Posted by Polly Washburn
on Sunday, July 13, 2008.
Categories: Writing, Television
I was in the U.S. for the Fourth of July last week, and during a commercial break for the popular Boston Pops fireworks, I jumped up and forced everyone to look at the screen. “That’s Flashpoint!” I yelled. “It’s Canadian! I know people who work on it!” A full minute promo proceeded to run. The push is on!
When I got back to Toronto, I asked my friends Adam Barken and John Callaghan to share their experience on Flashpoint. Adam is the story editor and writer, and John is the story coordinator, so their roles and experiences have been different, but if you’re interested in writing for television, or just curious about what happens in a writing room, they’re like snipers for words, man.
First of all, what do you do in general, and day-to-day?
ADAM: As story editor, my job is to help break and edit other writer's episodes, and if need be rewrite scripts other than my own. As a Writer, I'm responsible for writing two episodes myself.
Sometimes I'm doing more story editing - reading other writers' outlines or scripts, giving notes, helping come up with new story ideas, or working on ideas to pitch them to the producers. If I'm in writing mode, I'm working on one of my own scripts, sending it out, waiting for feedback from the team or producers. If I'm in production on one of my scripts, I'm addressing all the notes from the director the various departments (art, locations, etc) to help make it more shootable.
JOHN: All the scripts filter through me. When a new revision of a script is completed, I proofread it and fix the formatting. I'm the keeper of all things script-related. They're all stored on my laptop - every beat sheet, outline, draft and revision. So I'm also the liaison between the writing department and the rest of the crew and producers. For example, when the art department needs text for some kind of high-tech computer display for our heroes, I write it for them.
When we aren't breaking story, I usually start the day with
some research - reading online newspapers, looking for
stories that relate to our show. After that, I take care of various
requests from other departments, such as text for something the art
department is putting together, or supplying schedule updates for the
producers and networks. I distribute each script revision to the networks (CTV and CBS). I field questions from the network people and supply them with documentation that they might need: script delivery schedules, shooting schedules, synopsis paragraphs and one-liners, etc. I interact with series consultants, take care of clearances, distribute
writer contracts and keep track of the status of all scripts, so that
that the writers get paid on time.
I'm lucky enough to work in a writing department led by a generous head writer and producers, who consider me to be a junior writer on staff. I sit in on all story breaking sessions, re-write the occasional scene and will be co-writing an upcoming episode. I'll also be writing all of the Flashpoint webisodes in the near future. I've heard horror stories in the past about producers who love to yell at the story coordinator and who shut them out of the creative process. It's been the opposite on Flashpoint. They have gone out of their way to include me in the creative process and to create a comfortable work environment.
How did you get your jobs?
ADAM: Through a series of connections, through my agent, and through my spec work. I was in the Prime Time TV Program at the Canadian Film Centre in 2006/2007, where I worked with Barbara Samuels. After the program, Barbara and I co-wrote a project co-produced by Barbara and Anne Marie La Traverse. Anne Marie liked my work on that, asked to see my writing samples. While in the CFC, I wrote a spec pilot for an original series that I optioned, which impressed Anne Marie and Bill Mustos (the other exec producer on Flashpoint). My agent put me forward for several series, one of which was Flashpoint. When offers came in, he managed them and worked out the best deal for me.
JOHN: I share the same agent as our head writer/co-exec producer, Tassie Cameron. Our mutual agent spoke to her on my behalf, then Tassie read my writing sample, interviewed me and it worked out from there.
What is the writing room like?
ADAM: I love it. It takes a certain kind of writer to work well in a room. You need a balance of independence and team-playing. You need to be able to problem solve on your own, but also take the best of what your team has to offer in terms of story ideas and solutions. You have to put your heart on the line and fearlessly pitch your worst ideas constantly, be tough enough to take the criticism, and be sensitive enough to hear and respond to other writers in ways that are both helpful and supportive. You have to help make the room a safe place for everybody to open up and share some pretty intimate moments.
