moment, each act break should “turn the story”
  • “You don’t want a flat show” – have plenty of ups and downs
  • There is usually an A story, a B story, and a C story (the “runner”)
    • A is usually but not always bigger than B; C is very minor
    • A story – usually 2-3 scenes an act
    • B story – one scene an act
    • C story – 3 scenes total in episode
  • If you make it about character, people will buy anything
  • Stuff that gets cut is usually from Act 1 and 2 – the setup stuff
  • Show a person’s emotional reaction instead of hearing them say what they’re feeling / thinking
  • Shonda tries to limit stage directions, emotional reactions, let actors do the job – give them room for interpretation
  • I can tell in the writers room, if there are a lot of fights about a scene…that scene’s interesting and it’s gonna work
  • Episode 2 is Episode 1 all over again; this helps you build trust and familiarity
  • Make the studio your partner, not your keeper – include them in the creative process
  • Get to know your line producer well; let them know what you do and don’t know
  • The set is all about the CREW – it’s their team, their domain, their expertise
  • Shonda’s routine
    • Only checks email once a day
    • Closes her office door when she needs to focus
    • No emails or phone calls after 7pm
    • Writes on weekends – writes every day
    • Wakes up at 5am (!)
  • If you’re not the showrunner, you’re working for someone else – even if you’re the creator

Thanks for reading! If you’re looking for more advice or notes on writing and screenwriting, here’s an even longer blog post.

Discover more from @habits

Subscribe now to keep reading and get access to the full archive.

Continue reading