How to Write for Television

ISBN-10: 1416570454

ISBN-13: 9781416570455

Edition: 2008 (Revised)

List price: $20.99 Buy it from $1.89
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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 long form and cable movies Adaptations and collaborations Marketing your scriptDiMaggio combines her own experience with advice to writers from others in the trade, including agents, producers, animators, and more. This readable, reliable book has been a trusted reference for nearly two decades and is now revised to include the most up-to-date information from today's television climate, from writing for cable, reality, and TV-movie formats to the ever-evolving face of the sitcom. A must-read for anyone aiming to write for TV,How to Write for Televisionwill continue to help budding writers reach their small-screen goals and will prepare them for working in the rapidly changing world of TV.
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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 0.75" 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.

The Story of Kevin Falls
The Tools of Scriptwriting
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
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
Interior Voice
First Draft
Adaptations, Collaborations, and My Biggest Mistakes
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
To Find Scripts
To Buy Scripts
For Networking
For Links and Information
Screenwriting Software
Fellowships and Writing Competitions
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