Pre- Preproduction Time

Now is the time when I am looking at what’s next for the show. Coming up with ideas for stories. Looking for funding, locations, and such.

On the Facebook page I mentioned doing a musical episode, and got a petty enthusiastic response. I don’t think we have the resources or time to do an entire musical… but maybe one scene?

I’m also planning on taking the cast to do some local ministry. We’d film the ministry as it happens, and then have some scenes around that. That would be a good way to highlight a ministry that is doing some real world good.

Got ideas, suggestions, questions? Shoot me a message. scott@peculiarshow.com

Traditional Christian Storytelling vs Real Life vs Good Storytelling

I’m caught in between Traditional Christian Storytelling (TCS) and where I want to be.

TCS wraps everything up in a bow by the end of the show/movie. TCS must have a conversion moment in every movie. TCS reduces heroes flaws. TCS appeals to Christians. TCS sermonizes. TCS makes people of faith feel good. TCS is always black and white.

I want to tell real stories that resonate with all kinds of people. To produce shows that won’t have everything tied up by the end of every episode. Where the heroes are real. I want to tell stories that depict choices not as black and white, but as right and wrong.

I wish I could say with certainty that the pilot does that, but more likely it’s somewhere in the middle. I really struggled with one scene. I needed a clear moment when the main character identified himself as a believer. But how do you do that without being preachy or cheesy? There is a vast difference between what someone would say in real life and what people watching a show think people would say in real life.

In real life people get preachy sometimes. And definitely they get cheesy. And wordy. But that doesn’t play well on TV. Robert McKee, author of “Story: Substance, Structure, Style and the Principles of Screenwriting” says,

“Eavesdrop on any coffee shop conversation and you’ll realize in a heartbeat you’d never put that slush onscreen. Real conversation is full of awkward pauses, poor word choices and phrasing, non sequiturs, pointless repetitions; it seldom makes a point or achieves closure.”

He explains the difference between that and onscreen dialogue is that the scripted dialogue is compressed and has direction.

So the catch for a screenwriter is to make the words feel normal but in fact be quite a bit different from a real conversation. They have to move the story along. A lot of Christian screen writers never master that skill. I can tell you, I am still working on it.

Thank You!

I know the pilot isn’t done yet, but I wanted to take some time to thank the people who helped get me this far. No money. No food. Long hours. They all worked together to help me with the vision God has given me. I will never forget them. I don’t think I can convey my gratitude enough.

George Livings who encouraged me, and helped me with the script. Torry Martin, who took time to help me make a better story. Jaye Gragg and Dawn West who were great with advice and helped behind the scenes (or as extras if necessary.)

The crew: Stephen Brandt was at every shoot, and willing to do what ever was needed behind or in front of the camera. Jeff Atkisson was also at every shoot, bringing his own gear to make the shots better. And Bobby Falconnier who helped with one of the bigger shoots.

The cast, each of which gave up long hours and delivered great performances. Josh Kessler, Kaleia Giancini, Steve Bleiler, Melanie Turner, Becky Abu Rahmeh, Joel Coffey, Tony Dietterick, Joan Peterson and Gordon Hooper. And my son, Jeff Link.

Background actors who helped make the scenes more real. Lamar Washington, Susan Lawson, Xiomara Seliga, Danielle Manna, Sharon Coffey, and Mario Giancini.

When I stop to think about what has already been accomplished with these guys,I am overwhelmed.

Thank you.