How to Write for Television

Name: How to Write for Television
Price: 4.64 USD
Availability: InStock
ISBN: 9781416570455

ISBN-10: 1416570454

ISBN-13: 9781416570455

Edition: 2008 (Revised)

Authors: Madeline Dimaggio, Madeline DiMaggio

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Description:

TV Writing the Right Way!In this guide for every student of the small screen and every scriptwriter dreaming of breaking into the business, writer-producer Madeline DiMaggio hands you the tools of the trade. With dozens of examples from today's hit shows, as well as perennial classics, DiMaggio walks readers through the scriptwriting process, from learning how to watch TV like a writer to developing your script, pitching it, and eventually sealing the deal. DiMaggio answers the questions on every aspiring television writer's mind, with chapters on: The tools of scriptwriting Hooks that sell Creating the pilot Developing the episode, step by step How to create riveting characters Writing…

Book details

List price: $20.99
Copyright year: 2008
Publisher: Touchstone
Publication date: 12/16/2008
Binding: Paperback
Pages: 336
Size: 5.50" wide x 8.50" long x 0.80" tall
Weight: 0.660
Language: English

Madeline DiMaggio has written for TV under contract to Paramount Studios and as a TV freelancer. Her work includes over forty hours of produced scripts for successful sitcoms, one-hour dramas, TV pilots (both half hour and one hour), soaps, animation, documentaries, Movies of the Week, cable movies, and films.




Introduction


The Story of Kevin Falls



The Tools of Scriptwriting


Locales


Narrative/Action


Dialogue


The Scene



Restrictions of the Medium and How You Can Make Them Work for You


Time Limitations


Characters Are Set


Locales Are Set


Budget Limitations



The Hooks That Sell


Hook 'em Fast


The Quick Setup


The Star Is Pivotal


Personal Involvement for the Star


Twists and Turns in the Plot


Powerful Act Ends


A Good Runner


The Button


The Teaser and the Tag



Thoughts to Consider Before Writing Your Spec



Writing the Half-Hour Sitcom


Comedy and Collaboration


Writing Funny: Can It Be Taught?


Structure: The Most Essential Element



Writing the Hour Episode


The One-Hour Structure


Creating Suspense


The Hour Setup


Build to the Act Ends



Developing an Episode Step by Step


Serials and Parallel Storylines



How to Create Riveting Characters


A Character's Back Life/Present Life


Professional Life


Personal Life


Private Life


The Compelling Characteristic



The Television Pilot


The Pilot Concept


Filling in the Concept


Treatments



Movies for Television and Cable


The Two-Hour Movie: The Basic Three-Act Structure


The Movie of the Week: The Seven-Act Structure


What Is Meant by High Concept?



Developing the Two-Hour Movie



Defining the Spine



Establishing the Time Frame



Breaking Down the Turning Points



Broadstroking the Beats



Developing Character



Scenes/Sequences



Interior Voice



First Draft



Rewrites



Polish



Adaptations, Collaborations, and My Biggest Mistakes


Adaptations


Collaborations


My Biggest Mistakes


A Word from Animation Writer Stan Berkowitz


A Word from Reality Writer Gardner Linn



So It's Written. What do I do Now?


A Word from Agent Mitchel Stein



The Most Frequently Asked Questions About Marketing



A Final Note from the Author


Glossary



Resources


To Find Scripts


To Buy Scripts


For Networking


For Links and Information


Screenwriting Software



Fellowships and Writing Competitions


Acknowledgments


Index