When do non-reporters break stories?
November 2, 2007 6:20 PM Subscribe
What is "story breaking"?
I've read several references to "story-breaking" and "breaking stories" in the context of the WGA strike. Apparently it's something you're not supposed to do when you're on strike.
I understand the news-media use of "breaking a story" but this seems to be something different.
What does it mean?
I've read several references to "story-breaking" and "breaking stories" in the context of the WGA strike. Apparently it's something you're not supposed to do when you're on strike.
I understand the news-media use of "breaking a story" but this seems to be something different.
What does it mean?
In this particular instance, refer to Pencils Down Means Pencils Down - the writers have agreed not to write anything, which includes any breaking stories, articles, comments, updates, news flashes, etc., about the strike, or anything else.
posted by iconomy at 6:37 PM on November 2, 2007
posted by iconomy at 6:37 PM on November 2, 2007
It comes from 'breaking down', as in 'lets break this down and see what we have to work with before we start the script'.
posted by pupdog at 6:48 PM on November 2, 2007
posted by pupdog at 6:48 PM on November 2, 2007
Response by poster: Thanks y'all!
Iconomy, thanks for the link! That's the poster that I saw in a newspaper photo earlier today, but it was sort of fuzzy in the background and I couldn't read most of what it said.
So not only can you not actually write a script, you can't even decide "Jim's going to get Pam knocked up and Dwight will raise the baby on the beet farm"... right?
posted by mccxxiii at 6:49 PM on November 2, 2007
Iconomy, thanks for the link! That's the poster that I saw in a newspaper photo earlier today, but it was sort of fuzzy in the background and I couldn't read most of what it said.
So not only can you not actually write a script, you can't even decide "Jim's going to get Pam knocked up and Dwight will raise the baby on the beet farm"... right?
posted by mccxxiii at 6:49 PM on November 2, 2007
You can decide that in your head, but not on paper ;) pupdog has the right definition of story breaking as it applies to the strike.
posted by iconomy at 6:53 PM on November 2, 2007
posted by iconomy at 6:53 PM on November 2, 2007
Best answer: Um.
'Breaking story' refers to how scripted dramas/comedies are worked out in a writers room. You'd start with a broad idea or even a rough outline, then flesh it out scene by scene in the room. e.g. For a typical network hourlong drama, the writers would list scenes on a large whiteboard, splitting them up into acts (four or five and a teaser, these days) and building each act toward the 'act out,' or final sting before the commercial break. For HBO dramas you wouldn't have commercials, etc.
The theory here is that singular voice is important when constructing dialogue and structuring an individual scene moment-to-moment, but macro-scale plotting is something that's onerous for many individuals but that groups of writers can do quite effectively.
How Jane Espenson describes the process (I wish I could find her 'how it's done on Firefly' document, damn it): writer pitches an idea to the showrunner, who asks that writer to flesh it out and pitch it to the room. The other writers would then flesh out the individual writer's pitch - literally calling out ideas - and work out a plot, identifying the key narrative/emotional beats, situating the story in the arc(s), etc. That writer gets a whiteboard full of story. He goes off and works up an outline. Gets notes. That document is pretty extensive - it's the story minus details. Works up a script from the outline. Revision and notes happen, etc.
It's a specific process that varies from show to show, which is not the same as 'here's a neat idea for an episode.'
posted by waxbanks at 8:27 PM on November 2, 2007 [3 favorites]
'Breaking story' refers to how scripted dramas/comedies are worked out in a writers room. You'd start with a broad idea or even a rough outline, then flesh it out scene by scene in the room. e.g. For a typical network hourlong drama, the writers would list scenes on a large whiteboard, splitting them up into acts (four or five and a teaser, these days) and building each act toward the 'act out,' or final sting before the commercial break. For HBO dramas you wouldn't have commercials, etc.
The theory here is that singular voice is important when constructing dialogue and structuring an individual scene moment-to-moment, but macro-scale plotting is something that's onerous for many individuals but that groups of writers can do quite effectively.
How Jane Espenson describes the process (I wish I could find her 'how it's done on Firefly' document, damn it): writer pitches an idea to the showrunner, who asks that writer to flesh it out and pitch it to the room. The other writers would then flesh out the individual writer's pitch - literally calling out ideas - and work out a plot, identifying the key narrative/emotional beats, situating the story in the arc(s), etc. That writer gets a whiteboard full of story. He goes off and works up an outline. Gets notes. That document is pretty extensive - it's the story minus details. Works up a script from the outline. Revision and notes happen, etc.
It's a specific process that varies from show to show, which is not the same as 'here's a neat idea for an episode.'
posted by waxbanks at 8:27 PM on November 2, 2007 [3 favorites]
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posted by thehmsbeagle at 6:25 PM on November 2, 2007