You need a sense of humour - making people laugh, especially in the midst of trying to break story that isn't working, is key. You need to be able to take what you hear in the room, go away and work on it alone, then come back and present it to the team. So, you absolutely need to play well with others yet also be self-motivated, thick-skinned yet sensitive. It's not for every writer, but I love the balance.
JOHN: The room is very collaborative, very experienced, very supportive.
Have you had a chance to visit the set?
ADAM: For both my episodes, I tried to be on set as much as I could. It's not the most exciting place to be, if you're not actively doing something. Lots of burly guys and serious gals busting their ass to get the day done, and I always feel like I'm ever so slightly in the way, no matter where I stand. Most of the time a producer is there to help the director maintain the writing team's vision, which is key. But it's helpful (and the actors seem to really appreciate it) when the writer's there to answer specific question, do quick little rewrite tweaks, or more substantial changes when a scene isn't working.
JOHN: I have been on set fairly regularly. It's an interesting experience for writer, as you often feel like you're in the way. But the proficiency of the crew and the size of the whole undertaking is impressive.
Have you seen any episodes? How are the actors handling the material?
ADAM: I have, and it's looking very promising. But my judgment is completely suspect. I'm far too close to it. The actors are amazing. You can throw pretty much anything at them, and they can make it sound real. I feel really lucky to be writing for them.
JOHN: I've seen several of the episodes so far. Enrico Colantoni and Hugh Dillon are outstanding, just as you would expect. But David Paetkau and Sergio Di Zio have also stepped up to the plate and cranked some home runs. I have been thoroughly impressed.
What's your favourite thing about working on the show?
ADAM: Being in the writing room is literally getting paid to hang around and play, making stuff up with friends and then working together to make it better and better.
JOHN: The chance to work with such a kick-ass writing team. Seriously, it sounds like sucking up, but as someone who is still breaking into the business, it’s been an amazing learning experience.
What's the hardest thing about working on the show?
ADAM: Third acts. They always suck. You're bored of the story, you're desperate to find those raised stakes, the end of the tunnel's still far away but you don't have the energy and promise of the beginning to keep you going. Third acts suck.
JOHN: The hours are pretty long, which isn't always easy with a newborn baby at home. Scripts usually tend to arrive in my inbox later in the day. Mid afternoon, late afternoon. Sometimes after dinner. Story coordinators work notoriously late hours, because their job is only just starting once the writer has finished theirs. So once I receive a new draft, I get to work, proofreading, fixing the formatting, then distributing. On a good day, I’m done by 6 p.m. On average, it's usually 7:30 p.m. Sometimes it's 10 p.m. You never know.
How has the fact that the show that will be simulcast in the U.S. affected you?
ADAM: It's really exciting to know we're going to be on such a huge stage. It's also terrifying. My main goal, at this stage, is to not utterly embarrass myself or the team. As for the writing, it's great to work for networks who are very clear and knowing about what they want. It's been about learning how to find the most dramatic and exciting ways to fulfill the format. We're an interesting hybrid of action and emotional drama, and it's been a balancing act to find the right amount of both. Thankfully, we get really great feedback that helps us push on at each stage.
JOHN: The only way that it has directly affected me is an extra email each day for distribution. As far as affecting the writing, it has meant an extra set of notes on each script, but it has worked out well, with each network giving their input.
Are you excited about all the promotion that CTV and CBS are giving the show?
ADAM: Hell yes. It's crazy, the amount of promos in Toronto at least. I honestly can't think of another Canadian show that got this kind of push from its network. Weird to say, but I'm so used to seeing all the ads be for their American purchases. It's been almost jarring to see all the billboards and bus ads advertising OUR show. I really hope it's a sign of things to come, and that other networks follow CTV's lead here. It works - I live out in the suburbs, where most people have no idea what's on if it isn't advertised extensively. And when I mention the show, just about everybody says "Oh yeah, I saw a thing about that." In Canadian TV, that just isn't common.
JOHN: Very. Both networks have done a terrific job. You can't seem to escape the show while you drive around Toronto.
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Views expressed here are the views of the author and do not necessarily reflect the views of the National Screen Institute - Canada (NSI).
The views expressed here are the views of the author and do not necessarily reflect the views of the National Screen Institute - Canada (NSI).