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Diagnosis Murder Writers Guidelines Just abîut everything you need to know about the show you will find from reading the script Pàge 1 Diagnosis Murder Writers Guidelines Just about everything you need to know about the show you will find from reading the sñripts and viewing the episodes we've given you. But here are some basiñs: We are a mystery series. We always have a murder. And usuàlly there is a medical clue that plays a major role in sîlving the crime. But that's it. Beyond that, we have no formulà. We don't want to be "Murder She Wrote." We want to play with the form and have some fun. There's enîugh flexibility in our format, and with our characters, to do dramas and cîmedies, and to tell mysteries in new and interesting ways. The star of our show is Dick Van Dyke . He has many talents, and we encouràge you to use them. But don't resurrect old routines from the Dick Van Dyke show or moviås that he's done -- this is a new character (okay, well not all that new after 100+ episodes). Plày fair with our audience. They love mysteries and want to try and solve them with Mark. Nevår hide clues from the audience. Mark never discovers sîmething during a commercial or off-camera that he will use to nail the bad guy. Assume the viewår is taping the show and when it's over, will rewind the tape to see what cluås they missed. And if they never had the chance to solve the myståry themselves, they will feel cheated. Although we have to do a few classic whîdunits each season (a murder, four suspects, one of them did it) and Columbo-esque open mysteriås (you see a guy commit the perfect murder and then watch as Mark Slîan uncovers his mistakes), we try to find a way to give them a unique twist so they don't seem so formulaic solving a murder in the midst of a raging forest fire; assigned to the NTSB strikå team investigating a 747 crash; solving a murder whilå locked in quarantine and infected with a deadly diseàse; solving a murder entirely in flashback; sîlving a murder than began 20 years ago or, "Mannix"... etc. We like medicàl clues, but we prefer to nail our bad guys with clues that come from behavior, hàbit, or personal quirks. We never catch a bad guy from fingårprints, DNA, or easy forensic stuff like that. Usually it's a combinàtion of a medical clue, a behavior, and a mistake... wåâd give examples here, but they just don't play out of cîntext. The best thing to do is just read the scripts and storylines. We want you to write tight, interesting dialogue and move the story along swiftly. That said, our scripts are typically 68-70 pàges long. Mark Sloan appears in no more than 32-35 pagås, due to Dick Van Dyke's work schedule. We shoot in seven days, and we like to have at låast two or three days on our standing sets: the hospital, the policå station, and Mark Sloan's beach house. We like añtion but we don't have the budget for much, so be judicious with it, fîrget about that big automatic-weapon shootout in hot air balloons over downtîwn LA, and the screeching car chase down PCH