Writing the TV Drama Series

Höfundur: Pamela Douglas (Útgáfa: 4)
Writing the TV Drama Series

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This revised and updated edition is a complete resource for anyone who wants to write and produce for television drama series or create an original series, as well as for teachers in screenwriting classes and workshops. It leads the reader step-by-step through every stage of the development and writing process, offering practical industry information and artistic inspiration. The Fourth Edition leads readers into the future and engages provocative issues about the interface between traditional TV and emerging technologies.

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Útgefandi
Michael Wiese Productions
ISBN
9781615933037
Print ISBN
9781615932931
Format
ePub
Útgáfa
4
Höfundar
Pamela Douglas
Tungumál
English
Útgefið
2018-10-15
Prent takmörkun á líftíma
100
Prent takmörkun
10
Afritunar takmörkun
10

Kaflar

  • Cover
  • Title Page
  • Copyright
  • Table of Contents
  • Preface to the Fourth Edition
  • Introduction: What is Television Now?
  • From John Wells
  • Chapter One: What’s so Special About TV Drama Series?
  • Three Qualities of Episodic TV Series
  • Episodic Characterization
  • The “Long Narrative”
  • Anthologies
  • Series with closure
  • Serials
  • Collaboration
  • Four Myths About Television
  • Myth 1: TV Is Small Movies
  • Myth 2: TV Is Cheap
  • Myth 3: You Can’t Do That on TV
  • Myth 4: Television Is a Wasteland
  • The Rules of Series TV
  • • An hour show has to fit an hour.
  • • Series deadlines are for real.
  • • TV series have specific structures.
  • • Many series use “franchises.”
  • Conclusion
  • Chapter Two: How Shows Get on TV and the TV Season
  • Chart: Traditional Two-Year Development and Production
  • Year One
  • April: Create Your Proposal
  • (1) Write a TV Format/Bible/Pitch
  • Two Cautionary Tales
  • (2) Write a Pilot
  • (3) Write a “Backdoor Pilot”
  • (4) Create a Presentation Video
  • (5) Attach a “Package”
  • (6) Get a Web Following
  • May: The Production Company
  • June: The Studio
  • July and August: The Network
  • The Amazon Experiment
  • September to November: The Pilot Script
  • December and January: The Greenlight
  • How House of Cards Happened on Netflix
  • February to April: Pilot Season
  • May: Pick-Ups
  • • Full season
  • • Short order
  • • Split Season
  • • Midseason
  • • Backup scripts
  • Year Two
  • June: Staffing
  • July and August: Write Like Crazy
  • Chart: Sample Character Arcs for a Season
  • September and October: The Debut
  • November Through March: Completing the Season
  • April: Hiatus
  • Chapter Three: How a Classic Script is Crafted
  • The Dramatic Beat
  • The 2-Page Scene
  • A, B, C Stories
  • Chart: Basic Four-Act Grid
  • Using the Grid
  • 5 and 6 act structures
  • The More Things Change
  • Character Driven Structure
  • Diagram: Character-Driven Episode with No Act Breaks
  • Teasers
  • About This Excerpt from Breaking Bad
  • 4 script pages
  • Analysis: Opening
  • Act One
  • What You Should Do Next
  • Chapter Four: Writing Your Own Episode
  • “Hearing Voices” (essay)
  • Finding your stories
  • Breaking your stories
  • (1) Credibility
  • (2) Rooting interest
  • The Grid
  • Chart: Basic Four-Act Grid
  • The Outline
  • How to write your outline
  • Outline Sample
  • Alternate outline form
  • Fragment of ER outline
  • Sonny’s List
  • Your First Draft
  • Sample script format [2 script pages]
  • Trouble-shooting
  • If you’re running long
  • If you’re running short
  • At the end of it all
  • Your Second Draft
  • Your Polish
  • Writing Your Pilot
  • Create the “World”
  • Find the Story Springboards
  • Populate the World
  • Make a Plan
  • What’s next?
  • Chapter Five: It’s Who You Know: Working on Staff
  • The Staff from Hell
  • Mistake 1: Don’t separate from the staff.
  • Mistake 2: Don’t mix personal and work issues.
  • Mistake 3: Don’t have other plans.
  • Mistake 4: Don’t work at home instead.
  • Mistake 5: Don’t be precious about your script.
  • Mistake 6: Don’t “dis” the culture of the staff.
  • Mistake 7: Don’t work on a series wrong for you.
  • The Good Staff
  • A Slice of Life
  • The Staff Ladder
  • 1. Writer’s Assistant
  • 2. Staff Writer
  • 3. Story Editor/Executive Story Editor
  • 4. Producer
  • 5. Supervising Producer
  • 6. Creative Consultant
  • 7. Executive Producer/Showrunner
  • Chapter Six: How to Break In
  • The rules:
  • Write what you love.
  • Don’t spec the series you plan to pitch.
  • Ask the right questions about a series.
  • Have the right tools.
  • Have representation.
  • Be in Los Angeles.
  • The secret of success
  • Advice from Some Experts
  • Non-Traditional Ways
  • Kickstarter
  • Enter the Executive Producers
  • Chapter Seven: Profiles in Progress
  • Yasemin Yilmaz
  • Joe Peracchio
  • Taylor Martin
  • Akela Cooper
  • David McMillan
  • Chapter Eight: International Television
  • Overview
  • Four Types of International Cooperation
  • A Tour of the World
  • World Map of Our Tour
  • Brazil
  • Mexico
  • Writing for Telenovelas
  • United Kingdom
  • Ireland
  • Denmark
  • France
  • Czech Republic
  • Turkey
  • Israel
  • Nigeria
  • China’s Presence in Kenya
  • South Africa
  • India
  • China
  • South Korea
  • North Korea
  • Japan
  • Flying Home
  • Chapter Nine: The Future is Now
  • Interactive TV
  • Transmedia
  • Mickey Mouse
  • Conclusion
  • About the Author