In about an hour, I’ll be at the studio to be fitted for my Criminal Minds wardrobe. Tomorrow, I start work on the show.
The script’s been rewritten a few times since I first read it, and I’ve been able to read each draft in its entirety, which has been really interesting to me as a writer, as I track the changes and try to figure out what network and studio notes they were intended to address. It’s got to be so difficult for these writers to take a certain scene or character in one direction, write really great dialog and stuff to get them there, and then be told that they have to throw it all away and take things in a different direction. And do that three times in five days. I honestly don’t know how they do it.
People ask me all the time if I’m working on a screen play, or if I’m interested in writing for television. In fact, a staff writer from a show we all watch told me last year that I’d fit right in on that show, and that I should think about taking my writing career in that direction.
I said thanks, but no.* I know how hard it is to write a good story with compelling characters and an engaging plot. I also know how arbitrary and soul crushing the entertainment industry is, and that’s just as an actor. The people who write for television are basically writing the equivalent of thirteen features a season, serving several different masters, including the show’s producers and the people at the network. For a fascinating insider’s view of this process, you must read John Rogers‘ posts about his show Leverage:
Leverage: Lessons from the Script Pile
Leverage Week 1
Leverage Week 2
Leverage Week 3
Leverage Weeks 4 + 5
Leverage Week 6(There are more Leverage posts, but that’s a good place to get you started.)
I had a hard enough time coming up with something clever to write every week for Games of Our Lives and Geek in Review, and in both of those cases, I only had to make one editor happy. I don’t even want to think about what it’s really like to make a whole bunch of different people happy, especially when all of those people work in the entertainment industry, and there are millions of dollars at stake. I have nothing but respect for the people who can do it.
Anyway, this post is about changing gears, so I suppose I should get to that.
When I went for my Criminal Minds table read last week, one of the writers introduced herself to me and offered to answer any questions I had about the character and script. My first instinct was to ask if I could some sit in the writer’s room and take notes, but before I could jam my foot in my mouth, I reminded myself, “You’re here as an actor. Do your job.” It was then that I realized I’d have to switch gears before I started work on this show. I’d have to take off my rookie writer’s pants, and put on my veteran actor’s pants for a week. That sounds simple and logical, but it’s been tough, especially because I was really building momentum on these short stories I’ve been writing. I guess it’s a good problem to have, though, so I’m not complaining.
This week and last week have been weird for me, because though I don’t think of myself as a full-time actor any more, I can’t deny that I’m super excited to bring this character to life, and I’m proud of myself for booking the job. Allow me to quote Shane Nickerson: “There’s something to be said for not needing it and not seeking it, isn’t there? I won’t say not wanting it, because I am too keenly aware that no matter how much we try to convince ourselves otherwise, we actors may never stop wanting it, somewhere deep inside.” That is 100% true, and I’m not even going to try to deny it. As much as I hate dragging my ass all over town for auditions, and as frustrating and demoralizing as the whole process is, when I’m actually working with other actors and creative people to take words on a page and bring them to life, it’s almost worth it.
Almost. Which is why I’ve mostly traded taking the words off the page for putting them on it.
Yesterday, I tried to spend the day writing. For eight hours, I did everything I could to knock ideas out of my head and give my characters interesting things to say and do. I failed in every attempt at masonry, growing more and more frustrated with each highlight and delete. Finally, I accepted that my internal creative CPU wants and needs to be doing actor things, like breaking down scenes, developing and understanding this character, and learning my lines. Luckily, I’ve done this long enough that it’s all second nature, and it’s all deeply satisfying, so it doesn’t feel like work at all.
You know, it feels strange, but also good to change gears for a few days. Hopefully, I won’t grind them too much.
*There’s been a lot of confusion about this, and I want to clarify: I wasn’t offered any jobs on any shows. I was told by an experienced writer that, in that writer’s opinion, I would be able do it if I wanted to, and I said I wasn’t interested in that kind of thing, because I don’t believe I have what it takes.
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From one person who does many different jobs in the entertainment industry to another, I completely understand the switching gears and how difficult it can be at times. For me, I think my hardest switching gears experience was going from Stage Manager one year of a really big production back to actor the season afterwards. It was all I could do to not call things and remind actors where they should be and being the organizer. Even the director found it hard to stop relying on me to be there to keep everything together and running smoothly.
On another note, I cannot wait to see you on Criminal Minds. Its one of the few television shows that I watch. There is a huge lack of quality entertainment these days on the small screen. I am so very excited that I get to see you act again and in a fantastic show!
Sounds like you’re too hard on yourself.
I would have jumped all over the staff job. It might be easier than you think.
Good luck with the shorts you’re writing. Sounds like they might be a good read.
I guess finally good luck on Criminal Minds. I’ve never watched that show, but my dad says it’s really good.
Take care dude,
Mark.
