12.19.00 Spotlight: Writing at Warp Speed

Exclusive to STARTREK.COM by Marta Ze
(originally on http://www.startrek.com/news/news.asp?ID=113475)

My recent six-week Writers Guild of America (WGA) Writers Training Program at Star Trek: Voyager gave me the experience to answer an important question: How does an episode on Star Trek go from concept to broadcast in about ten weeks? That's Warp Speed when you consider that a feature film takes at least two years from script to screen.

One year after applying for the WGA program, I got a call from the Star Trek offices. From the hundreds of entries received, I was one of four picked to intern for the last season. Was I still interested?

Was I ever! There was also an unexpected bonus — a salary. I'd receive a hands-on education from professional working writers, and money? It was what I've dreamed and worked for since moving to Los Angeles six years ago.

Soon, I occupied my very own office. The large black file cabinets held a treasure-trove: years of Voyager and Star Trek: Deep Space Nine scripts to study during my spare time. The computer was an oldie, with no Internet or CD-ROM, but good enough for what was needed. My duties included transcribing beat sheets, notes from optical/production meetings and pitch sessions.

Sitting in on a "pitch" was invaluable. Staff writers could zero-in on any problems inherent to a story within minutes. On one occasion a freelance writer pitched an idea that sounded fascinating. The staff writer pointed out the problems, explaining why the story would not work. And you know what? After some reflection, I realized he'd nailed it.

On Star Trek, the writers have to work within a tight thematic and character range. Logic is critical on a show with fans who remember episodes and characters from five seasons ago. Nothing is allowed to slide. It takes discipline and perseverance to keep the quality high and the characters true to their established history. The Starfleet crew has specific parameters of behavior. Captain Janeway, for instance, cannot have a different personality in Season Six than in Season Two. A tired reworking of an earlier plot just won't fly with the viewers. And you won't have the luxury of massive explosions every five minutes to disguise the fact that nothing's being said.

Ever since humans huddled in a cave around a fire, storytellers have woven tales to explain the "Why" of the universe. The core of a captivating story is a dilemma with strong conflict and character interaction. Reading several seasons' worth of scripts reconfirmed my belief that the power of Star Trek isn't in explosions and special effects but in science fiction fables about the Human Condition. These fun stories of conflict between Us vs. Aliens generally concluded in understanding and communication instead of war and destruction — other than with the Borg, of course. On a side note, the Borg Queen has my vote for the most enduring and unrepentant villain in any story!

More than anything else, my six weeks at Star Trek: Voyager taught me how to structure a script. Vivid dialogue, three-dimensional characters and an interesting plot are essential, but the spine holds it all together. This is not only valid in Film/TV scripts but also in "The Great American Novel."

Beyond compelling storytelling, an episodic writing team creates the blueprint for the production of a one-hour weekly series. It all starts with an idea which the writer develops into a concept in about a week. It is then pitched to Ken Biller, the executive producer. If Ken likes it, the writer expands it into a 7-10-page document (the entire story in broad strokes) which is given to Ken for adjustments. He in turn passes it to Rick Berman, the show's co-creator and executive producer.

When Rick approves it, the staff writers get together to break the script. During this 3-5 day process, Ken and the writing team create a "beat sheet." This is a meticulous beat-by-beat description of the action and general dialogue in each scene that defines the story's plot points. The purpose is to secure the spine of the story so that any logic "holes" will be revealed.

The writer makes more adjustments then turns in the first draft two weeks later. Ken and Rick give the writer additional notes. He or she then again adjusts the script.

All this leads to a production meeting with the heads of all departments, where schedule and budget are calculated. There are tight guidelines on how many additional sets and/or actors are needed. Forget about a futuristic metropolis with multiple complex settings. Other than in the season's cliffhanger, the writers make do with the permanent Voyager sets and a limited number of additional sets.

An "optical" is a meeting with the special effects people. This is where concept really slams into reality. There's no budget for an armada of 300 warships with 5,000 Romulans who morph into spiders, then destroy a galaxy. Why? Because that 30-second bit might exceed the budget for the entire season!

After the budget is reined in, the writer takes another week to fine-tune the script into what is euphemistically called a "Final Draft." Follow-up production and optical meetings are scheduled to iron-out the final details. The next week, a seven or eight-day shoot begins, with the writer constantly making adjustments even during the filming.

The entire process from concept to wrap is approximately six to eight weeks. After that, the episode is edited into a rough cut without FX (special effects). Once that's approved, all the magical bells and whistles are inserted.

Voilà! We have a show! Now, wasn't that easy?