How many characters are in a typical episode? How many locations are used in each?
Analyze the structure. Who wants what? Time exactly where each plot pointcomes in. Is
there a lesson, and how is it handled? Be sure you are thoroughly familiar with the main
characters and their attitudes! The more you know about the show, the better chance you
have of getting a shot at writing an episode. If this episode is new, write down the names of
the story editor and the producers. That information might come in handy when you’re trying
to find a current story editor.
Meeting with the Story Editor
So the story editor likes your sample script, and you’ve set up a face-to-face meeting or a
meeting by phone or e-mail. Come prepared with several imaginative, twenty-five-word-or-
less ideas for episodes,springboardsthat you can pitch verbally if asked. These ideas can
start from anything: the characters themselves, a theme, a situation, a place, or a visual image
of some kind. What appeals to you? What ideas do you have that are fresh and original?
Just remember that you’re pitching a story, so ideally the ideas should have a beginning, a
middle, and an end.
Listen carefully to everything the story editor tells you, and make notes. Request a bible
of the show, a script, and a copy of several other premises that you can use as samples. The
writer’s bible contains information about the show and the show’s characters. Ask questions.
Does this show have an A-plot and a B-plot? Short cartoons do not; longer cartoons often
do. Does the show have a joke ratio per page? Can you include any new characters? What
are the demographics or target ages of this show? Is the target specific, or are the execu-
tives hoping for a wide range of viewers? What length does the story editor want your prem-
ises to be? The usual length is about one page, but each story editor has his own preference.
How many premises does the editor want you to write before submitting the batch...three,
four? When do you need to submit your first premises? Animation writing deadlines are
usually very short, and you’ll want to submit your ideas quickly. As a new writer, you would
be lucky to have one idea selected, and you may have to submit premises many times before
any are accepted.
Planning the Premise
Now you’re sitting at home, staring at a blank page. Find a different way of looking at things.
Come up with something new or a different twist on an old idea. Don’t limit your imagina-
tion. Think broader, wilder! For a comedy be sure the main situation is funny. Go for the
color; situations are a dime a dozen. The basic idea must be visual. Animators must have
something to animate. You’re writing for the story editor and any executives that have to
approve your idea. Also, remember that networks have censors. Can your audience identify
with these characters in this story? In a kids’ show, the writing should be kid-relatable; it
should talk both to and with the kids.
The story should be so simple in concept that it could be told in a few sentences. Be
sure you’re telling only one complete story, one single main incident going directly from A
to B to C—nothing extraneous. One problem! One solution! Know the beginning, middle,
118 Animation Writing and Development