Nickelodeon Writing Fellowship
Saturday, January 14th, 2012
By Diana Caldwell

Each year about 1400 half-hour spec scripts are submitted to the Nickelodeon Writing Program. The program's director, Karen Kirkland, would be very happy if they got even more. She enjoys the challenge of finding the gems in that huge pile and discovering the writers who created them - which is why she came to Universal Studios on Jan. 21st 2012 and brought with her a former writing fellow, Gabriel Garza, and a reader for the program's contest to talk about the Writing Program.

Karen started in the film world as an actor, moved into producing music videos, and then headed up the Los Angeles Film Festival before coming over the Nickelodeon to run their Writing Fellowship program. Ray Lancom payed plenty of dues after leaving film school before getting a chance to be a writer's assistance and then getting on staff on his first show. Recently, he sold his first pilot to Disney. Gabriel (Gabe) Garza finished film school and also played the writer's assistant before applying to the Fellowship program and getting in. He was hired after his Fellowship ended and went to work on "Penguins of Madagascar" and has recently moved on to "Monsters Vs. Aliens."

THE PROCESS OF SELECTING THE PROGRAM'S FOUR PARTICIPANTS

All the script submitted are half-hour spec scripts of existing shows. Plays, one-hour drama specs, screenplays, and pilots are not accepted. This is in part because Nickelodeon wants writers who can bring a freshness to its current shows while still being able to follow those shows' particular style and the characters' voices. Karen asks that the writers stick with spec scripts from American shows; no British sitcoms, for example. They're judging you based on how well you follow the show's voice and, in order to judge your ability to do that, they have to know the shows well enough to make a fair comparison. Writing teams may apply.

Ray Lancom and his cohorts read the submissions and pick the top 50 scripts. Those move on to the people in development who cut the number of scripts in half and pass those on to the V.P.s and show runners. The top 15 go on to Karen.

Karen's top ten reads garner a phone interview with the writers, where, among other things, she asks for a second writing sample. Anyone who doesn't have one is eliminated. Karen also asks questions that allow her to see if the writer can work with them and if the writer will be an asset to the writer's room. This is also the reason they push for diversity in their winners as that difference can bring new energy to a writers room. After Karen has read the second sample, she invites the writers in for a second set of interviews. In eleven five-minutes interviews with executives, story editors, show runners and other creatives, the writers are tested for energy, insightfulness and sense of humor and wit. And, from all that, the final four are chosen.

THE PROGRAM

Those lucky four get paid $45,000 over a year of intense writing and learning. The moment they come on board, they are given notes on their submissions. Working nine-to-five, the writers meet with everyone in both the animated and live action shows, take improv classes and study writing from Fred Rubin and Robert McCee. They also work on their first spec scripts while taking notes on their two submissions. By the end of four months, the winners have met everyone at the studio. After that, they move on to their own faux writers room. The goal is for them to pump out several solid spec scripts and to get experience working on Nickelodeon shows.

STRATEGY FOR WINNING

What makes for a winning script comes from understanding the show you're writing your spec for so that you deliver your own unique take on the show with an original story that does not violate the existing characters' personality and voice. In other words, find a show you like, tear it apart so that you know how it works and then figure out a story that will be fresh but still works for that show. Record the episodes on DVR or rent them on DVD. Play them, stopping every ten to fifteen minutes and carefully outline the stories. Understand how the episodes lay out. Figure out if the A story has greater or equal weight as the B and C stories. Most importantly, figure out what the show's voice is. Gabe offered an example with "Two and Half Men," saying it is about an over-sexed guy sharing a house with his under-sexed brother and his son. That's 80% of the show's voice. You get that, you get where you have to go with the story and the characters.

Secondly, you can find interviews with the shows' creators on the internet, which often give you added insight into the background of the characters and the show.

Although they accept any half hour spec, Karen encourages writers to submit material based on the more adult sitcoms and discourages submitting scripts for Nickelodeon shows. You will never get the voice as exactly as the writers on the show do - and that slight shift can lessen your script's chances of winning.

Also, no typos. If you can't bother to clean up your script, why should they bother to read it? Don't make the reader's job harder.

Most importantly, stand out but don't get insane. You don't want to take two minor characters and make the episode all about them. Steer away from holiday stories, too. Chances are, the show is about to do something similar. Birthdays, power blackouts, earthquakes and stories where the characters get stuck in an elevator are cliched. But, if you can add something funky and new, go for it. You want to find a story that could be written for this show, it just hasn't happened yet. You want to understand and follow the show's voice (it's rhythm) while displaying your own voice (your storyline and your jokes).

Ray added that you should have a strong joke every page. Karen seconded that, adding that each act should have a high stakes ending and some kind of jeopardy. The whole thing should be a page-turner. Karen wants scripts where she ends up saying, "I wish the show would be like this!"

Even for a half hour show, writing 39 pages is okay. It's done all the time and then gets cut down. Right now, you're writing a spec whose sole value is as a writing sample. Do what you need to in order to tell the best story. But write sparsely and leave out the camera shots. The only time they might be necessary is, for instance, when you have two things going on in the same room and need to write; "Angle On."
Karen added that "dated" scripts were okay but she's rather you stay current. Among other things, if the script is a couple years old, it leads the reader to wonder why you haven't done anything good since.

Karen said that your bio and resume, although required, isn't nearly as important as your personality. She added, "I am not terrifying. We have fun. Don't let your nerves ruin your fun - or your chances." Gabe added that you should try to enjoy the interviews. Ask questions, participate and make this a conversation. Research the people before you go so you have things to talk about. And, tell something of you life history because they want to know that you can bring something interesting to the writers room.

And, don't come in a suit and tie. And don't boast. They want to help you. If you seem too perfect, why should you be in this program where you're supposed to learn and improve?

Gabe explained that any writer should always be ready with 40 story ideas and expect to pitch your favorite 3-5, whether in the program or in a real writer's room because. Some days, it'll be idea number fifteen that will get a positive response.

It's good, when pitching your ideas, to give the minimum of information, just enough to get your audience intrigued - and then let them ask questions. Karen added that producers, show runners and execs all want to feel they're part of the process. If you can get them asking questions and making suggestions, you've got them hooked.

The important thing about getting story notes, whether as a staff writer, in your own writers group and especially if you win a spot in the Nickelodeon Writers Program, is that you have to find the "note under the note." If someone is suggesting you bring in a talking dog, chances are your story is dragging. Even if you disagree with a note, you still have to respond to it because something isn't working. How you fix it is up to you, but you can't ignore the fact that something needs fixing.

Gabe also suggests that you need to write every day, even if some of that writing time is spent seeing shows and movies.

And, of course, be passionate about your work - especially when pitching your work. And, if you don't get on the show you want but you do get on a show - love the one you're with!

So get writing and get polishing those spec script. The deadline is at the end of this month. Good luck.

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