What does a writers' room schedule look like a couple of days ago, I posted how it usually takes five weeks to turn a kernel of an idea into a shooting script. And then some of you were like, but that doesn't make sense. That would take 50 weeks to do 10 episodes of television. You couldn't possibly have that kind of time. Right? So we don't do, uh, episodes of one after the other. We, we do this in parallel. So things are always happening, uh, all at once. So to make that work, we have a comp kind of a schedule that showrunners rely on. And if you would go into almost any writer's room in Hollywood, you'd see something like this.
So this is a sample schedule that I mocked up and you can see here, we start with, uh, episodes. So there's episode one and the first step is that's broken, right? So that means the idea has already been broken and we assigned a writer to it. And this case is the episodes called Mr. And Mrs. I just made this up, right. It made an up 10 minutes ago and writer B is going to write that. And then the next step is called the book report phase. That's something that actually my partner and I do, and I'm going to devote a whole video, just explaining this whole book report process, because I think it's super important. So if you want to learn more about that, be sure to subscribe and follow me because that's a really important video. So after a rider turns in their book report, you can see writers F and E are working on their scripts. And then, uh, you know, then outline some the next app and writer we're turning the outline. So we turn the, we go from the bookstore, we take up there and put it in the outline column. And that's writer sees doing that in the first draft. We got some guy down here is working on that. And some woman over here, she's working on this script and that's at the table draft, which is, you know, when all the writers kind of rewrite at the script and then we finally move it to the shot column.Subscribe for bi-weekly screenwriting tips:
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