{"id":124873,"date":"2013-06-12T00:30:41","date_gmt":"2013-06-12T07:30:41","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=124873"},"modified":"2013-06-11T23:32:21","modified_gmt":"2013-06-12T06:32:21","slug":"television-screenwriters-canada-vs-la","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2013\/06\/12\/television-screenwriters-canada-vs-la\/","title":{"rendered":"For Television Screenwriters, Canada May Be The New LA"},"content":{"rendered":"

Directors have options. DPs have options. Composers have options. But for decades, aspiring writers \u2013 especially ones that want to break into television \u2013 have been told one thing, \u201cget your ass to LA.\u201d LA is the hub. LA is where all the work is, where all the rooms are. LA is the only place you can go to write for television and nowhere else. And for all those decades, that was very true, and in a way made sense. By making one city the central home for writers it made life easy on studios and showrunners when they were looking to staff. Instead of having everyone scattered on two different coasts, they just had to call a dude up and say \u201chey, we need a re-write, can you be here in an hour?\u201d Then television changed, and as the writing community grew, the job market shrank. But there\u2019s a new kid on the writers\u2019 block, and that new kid brought a bat with him and\u2019s ready to break some windows. That new kid\u2019s name? Canada.<\/p>\n

It\u2019s no secret a majority of US productions shoot north of the boarder, especially ones on a tighter budget. But since 2008\u2019s Flashpoint Canada\u2019s begun building a new model, one that doesn\u2019t rely on an influx of US talent to support their production market, a model of homegrown entertainment. And what have they done with all that homegrown entertainment? Why export it south of course.<\/p>\n

Rookie Blue, Combat Hospital, Bomb Girls, Motive, The L.A. Complex, Lost Girl, Continuum and the newly geek cred minted Orphan Black are all homegrown, Canadian programs. They were conceived by Canadian writers, sold to Canadian studios, set in Canadian cities and casted with Canadian actors. They are through and through, Canadian. Now, why should it matter? It should matter because a new market\u2019s just had the doors blown off its hinges. What was once a fringe occupied by only two financially successful exports (Flashpoint and Rookie Blue), is now exporting television shows faster than US networks can bid on them.<\/p>\n

It\u2019s because of this new business model Canada\u2019s become a major player in the US television game, arguably more so than the UK. Yes, we all love our Doctor Whos, Sherlocks, Downton Abbeys and Luthers, but they\u2019re pretty much relegated to airing on PBS or BBC America. However the Canadians took a more shotgun approach to their business model, selling shows to the likes of CBS, ABC, SyFy, Reelz, BBC America and The CW. In fact some of these networks have even gone into business with our northerly neighbors to help secure exclusivity to new, potentially hit shows long before they can be thrown to the dogs of a bidding war. This was the actually the case with Orphan Black, a show that\u2019s in a reality a co-production between Canada\u2019s Space and the U.S.\u2019s BBC America.<\/p>\n

So where does the writer benefit come into play? Well, more shows means more rooms, but more importantly, the expanded location means a greater need for talent with ideas that can fill air time, the whole big fish in a small pond thing. Right now LA is jam packed with tens of thousands of extremely talented television writers that are competing for what amounts to maybe a couple thousand writers jobs total, if that. With the Canadian market opening up what could (and hopefully will) likely happen is the stress of job creation will split evenly between the two countries, and since Canadian shows are exporting south, there\u2019s no longer a stigma of \u201cyou work on a show but it\u2019s Canadian so… you know…\u201d It\u2019s a whole new ball game these days and no longer is a single city holding all the cards.<\/p>\n

In fact this has been proven no greater than with the success of Orphan Black. Many US critics and working writers alike are talking Emmys. Just imagine that possibility for a moment, a Canadian show winning a major American award. Not in that \u201cbest mini-series\u201d BS, I\u2019m talking the real deal, \u201cbest lead actress in a drama.\u201d The fact that it\u2019s a Canadian series makes no difference to the viewer, it\u2019s simply good, arguably great television, and at the end of the day that\u2019s all that matters.<\/p>\n

The simple fact is if you\u2019re a writer wanting to break into television there\u2019s no reason why traveling west is a live or die play anymore. I\u2019m not saying it isn\u2019t still an option; merely that it\u2019s no longer the only one. You wanna write television? Maybe it\u2019s time to start looking up on the map rather than left.<\/p>\n

\"Orphan<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Directors have options. DPs have options. Composers have options. But for decades, aspiring writers \u2013 especially ones that want to break into television \u2013 have been told one thing, \u201cget your ass to LA.\u201d LA is the hub. LA is where all the work is, where all the rooms are. LA is the only place […]<\/p>\n","protected":false},"author":55,"featured_media":124877,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"jetpack_post_was_ever_published":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1,25],"tags":[4519,31458,390,31459],"class_list":["post-124873","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-release","category-television-news","tag-canada","tag-screenwriters","tag-television","tag-writing"],"apple_news_notices":[],"yoast_head":"\nFor Television Screenwriters, Canada May Be The New LA<\/title>\n<meta name=\"description\" content=\"Directors have options. 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