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IG1 Task 2


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IG1 Task 2

  1. 1. “Spare a thought to the presentation of your script. It isnthard to make it easy to read, and its always worth the effort ofrewriting and editing in order to make your story shine.” (Online)
  2. 2. “So, in essence, before a series is commissioned forbroadcast, the idea has involved the person to whom it first appealed;generally a script editor; the head of comedy; a comedy expert inentertainment commissioning; a channel scheduler and a channelcontroller.By the time it gets presented, a script will have gone through five or sixdrafts, had at least one informal read, then two days of rehearsal.”(Online)
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  5. 5. “Analytical Approach This is where you develop every detail about your storybefore proceeding to write the script. This approach goes hand-in-handwith the popular screenwriting books by Robert McKee, Syd Field, JohnTruby and Chris Vogler. The plot is worked out in intricate detail. Maybeindex cards are used or a 40-page outline written. You dont write asingle scene until you have every inch of the story developed.”(Online)
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  7. 7.‘ “The basic spine of any successful screenplay ischaracter, objective, obstacles, and theme. A good story is about aninteresting protagonist (character), who wants something badly(objective) and is having trouble achieving it (obstacles), and the storyis worth writing because it illustrates some kind of universal message(theme).” (Online)
  8. 8. ‘How To... Write For Television’‘ “HOW DO YOU MAKE THE PLOT INTERESTING? You have an idea, you have worked out a broad structure, now take a lookat how you can write a script in an interesting way.The importance of conflictExamples include a problem to be solved; an obstacle to be overcome; a threat to behandled; a decision to be made; a challenge to be met.Decision making by principal charactersIt ceases to be a story and just becomes a succession of incidents if there is nodecision making by principal characters on show.Consequence of action – cause and effectSomething happens, and as a result something else happens. You set up a situationand then see how the characters react to it.Creating empathyViewers like to know who to identify with; they like to know who they are cheeringfor.Plots to avoidIdiot plot – Script editors hate plots which only work if basically intelligent charactersbehave in a totally stupid way.Scenes that go nowhere – Every scene should move the story on. It should eitheradvance the plot or illuminate the characters – but preferably both.Plots that lose tension – We must always want to know what is going to happen next”
  9. 9. ‘How To... Write For Television’
  10. 10. ‘How To... Write For Television’
  11. 11. ‘The Art and Science of Screenwriting’‘ “Let us start from the beginning. What are we after?Is it a premise? An interesting situation? A character? Some action? A dilemma?A social issue? An artistic expression? A post-modernist interpretation of angstor a large cheque?The first, simple, answer is: it could be all of these and many more besides.However, in essence the start of a screenplay’s development is an idea which thewriter believes in.”
  12. 12. ‘The Art and Science of Screenwriting’
  13. 13. ‘The Art and Science of Screenwriting’
  14. 14. ‘Media Magazine’‘ ‘Adapting a book? That’s got to be easier than starting from scratchhasn’t it? There are already characters and stories to draw upon andthere’s the added bonus that all the Babylon books are lid-liftingexposés, so plenty of inside knowledge to be gleaned.”
  15. 15. ‘Media Magazine’‘ “Starting points there may be from the book, but there is also thedawning realisation that the readers will have pre-conceivedexpectations that need to be met.”