How novelist Megan Abbott learned to write for TV. (It involves the Michael Clayton screenplay.)
, which she later adapted for television. They spoke about Abbott’s writing process, how screenplays demand different skills than novels, the process of “breaking beats” in TV scripts, and how she learned to be a TV showrunner. This partial transcript of their conversation has been edited and condensed for clarity.I have what I call my household saints, a shelf of totems and various good luck things, above my computer. They help center me.
So how did you get from the first, basic idea to “this is going to be first-person present tense.” How did you work those point-of-view choices out? A TV script is entirely different from prose writing. It has a specific formatting, your tool set is limited to dialogue and descriptions of what the viewer sees. How did you learn how to write for that medium?
In a book, you have five pages to conjure the atmosphere in a nightclub. If you just put “Setting: Interior, nightclub,” it’s not going to conjure that for anybody. How in one sentence will you talk about the low lights, and the red vinyl booths, and the few details you can put in to conjure that? He has all kinds of tricks. Pilots are about selling the world of the show.
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