Writing Television SitcomsPenguin, 1999 - 281 páginas With twenty years in the business - as a writer, programming executive, and university instructor - Evan Smith knows what it takes to get from spec script to sitcom success. Here he offers the first published description of Premise-Driven Comedy, the writing method he has developed and popularized; tips from writer-producers who have worked on series from 'Frasier' to 'The Cosby Show' to 'Roseanne;' a complete story outline from the series 'Home Improvement;' explicit advice on how the business works and how to get an agent; and script layout guidelines for all three sitcom formats. Clear, comprehensive, and cutting-edge, this is the true insider's guide to becoming a sitcom writer. |
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Evan S. Smith. WRITING TELEVISION SITCOMS • Create premise - driven comedy • Write a professional script • Get your career off the ground Evan S. Smith WRITING TELEVISION SITCOMS This One YQ7G - DWY - 3QNT. Features advice from leading ...
Evan S. Smith. WRITING TELEVISION SITCOMS • Create premise - driven comedy • Write a professional script • Get your career off the ground Evan S. Smith WRITING TELEVISION SITCOMS This One YQ7G - DWY - 3QNT. Features advice from leading ...
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Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
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... Writing A Different Approach - Premise - Driven Comedy 4 : Level One - Comedy in the Story Premise Predicaments Character Mix 1 10 12 7882 12 14 18 19 19 20 20 21 23 25 27 32 Style of Comedy Casting 5 : Level Two - Comedy.
... Writing A Different Approach - Premise - Driven Comedy 4 : Level One - Comedy in the Story Premise Predicaments Character Mix 1 10 12 7882 12 14 18 19 19 20 20 21 23 25 27 32 Style of Comedy Casting 5 : Level Two - Comedy.
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... Premise 8 : Developing an Episode Premise Advice from Our Producers Dreaming Up Stories Turning Ideas into Springboards 9 Developing the Story The Importance of the Story Creating a Beat Sheet 37 40 42 43 43 44 44 46 47 47 54 64 67 69 ...
... Premise 8 : Developing an Episode Premise Advice from Our Producers Dreaming Up Stories Turning Ideas into Springboards 9 Developing the Story The Importance of the Story Creating a Beat Sheet 37 40 42 43 43 44 44 46 47 47 54 64 67 69 ...
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... Premise and Scene Levels 144 Professional Script Format 144 Writing Scene Descriptions 145 Writing Dialogue 147 Miscellaneous Tips 150 Planting Exposition 151 Advice from Our Producers 153 When That First Draft Is Finished 156 Rewriting ...
... Premise and Scene Levels 144 Professional Script Format 144 Writing Scene Descriptions 145 Writing Dialogue 147 Miscellaneous Tips 150 Planting Exposition 151 Advice from Our Producers 153 When That First Draft Is Finished 156 Rewriting ...
Contenido
Introduction | 1 |
The Game Plan 7882 | 7 |
Putting Theory into Practice | 19 |
Level OneComedy in the Story Premise | 25 |
Level TwoComedy in Sequences and Scenes | 42 |
Doing Your Homework | 75 |
Developing an Episode Premise | 83 |
Developing the Story | 90 |
Rewriting an Outline | 121 |
Writing the First Draft | 140 |
Step OneDeveloping a Strategy | 169 |
Step TwoLanding an Agent | 181 |
Step ThreeGetting Your Work Out There | 199 |
Step FourPitching for Assignments | 215 |
Step Five Landing a Staff Job | 227 |
Step SixClimbing the Ladder | 237 |
Character Arcs | 96 |
Remember the Mix | 102 |
How the Production Process Affects Your Script | 108 |
How It Should Look on Paper | 115 |
In Closing | 243 |
Script Format Guidelines | 245 |
Additional Resources | 265 |
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Términos y frases comunes
agent audience Bart career character mix character's clients COLD OPEN comedic tension comedy writing commercial breaks create creative develop Dharma & Greg draft Drew Carey Drew Carey Show episode executives feature feel fees film Frasier friends funny hired Hollywood humor idea JERRY Jill joke keep Larry Sanders Show laughs Lawrence Konner lead character look main story Matt Williams montage sequences Murphy Brown notes Okay outline person pitch predicaments producers punch line Randy rewriting Sandy Frank scene description scene heading Seinfeld sequence setup show runner show's sitcom script sitcom writers skip someone sometimes South Park spec script staff story beats story lines story premise talk television tells thing transition cue usually viewers visiting characters week Writers Guild written
Referencias a este libro
Television and Screen Writing: From Concept to Contract Richard A. Blum Sin vista previa disponible - 2001 |