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No doubt, the internet and technology vastly improved the tedious labor of writing scripts and making revisions. But Rob Long believes something was lost in the disappearance of an actual paper trail: Archaeological artifacts that reveal the process of jokes moving, characters losing lines, and test audiences wanting (and getting) a happy ending. And it turns out, like his friend, you didn’t even need to read Save the Cat! to learn how to write TV. All you needed was to roll up your sleeves and sift through the studio garbage. 
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Remember the Burger King Kids Club, the chain’s ad campaign targeted to “the kids?” There was Kid Vid, the white, video game-playing leader; Jaws, the Black kid who loved to eat; and a boy in a wheelchair named (seriously) Wheels. The idea, Rob Long speculates, must have been devised at one of those offsite retreats, the kind TV execs love to do in Laguna. But hits rarely are born from suits tossing around banal concepts. Instead they begin with a writers’ novel idea, the equivalent of a delicious-looking hamburger.
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Legendary fashion designer Karl Lagerfeld once complained about the way a room was decorated: “It was a lot of Louis Quinze mixed with Louis Seize,” he said. And then added: “Ugh!” The entertainment business runs on this sort of Lagerfeldian Ugh, a sort of lingua franca of Hollywood. But what if we tried, just for a while, to not slag others as conversational filler? Rob Long says then, very likely, you could expect a whole lot of deafening silence. 
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Howard the Duck might not have won Best Picture, but if you’re a sandwich shop worker, or a young Rob Long at lunch with high-up producers, it’s probably best not to espouse how big a flop you thought it was. See, failure in Hollywood is a relative term. Movies fail, pilots fail, but after a failure of your own, it’s tough to see anything that makes it to the screen as defeat — especially if it came with a check. After all, getting paid in show business is getting paid to try. The later checks — the bigger ones — are about getting paid to succeed.
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When Orson Welles found an investor for a cheap little noir thriller, legend has it he devised a scheme. His opening sequence took up almost 10 pages of script, with descriptions and action all spread out. Except when he actually filmed it, he used only a high-tension, 12-minute “virtuoso” single tracking shot that became signature to Touch of Evil — but also fooled execs into thinking he’d be under budget and on time every day. As genius as Welles’ move was, Rob Long says he was also a practitioner of Haraka Baraka. And you should be too.
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Sixty percent of Americans say they read the Bible regularly. But in Hollywood, where Jesus and religion can feel — how do you say it — downmarket, people rely instead on the series bible, where writers flesh out their TV series’ characters, situations and possible future episodes. But Rob Long suggests Hollywood, much like he has, take a fresh look at the Bible — the one with a capital B, no IP rights, and packed with tragedy, sex and human weakness fit for a limited series.
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