This is part 2 of my interview with Evan (no need to read them in order – but you should read them both, they’re great!).

In part 1, we covered how social media is changing TV, and what you can do to take advantage of it.

In this interview, part 2, we switch gears to focus on the young people he teaches:

How do they learn their craft outside the industry before they dive in?

What marks out the most successful ones?

And what can young people trying to break into media do to maximise their chances?

Evan is an Assistant Professor of Communication at Reinhardt University in Waleska, Georgia.

He has supervised hundreds of students on courses like Television Programming and Media Management, and overseen >200 scripts, and presented his work at top-flight academic conferences in the USA.

And he must be the envy of all his academic buddies at conferences because of his Twitter handle: @TVPHD.

Alright, let’s get stuck in. Read on and enjoy!

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4. You recently tweeted a picture of a guy wearing a shark belly costume in a screenwriting class :) How do you go about teaching screenwriting at university level?

Ha, that was a picture of a student pitching his show to his classmates. That is one of the last activities my students complete each semester. After finishing first drafts of their scripts, they pretend to pitch their work to TV or film executives. It’s a fun activity where they learn just how hard it is to explain their concepts in a brief, interesting, and persuasive manner. That’s the final step. Let me go back to the beginning and show you how I organize a typical class.

Over the course of a semester (about 16 weeks), students learn the basics of storytelling and industry writing conventions. They complete several small assignments (3-5 page reports and papers) and a 30-page script for an original concept TV show, web series or short film.

The first thing I teach is structure. Students learn about the basic 3-act structure and key story points like the catalyst, turning points, setbacks, and obstacles. I like the use the film Thelma and Louise to illustrate these points and give everyone a common point of reference for class discussions. I end this section of the course with an assignment where students choose a film and break down the structure in a written report.

Next, I teach a module on characters where students learn about creating multi-dimensional characters. They learn to ask questions like “who is this person?” and “what purpose do they serve?” This section is concluded with a written report analyzing characters from a TV show of their choice.

The third major section of the course deals with dialogue. Students explore the sounds of their characters and the issues involved in giving their characters authentic voices.

I deliver the material for these sections through lectures, viewings and activities based on a mix of content developed by individuals like Syd Field, Linda Seger, and Blake Synder. I should also note that I am a big proponent of creating outlines and I don’t allow students to start writing their scripts until they have delivered a complete treatment. We work on these during class workshops and small group sessions. Creating a treatment is something students don’t usually appreciate until they have gone through the process. But, they quickly realize how taking the time to plan before writing results in a better script than if I just let them start scripting without thinking through all of the issues we review in the first half of the class.

Next, the students write their scripts. I have several deliverables so the writing process takes place over several weeks (this way students can’t procrastinate). I also believe an important part of writing is re-writing, so this leaves time for students to edit and revise their work over the final weeks of the semester. This is also a time when they share their work with the class and learn to give and receive feedback.

I always finish each course with a reflection activity. Students take time to reflect on the work they completed and the process that I led them through. They think about what they learned, what worked and didn’t work well, and what they might do differently next time. This is an important component to the class. There is not a single way to write and writers need to create a process that works for them. My hope is to present a highly structured process that students will then adjust to meet their individual needs. Some students like the structure and stick with it. Others realize their creative process requires more freedom. Either approach is fine, as long as they learn what works for them.

Finally, I like to invite industry professionals into the classroom (usually via Skype) to speak with my students. These are people who have been through the experiences these students want to emulate and they can provide a valuable first-hand perspective. This past year, I hosted several professionals including writing staff from shows including TBS’s Sullivan and Son, CW’s The 100, Netflix’s BoJack Horseman, CBS’s The Good Wife and the FOX shows Bones and Backstrom. I’ve been very fortunate to find individuals who are generous enough to share their time and expertise.

