Showing posts with label tv writing. Show all posts
Showing posts with label tv writing. Show all posts

Pitching Hollywood: How to Sell Your TV and Movie Ideas Review

Pitching Hollywood: How to Sell Your TV and Movie Ideas
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Pitching Hollywood: How to Sell Your TV and Movie Ideas ReviewThis book has a lot of information on concepts and treatments. It does not go into the details of the technique of a pitch. It is very encouraging, but with reagrds to the actual pitch they wrote,"the energy of a pitch can't be written" or something to that effect. I would have appreciated an outline or something. They provide general info like be on time, make it brief, etc... Wow, insightful!Pitching Hollywood: How to Sell Your TV and Movie Ideas OverviewTwo successful movie and TV producers provide the reader with the tools needed to create, develop, and sell ideas to Hollywood. Producers Jonathan Koch ("Beyond the Glory") and Robert Kosberg (Deep Blue Sea) are known as the "Kings of Pitch." They currently have more than a dozen projects in development at major studios, including projects with Josh Lucas, Tobey Maguire, and Katherine Heigl.

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Writing the TV Drama Series: How to Succeed as a Professional Writer in TV Review

Writing the TV Drama Series: How to Succeed as a Professional Writer in TV
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Writing the TV Drama Series: How to Succeed as a Professional Writer in TV ReviewThere have been quite a few screenwriting manuals focussing on the sitcom, but drama series haven't yet been singled out for an in-depth examination. And about time too, because much of the best audiovisual work today is done on television. Pamela Douglas, a highly experienced writer for television, attempts to fill the gap with the current volume.
Douglas starts out by listing the specific qualities of television drama (episodic characterization, long narrative and collaboration) and dispelling some myths about the medium. She then goes into an extensive description of the (American) writing system, and then delves into writing specifics. Douglas provides a four-act grid to fill in with the beats of your story, and also explains how to layer A, B and C stories. She analyzes two hefty script excerpts from NYPD Blue in great detail, an excellent teaching method which makes the practical application of the theory very clear. Subsequent chapters focus on writing your own episode and breaking in. Each chapter is followed by an interview with top writers (Steven Bochco, David Milch etc.), and Douglas rounds off by interviewing a group of her students twice, first after graduation and then several years later, to see how their careers turned out. It's not all good news.
This is a well-written, serious look at television drama, and it provides a lot of necessary insider information for the writer looking to break in.
The second edition of the book updates the info to early 2007, and covers series like Lost, Heroes, Battlstar Galactica and the like. Ms. Douglas also reveals new 'tricks of the trade' such as ABC's mandatory six-act structure. If you don't have the book yet and you're serious about writing for television - get it NOW. If you already have the first edition, the new material is definitely good enough to warrant a new purchase.Writing the TV Drama Series: How to Succeed as a Professional Writer in TV OverviewThis 2nd edition of Douglas's hit book gives the latest inside scoop on obtaining success in this highly competitive industry. This second edition takes readers inside Lost, Grey's Anatomy, Battlestar Gallactica, and CSI:Miami; as well as the great shows dovered in the first edition.

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Television and Screen Writing, Fourth Edition: From Concept to Contract Review

Television and Screen Writing, Fourth Edition: From Concept to Contract
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Television and Screen Writing, Fourth Edition: From Concept to Contract ReviewRichard Blum's Television and Screen Writing (4th Edition) is a welcome revision of one of the classic books for writers by a professional from within the industry who also happens to be a topnotch screenwriting teacher. It provides a wealth of information that all aspiring TV and screenwriters need. Dr. Blum leads you through the writing process with numerous examples. However, Dr. Blum goes much deeper by discussing character, dialogue, and how to create stories with scenes that work for the story and not against it. The Fourth Edition also has insights into animation and new media, daytime serials and talk shows, and, most important of all, how to market what you write. Read it thoroughly and then go back and read it again. This book is an invaluable resource.Television and Screen Writing, Fourth Edition: From Concept to Contract OverviewNow in its fourth edition, Television and Screen Writing: From Concept to Contract is a classic resource for students and professionals in screenwriting and television writing. This book will teach you how to become a creative and marketable writer in every professional arena - including major studios, production companies, networks, cable and pay TV, animation, and interactive programs. Specific techniques and script samples for writing high-quality and producible "spec" scripts for theatrical motion pictures, the sitcom series, one-hour dramatic series, longform television, soaps, talk show, variety, animation, interactive and new media are provided.Television and Screen Writing: From Concept to Contract, Fourth Edition also offers a fully detailed examination of the current marketplace, and distinct strategies for marketing your scripts, from registering and copyrighting the script to signing with an agent. This new edition has been expanded to include the most up-to-date creative and professional script samples, marketing resources, and practical information possible. The companion website (www.focalpress.com/companions) offers a wide range of contacts and resources for you to explore, and Internet links to professional resources. There is also an Annotated and Selected Bibliography for your referenceCovers all aspects of scriptwriting, from visuilization to marketingNew information on competitions, festivals, and workshopsNow includes internet sources for screenwriters

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Show Runner: Producing Variety and Talk Shows for Television Review

Show Runner: Producing Variety and Talk Shows for Television
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Show Runner: Producing Variety and Talk Shows for Television ReviewDear Professor Clements:
I just wanted to thank you for the eternally-helpful advice and wisdom that you impart in Show Runner. I'm new to being a talk show creator but I feel much better prepared for the struggle ahead after having read (and re-read x3) your book. By struggle, I mean to learn how to do the job well.

My talk show is my first piece to be registered with the WGA and its development is going really well. Since I've been having many "firsts" as creator, I've been keeping a slow but steady pace with it. Should the powers-that-be give me a shot to show run my own show (I know now, after having read your book, that I won't be giving myself this job), you can be sure that I'll be having your book in arms reach even then as a constant reference.
Many thanks again.
Show Runner: Producing Variety and Talk Shows for Television OverviewThe show runner is the television producer who commands a show's moment-to-moment, day-to-day details. The show runner hires and supervises the staff, decides what will be included in each show, co-ordinates the casting of each segment, makes sure that a show adheres to its budget, and oversees a production's flow of activities in conjunction with other producers, staff members, technical crews, and post-production personnel. The only book to deal with the subject, this lively, wide-ranging, informative book covers all aspects of show running variety and talk shows for television. Filled with examples from actual television shows, it covers: making, pitching, and selling a pilot show; production development; a show runner's duties and weekly schedule; working with other members of a production's staff and crew; producing a season of shows.Along the way, it also defines the roles played by the many producers whose credits we see on the screen (line producer, field producer, executive producer, etc.) and their interactions with the all-important show runner.Additionally, the book covers show running as a career, discussing the hard realities and many pleasures of the job, including selling oneself, finding work, negotiating for a percentage of a show's profits, and more.

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