At the risk of being too presumptuous, I think you should give the staff job three to six months just for the experience (and I mean the XP type — not for reputation or anything). Talk to them your reservations, make sure they know it is a temporay plan and work out scheduling concerns so that you can still do your auditions and roles. You get a steady paycheck and you surround yourself with other writers for a while. The biggest danger is that you are good at it and get really comfortable and never leave.
Actor
Writer
Poker Player
Don’t forget the last one 😉
Was watching “Suddenly Human” last night. There is some surprisingly challenging acting in that episode, despite it being a bit bland overall.
Good luck on Criminal Minds, and hopefully you won’t take blue ice cream in the face!
You know what really grinds my gears?
Where in the Bible does it say that a man can’t fire off some knuckle-children in the privacy of his own neighbor’s living room while his neighbor’s at work because I don’t have a DVD player? Well, I don’t know where it says it because the Bible was way too long to read!
You know what really grinds my gears?
Where in the Bible does it say that a man can’t fire off some knuckle-children in the privacy of his own neighbor’s living room while his neighbor’s at work because I don’t have a DVD player? Well, I don’t know where it says it because the Bible was way too long to read!
These comics are GREAT:
http://theurf.wordpress.com/
I thought you’d appreciate the URF humor. Enjoy.
Thanks, Mikey
Games of Our Lives?
Ooh! I have not read those reviews of yours yet.
Now I have a dilemma. Do I read them all at once or do I savor a few each day?
Yeah, read them all at once.
Thanks for the link!
I find that switching the creative muscles once in a while can be refreshing, and when you return to your writing, you’ll likely be able to tear into it.
I do writing/improv/acting for a living, and I find that the more one clicks for me, the others seem to fall into place as well.
I guess I wasn’t clear in my post. I wasn’t offered a job, I was asked by a writer if I’d ever thought about trying out for a staff writing position.
Also, it looks like my episode airs the first week of October, if I read the thing on the wall correctly this afternoon.
What is is with you and CBS series? CSI, Numb3rs, now Criminal Minds… 😉
first week of October. check.
just don’t change gears too quickly. they can get confused.
Thanks for posting the link(s) to John Rogers’ blog. I think that’s one I’ll be subscribing to…I’ve only read it for 5 minutes and already feel like I’ve learned something.
I know you “hate dragging your ass around town,” yet it gives us fans an opportunity to see you on the small screen; veteran-writer Wil.
Hey. That means I’ve got two things to look forward to now: Criminal Minds being on here in Australia tonight, and an upcoming guest appearance by Wil. ;D
Wil,
Good call about keeping your acting pants on when you’re being paid to be an actor. Although you doing that would be genuine artistic interest, there are plenty in holywood that would see it as their break to get one step up the ladder toward director.
And as you point out, it’s a hard job. There are folks who work for a substantial portion of their career to get to a position where they are Executive Producer and can write the stuff they want without the network telling them what to do at every scene, then get that opportunity, and end up even then not being able to quite produce what they wanted (I’m thinking specifically of J.M.Strazinski here).
I think you’re being very realistic and careful. Neil Gaiman very much feels that’s true; that he likes writing for novels where you have more control much more than writing for film, where it can be taken away. He writes screenplays to get the writer’s guild health insurance.
Sounds like you’re being careful with your creative energy. Good luck and keep it up!
Speaking of changing gears: have you checked out Dr. Horrible’s Sing-Along Blog yet? Neil Patrick Harris as a showtune-singing criminal mastermind wannabe is EPIC WIN.
http://www.whedon.info/If-DrHorrible-com-is-down-watch.html
So, I really am Just a geek, and I have an odd question for you.
Would you say that for the average dork, the feeling of switching gears between Writer and Actor would be like Going from a Game master to a Player? And all the loss of one type of creativity and gaining of another outlet for creativity that entails?
Did that make any sense?
Is there room for an allegory?
I have often wondered if you ever had a screenplay in your head. And I think your response to the offer was reasonable and realistic.
Do you ever read this comic, Don’t Forget to Validate Your Parking
He is a writer down there who got bored during the strike and did this simple strip about some of the abusurdities. Pretty funny stuff.
Have fun on the show
Be careful not to pop your clutch. That can be painful.
Ever wonder what would it would be like if they started making really well written B-movies again? I bet you could find out if you tried.
Wil: your post makes me wonder how many brilliant movies will never be made because their screenplays are collecting dust somewhere. I’ve heard that there’s a list somewhere of the Top 10 Great Unproduced screenplays. I suppose politics factors in, as well as the writer having to ask themselves if the changes suggested to get a green light are worth it.
As I writer, I like to carry a pen and small notebook with me wherever I go and jot down ideas as they come. If the day ever came where I didn’t have to work a day job, I think I’d work on getting those ideas all turned into fiction short stories, novellas and novels.
