African Cinema: Postcolonial and Feminist Readings by Kenneth W. Harrow

By Kenneth W. Harrow

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Each room has its own personality, so it’s important to figure out the hierarchy and what works. I always try to figure out what the show runner responds to, in terms of story, character, and jokes. ” — Manny Basanese, writer/producer, The Steve Harvey Show and The Wayans Brothers. Situational Comedies 31 On a typical writing staff, some of the positions are filled by single writers, some by writing teams. The number of staff writers and their positions is determined by the show’s budget and the writer/producer’s previous experience.

It was Marc Warren, one of the show’s executive producers. He was calling to tell me that they had decided against doing my script. Apparently, Jeff Franklin, the show’s creator and executive producer had read my script and gotten cold feet. Franklin felt that a storyline that dealt with changing bodies was far too sophisticated for the Full House family audience. I was crushed. In retrospect, Franklin was 100% right. I had made a huge mistake. I hadn’t completely done my homework. While I had studied the characters and knew all of the sets on Full House, I failed to study the show itself.

It’s completely predictable, as I know how the story ends before it even begins. The family is not going to move. Why? Because as a freelance writer, you know better than to write a spec script that would, in reality, mean the show had to pony up the money for brand new sets. And if your story ends with the family actually moving when producers read your spec, it won’t make a lot of sense because they will know that the family hasn’t moved. They are still in the same old house with the same old sets.

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