Interview with Tom Lynch
Interview by Jenna Glatzer

Touted by TV Guide as “the David E. Kelley” of tween programming, Tom Lynch is founder of the Tom Lynch Company and has been creating hit programs for kids of all ages for more than 20 years.  Currently, this father of five, who has written and produced four series on Nickelodeon, is teaming up with hip-hop’s hottest father-son duo, Master P and Lil’ Romeo, to premiere Romeo!, a new live-action comedy hit for the kid channel. 

The Secret World of Alex  Mack, The Journey of Allen Strange, 100 Deeds for Eddie McDowd and Caitlin’s Way have laid the groundwork for Lynch’s successful partnership with Nickelodeon as well as earning him a reputation as one of the foremost producers of kids' television today. “Kids are much smarter and more discriminating than most adults give them credit for, and they deserve programming that meets them head on,” he says.  “I think there’s no one out there more suited to fill that demand because I can relate to them so well.  The kids are my real boss.  They’re the ones I report to.” 

The Tom Lynch Company has written, produced and developed numerous other series and specials for NBC, ABC, the Discovery Channel, Lifetime, TNT, HBO, and others.  

Your first big break as a producer was Kids Incorporated for the Disney channel (which, may I add, was one of my favorite shows!).  How did you get this job?  

I was working in the music business at the time my first son was born.  As a new parent, I realized I didn't want him exposed to the rock-n-roll lifestyle at such a young age, so I started thinking of ways I could combine music with kids. 

It must have been serendipity because around this same time, I was working with MGM on another project when I learned the studio was interested in producing a kids' music program.  Soon after, they asked if I would create the show for them.

With a few exceptions here and there, you've concentrated on producing series for "tweens" and teens ever since then.  Why?  What is it that interests you about kids' programming?

On the personal front, my wife and I have five children, so it's reflective of what's going on in my own daily life.  In addition, I had a very quirky upbringing and I am part of a big Irish-Catholic family. When my parents divorced, I had to grow up really fast, which has allowed me to look at everyday things in the tween and teen world from my own unique perspective.

On the professional side, I think the teen years provide a very fertile canvas for creating rich characters and compelling storylines.

Of all the audience demos, tweens and teens tend to be the most hopeful-- and therefore the most exciting to enlighten and entertain.  When we are young, the world is still ahead of us, so anything is possible. 

My mantra has always been "to celebrate the magic of the human experience" and this is a concept that we embrace more fully in our youth than at any other time in our lives.

Tell me what qualities you look for in a series writer.

For starters, the craft itself is very important.  I've actually run across writers who can't complete a script and that's not acceptable.

Imagination as well as a fresh perspective on things is also very important.  I love being in a room full of writers who come up with ideas that I haven't heard or done before... but they have to be grounded in reality, too!

They also need to be fun.  (I am not a fan of the pain style of writing or attitude in general.)  If I'm going to be with this writer for six months in a highly stressful situation (and every one of my TV series projects falls into this category), then I want to be able to enjoy the collaboration.

If a writer wants to write for one of your series, what's the best way to approach you? By sending a spec of a different kids' show?

Work through an agent.  My director of development, Keith Fay, gets material on a daily basis from all the agents around town and he lets me know what's coming in. 

I prefer original material.  I like to see what's going on in the writer's mind and get a sense of his/her skills for structure, etc.  

I never read spec scripts for other kids' shows in particular because I can't tell what the writer has brought to the table versus what they may have lifted from the series.  On occasion, my producers and I may ask a writer for a spec script for one my shows but only after I've liked one of their original pieces and we now want to get a sense of the writer's abilities with jokes and other nuances relevant to my specific show.

You've mentioned that you consider the show's longevity when you're working, so things won't seem too "dated" if the show winds up in reruns for many years.

Yes.

Give me some examples of how you walk this line and still keep up with current kid slang, clothes, etc.

I find that if it all comes from character then it won't become dated.  In the case of ROMEO! , the young actors dress as a reflection of their character. Jodi is fashion forward.  Romeo is hip-hop. Louis is skater. All of these looks play because they are organic to the character.

Would you ever hire a writer who doesn't have kids, or do you think that's essential to knowing your audience?

Sure.... I wrote a series about an alien and I never was one!  I think the important element is the willingness to hear and listen to their voices with an open mind. MTV, malls, X- games - these are all kid-centric. Their voices are everywhere.  

What kind of feedback do you get from the kids who watch your series?

I get a lot.  Most of the time they are very direct. If they like it, you will know because they will say:  "Cool.  When is it on again?"   If they don't like it, they'll say: "It's cheesy" or "too young" or "I didn't see it." 

Is it what you expected when you started producing, or have they taught you anything along the way?

I always say that I work for the networks but I report to the kids.  I learn something new from them every day.  Tweens and teens are very complex and operate on many multifaceted levels, so I'm constantly surprised by their words and actions. 

The one thing that hasn't changed is the need to belong, and I believe if my body of work has a theme, it would be that.

How are series writers hired?  Are they typically hired for one show at a time, or are they on salary for the whole season?  

It depends. We do hire showrunners and staff for the duration of the production of a series.  We also like to keep a few freelance scripts open to try out new writers or to develop new ideas.

Can you tell me more about the process a series writer goes through after getting an assignment?  Is it up to the writer to come up with the whole storyline, all the dialogue, etc., or are writers given a general outline?  Do some writers write for only certain characters or certain themes?

I can only tell you about my rooms.  It begins with the writers pitching ideas to the producers and me.  We then choose the ones we like and develop premises for each one.   Next we get the network executives to approve them. Once they are approved, we go to "the board," where we break the story into an outline.  This can take anywhere from a day to a week, a month or longer.   In one case, it took a full year and a half to develop an episode on HIV for Scout's Safari.

Once I approve the story outline, it goes to the network executives to provide notes. We will discuss the notes and either go to script or abandon the story.

If it goes to script, the writer goes off and writes. I believe that it is important to allow writers to write. The writer will turn in the draft, the producers and I will read it and give notes.  The notes will be addressed and then go to network.  After we get the network notes, we all get in a room and table the script, where we cut the fat, punching jokes all the way until we film.
 
Tell me about your new show, Romeo!  How much of the story is based on the true lives of Master P and Lil' Romeo?

I took a lot of the story ideas from Romeo's own life before he became a star.  In real life and in the series, Romeo's father works in the music business and the kids in his family aspire to be in a hit hip-hop group.

How has the market for kids' programming changed in the 20 years you've been doing this?  What do you see as the future of kids' TV?

Savvy programmers have realized what I've known for more than 20 years: that tweens and teens represent the smartest group watching television today.  

Kids' programming used to be an afterthought in the network executives' minds.  It was an area they knew they had to deal with but it wasn't considered a priority.  Now, it is a major asset in every multinational media conglomerate today and instead of: "Isn't that cute?" you hear "This better be a hit!" when screening your shows to the network heads.

What's changed, however, are the many choices kids now have for their attention.   So, more network interest plus more choices for the audience means that creators like myself must continue to develop programs that resonate with youth.  New technologies and a global marketplace will help us to do this. 

Any other suggestions for aspiring television writers?

Write like someone is going to watch and listen. It is a craft, so practice it.  Meanwhile, don't get discouraged. I've outlasted many network executives who have thought my ideas weren't worthy.   In fact, my shows are still on the air while they are out looking for new jobs!

Jenna Glatzer is the author of Outwitting Writer's Block and Other Problems of the Pen, which will never be made into a TV series, but is now showing at a bookstore near you.  She hopes.  Check out www.absolutewrite.com/outwitting.htm. 

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