Chapter 10 "Teleplay Scripting"

1. TELEPLAY SCRIPTING
Chapter 10

2. The reward of a thing
well done is to have
done it.
RalphWaldo Emerson

3. I. Initial Guidelines
A. Censorship is Greater
Than Film
B. Monetary Resources
are Less

4. C. UsingTelevision’sTechnical
Capabilities

5. 1. Closeups are a major
force
a. directs the audience’s
attention
b. helps develop
character more quickly

6. 2. Visual is more dominant
than verbal elements
a. little limitation of
time and place
b. implications of cuts,
dissolves, wipes, fades

7. D. “Slice-of-Life”
1. Developed during the
“Golden Age of
Television”
2. Success dwells on
character analysis

8. E. Script Must beTIGHT
1. Plot line
2. Time element

9. F. Space Limitation
1. Home screen
2. Studio
a. movement of camera
and talents restricted
b. short takes needed
to break monotony

10. G. Seven Concepts in
Writing aTeleplay
1. Unity
2. Plot
3. Character
4. Exposition

11. 5. Preparation
6. Dialogue
7. Setting

12. II. The Formulas
A. Teleplay
1. Logo
2. Part I
a. exposition
b. characters introduced
c. plot developed

13. 3. Part II
a. conflict developed
b. protagonist versus
antagonist

14. 4. Part III
a. protagonist and
antagonist developed
b. plot makes sense
c. all the characters are
introduced

15. 5. Part IV
a. “clearing the case”
b. climax
6. Resolution

16. B. Sitcom
1. Part I
a. logo
b. exposition
c. characters introduced
d. plot(s) developed
e. situation occurs

17. 2. Part II
a. rising action and
conflict
b. climax
c. resolution(s)

18. III. DevelopingThe Script
A. Conflict is the Moving
Force of Drama
1. Antagonist
2. Situation
B. Climax Must be Known

19. C. Provocative Opening
D. Cliff-Hanging Note or
Up-Beat Note

20. E. Avoid Symbolism
1. May be missed entirely
2. Takes time to develop
F. Technique
1. One camera technique
2. Multi-camera technique