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	<title>Comments on: Pilot Structure Trends</title>
	<link>http://www.jillgolick.com/2007/08/pilot-structure-trends/</link>
	<description>Thoughts on television writing for screenwriters</description>
	<pubDate>Sun, 20 Jul 2008 17:45:00 +0000</pubDate>
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		<title>By: Isaac Ho</title>
		<link>http://www.jillgolick.com/2007/08/pilot-structure-trends/#comment-46</link>
		<author>Isaac Ho</author>
		<pubDate>Thu, 09 Aug 2007 16:20:00 +0000</pubDate>
		<guid>http://www.jillgolick.com/2007/08/pilot-structure-trends/#comment-46</guid>
		<description>"Go For Character"&lt;br/&gt;&lt;br/&gt;I've found this to be true.  For example, a typical "House" is mostly about the medical mystery (roughly 2/3):  what is the disease doing and how do we cure it?&lt;br/&gt;&lt;br/&gt;The other third is spent on character exploration and ethical and thematic issues.&lt;br/&gt;&lt;br/&gt;However, in the pilot, the proportions are reversed.  Although the medical mystery drives the story, much more time is spent on revealing character and their point of view.&lt;br/&gt;&lt;br/&gt;I suppose you could generalize by saying that the pilot is a tool to sell the characters more than the story.</description>
		<content:encoded><![CDATA[<p>&#8220;Go For Character&#8221;</p>
<p>I&#8217;ve found this to be true.  For example, a typical &#8220;House&#8221; is mostly about the medical mystery (roughly 2/3):  what is the disease doing and how do we cure it?</p>
<p>The other third is spent on character exploration and ethical and thematic issues.</p>
<p>However, in the pilot, the proportions are reversed.  Although the medical mystery drives the story, much more time is spent on revealing character and their point of view.</p>
<p>I suppose you could generalize by saying that the pilot is a tool to sell the characters more than the story.</p>
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