5. What distinguishes the students who really shine on your course?

The majority of my students have previously written some type of script. It’s good that they have this experience, but it can also create a problem. The problem is that they think they are experts and know everything about writing scripts. They are overconfident about their skills and their perceived knowledge. These are the students that are more challenging to reach. But, once they open their minds to new knowledge, ideas, and approaches, they realize how much more there is to learn. These are the students who tend to excel, the ones who drop their egos and open themselves up to testing new ideas. I also find these students will have more “ah-ha” moments. For example, students might include a catalyst in the beginning of their stories but they may not realize what they are doing is using a common storytelling technique. After we discuss the use of catalysts, review examples and they test some ideas, they look at films differently and have a greater awareness of their own writing.

Let me give you an example of a time when having an open mind really paid off for a student. This student was writing a beautiful story about a mentally ill man. The protagonist goes through an internal transformation that is told through his relationship with a friend. During a workshop session, I suggested the friend should not exist, but be a figment of the protagonist’s imagination. I suggested this would be consistent with the characters mental illness and would result in that character’s change coming from within him, resulting in a more heartwarming story. The class snickered at the idea of an imaginary person, but the student approached me after class to explore the idea further. We talked it through and she decided to incorporate the idea into her script. When final scripts were due at the end of the semester, the student told me there was a surprise change in her climax that she had not discussed with me. I was intrigued. It turned out she took my idea, added another twist, and made the story and the character’s transformation much stronger. I was thrilled. The script turned out great.

This student shone because she was open-minded, willing to test new approaches, and she put in the necessary effort. She didn’t just sit down to write, but spent time thinking through each piece of her story, every character trait, every moment in the story and how all of these things were interconnected.

After the conclusion of the semester, she submitted the script to a national student competition and her work received ‘Honorable Mention’ in the feature film category.

6. If I’m a young person starting out in TV – what are the skills most needed by TV shows and channels right now?

I don’t think I could rattle off a specific list of skills because there are so many different jobs in the industry and each requires a different set of skills. Many of my students are finding jobs in local news, production, programming, writing and a variety of other areas. I think most of the skills needed for their entry-level jobs can be learned through their classes and internships. For this reason, when I give students career advice, I take a more holistic approach. Some of the key points I try to convey are:

They should try and identify a specific job they interested in. It’s not good enough to say you want to work in television. What exactly do you want to do? Be a news anchor? Writer? Producer? Director? They should learn everything they can about the job and make sure it suits their personal needs (work schedule, salary, job locations, competition, upward mobility, etc…) I tell them to ask questions and schedule ‘informational meetings’ with professionals who have the job they want. Students are often surprised that most people are willing to donate their time to provide information and advice. Giving back is rewarding for people. I recently read a great quote from actor Kevin Spacey. He said, “If you’re lucky enough to do well, it’s your responsibility to send the elevator back down.” Fortunately, there are many people willing to send the elevator back down for today’s students. They should determine a path to achieving their dream job and set out on that path. If they want to be a News Anchor, then they should work for the campus news station. Want to be a Photojournalist? Learn to take pictures, build a portfolio, and travel. This is where the acquisition of skills comes in. They should be willing to follow their dreams and not be in a rush. Success does not come overnight. It is the result of having a plan and working hard for many years to achieve their goals. I stress that they need to be willing to make sacrifices while they are young. They need to do their jobs well, be willing to learn and socialize. They don’t need to drive the most expensive car, live in the biggest house or have all of the latest gadgets. That will come later. Finally, I tell them to build relationships. While earning A’s and B’s in college is important, it is equally important to meet people and make friends. The entertainment industry is very much about who you know and being able to create small talk and maintain friendly relationships with people can payoff immensely.

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That’s it! Another in-depth, super valuable interview. Thanks Evan :)

Evan can be reached on Twitter @TVPhD or through LinkedIn, and you can find more of his work on academia.edu.

Hrazhesht!

~ Todd

P.S. I’m dedicated to bringing you the best tips, hacks, and insider info on how to make it in media.

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