As a writer with a bit more experience Wil, I can tell you that eventually you will hear those cues to “stop trying” earlier and feel better about trusting them. Sometimes it just doesn’t come, but you can’t be afraid of that, either. You have to be able to make yourself go do something else when all you’re doing now is stirring up shit.
The harder part then is forcing yourself to go try to make art again when you’ve been doing something else, but you will learn to hear that call, too. Trust that you will know the difference, and you will have it in yourself to be both versions of yourself, at once.
Switching gears is difficult. As a columnist for a small but independent newspaper, there are days that pass without as much as a word on the page. Nothing works.
Doing management activities in an office setting by day and then winding down to write at night – on food and wine – sounds like a dream job for many, but at times it is as if I am lifting the weight of Atlas.
As hard as it sounds, creativity sometimes is forced. That’s the world of a writer. The creative process sometimes gets sacrificed for results and that’s sometimes difficult to take.
I would love to have more column inches to write – to round out my exposition but I am cramped in 750 lonely words with which to squeeze each and every last drop of writing flavour.
I’ve written for a collective. It is hard work. Sure it pays the bills but it can be stifling as a creative.
My advice, such as it is – stick to what you love.
If I could get paid enough to write full time – I’d do it in a heart beat, but you are in an enviable position – you are well known, apparently well liked and as it seems respected by your peers – writers aspire to this.
Stick to writing the things that you love to write – and eventually you’ll get what you need.
“Do good work and good work comes to you” – write short stories – that’s your good work.
Nicholas Gardner
Wil,
I know you seem to be adverse to the idea of the stresses and demands of TV writing, but in what I’ve gleaned from your postes over the years I have to wonder if a collaborative enviroment wouldn’t be amazing for you.
It seems to me (and I’m no one with respect to this issue I know) that you’re intelligent, well studied, creative, and quick on your feet and I have to think that these qualities would play really well in a ‘group’ wiring enviroment.
Perhaps I’m showing my ignorance about how the business works…but it seems to me you may be selling yourself short.
I hope you have a great time shooting the show 🙂
ONE!
For the most fun you’ve had in months, go read Cintra Wilson’s “A Massive Swelling: Celebrity Reexamined as a Grotesque Crippling Disease and Other Cultural Revelations”. It will change your life and change your pants. You will later buy copies for friends, I predict.
TWO!
You should really go talk to Patton Oswalt about the kinds and conditions and grooves and grinds of acting and writing, and how to sneak your brain sideways into and out of them– while getting paid, or not; liking it or not; doing a great job but nobody cares, or half-assing it and everybody loves it. Same as acting. Or how to have fun getting fired– that is an under-appreciated art form, and he has stories.
He’s the world’s expert on having many and varied and unlikely-sounding jobs all over the biz. And– extremely important– he also knows where all the good restaurants are. Everywhere. And ask him about the screenplay for “Death Bed”, as a testament to the craft of writing.
THREE!
Go read Brian Eno’s /Year With Swollen Appendices/, AND get a pack (virtual or real) of his Oblique Strategies cards. They’re like cryptic Chinese fortune cookies from the future. Pull a few from the deck and you’ve got a solution (or dare) to any creative problem. Acting, writing,… hanging drywall,… whatever.
Pulling three random cards from the Oblique Strategies deck turned my last real writing job, for O’Reilly, from being an ~unthinkably~ dull overview of the RTF document format, to something that I started out with layout examples filled in with borderline insane/obscene content, and then worked backwards to the code to produce that layout. And then the actual over-arching formalities of it all were just exposition, written last and tacked onto the beginning. And the book contains diagrams on how to make an origami CD case. Nuff said.
FOUR!
I think that that /Outer Limits/ you did was in the top three of the whole series. Memory is hazy, but I still remember it as one of the biggest and best twist endings ever. And I remember you managing “I look crappier and crappier because of this radiation sickness”, which is not in the usual actorly palette.
FINAL!
IMDB says you were born at almost exactly the same time and place as me, back in LA in 1972. Stop weirding me out like that. Oh, speaking of IMDB: In that photo at
http://us.imdb.com/media/rm3331166976/tt0485185
you’re looking pretty hot, Mistah Smithee. Moreover, seeing that photo, I think that with different makeup and lighting, you could pass for the brother/replicant of Alessandro Juliani (“Lt. Gaeta”, from one of those spaceshippy shows, I dunno).
And I don’t remember thinking any of these things when I almost literally tripped and fell on you at OSCon a few years back. Actually all I was thinking was “hey that’s Randal and also Wwiwh OW MY FEET WITH CABLES ON THE FLOOR”.
Maybe I wasn’t clear either. I just feel that you have talent and maybe should go try for a staff job.
You never know till you give it a shot dude.
If you try, and fail, so be it. At least you won’t regret not trying. If you go and succeed, I’m sure the rewards will be worth it.
You go man, you go!
Be good,
Mark.
Interesting. Your dilemma with trying to write when your other job beckons sounds very very familiar. Well put.