Occasionally, I open up my social media to questions from aspiring writers. This week we're tackling the questions you asked. Make sure you follow me @MichaelJaminWriter and look for the post asking for submissions.Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin (00:00):When I got hired on King of the Hill, I watched, I got hired on season five. So I watched all see all season four, or either read every episode or watched every episode of King of the Hill so that I could get the voices in my head of all the characters. They have a specific way of talking, and it helps to really, to imitate them on King of the Hill. When in when you're in the writer's room, you always imitated Hank or Bobby. You'd say it the way you, you know, you talk the way Bobby would talk and you know, dang it, you talk the way Hank would talk to get the rhythm so that you could you know, embody the character you're listening to. Screenwriters Need to Hear This with Michael Jamin. Hey everyone, welcome back to Screenwriters. Need to hear this. I'm Michael Jamin. I'm here with Phil Hudson. Hello, Phil.Phil Hudson (00:45):Hey, everybody. Good to be back.Michael Jamin (00:47):Phil is back, and today we're doing an Ask Me Anything, and I thought it, all the questions were gonna be personal and intimate, but instead they're all screenwriting, so, all right. That'll, that'll do.Phil Hudson (00:58):They're a couple general, you're good. We'll, we'll, we'll get into what kind of underwear you wear, which is one of the questions we get out.(01:05):Yeah, no, no, no one asked that, I promise. Okay. yeah, so what I've done today, so it's a little bit different format than what we've done in the past, is I broke the questions out into kind of three or four sections. So we'll get through everything we can. If it merits enough time to do and split this into part two, we'll do that. I think one thing for everybody is listening. Just make sure you're, you're subscribing to Michael or you follow him on Instagram, because whenever we post the blue screenwriters need to hear this tile. That's so, you know, that it's opportunity to get your questions asked. And we get a lot of repeat questions from people, which is great. But it is an opportunity for you to get your questions asked directly from Michael right. On the podcast. So make sure you're following him there and look out for that tile. Let's start it off with our, with our homeboy, Dave Crossman. He's been around the og. He's actually, and I think we talked about this, he was literally the first person to buy your course.Michael Jamin (01:52):Yeah, I a screenwriting course and yeah, Ooz wasn't even on sale. We hadn't even, we were just like, we were testing tinkering or testing. We got a sale and it was crossman.Phil Hudson (02:01):Yeah. So been around. He's a super talented writer. So always good questions. I thought this was really interesting. So a little bit long. So I'm gonna, I'm gonna go through it and if I need to repeat, let me know. I've been told that half hour sitcom page links determine the intended distribution, for example, 30 pages is appropriate for broadcast, while 40 pages is appropriate for streaming. And that the intended distribution also determines the kind of content that is preferable. So, for example, broadcast requires broad humor like Brooklyn 99, while streaming preferred scripts with a more specific content and humor focus, not like heavier emotions like Barry. Is there any merit to this kind of advice or is it just complicating the process?Michael Jamin (02:43):It's probably complicating things. First of all, when you say 30 pages, he's talking about single spaced mul, single camera a single camera formatting. Yeah. And so even 30 would be long, even if it was a multi, even if it's a sorry a network TV show, you'd, you