Writing Television Sitcoms (revised)Penguin, 2009 M12 1 - 352 páginas This new edition of Writing Television Sitcoms features the essential information every would-be teleplay writer needs to know to break into the business, including: - Updated examples from contemporary shows such as 30 Rock, The Office and South Park - Shifts in how modern stories are structured - How to recognize changes in taste and censorship - The reality of reality television - How the Internet has created series development opportunities - A refined strategy for approaching agents and managers - How pitches and e-queries work - or don't - The importance of screenwriting competitions |
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... look at the numbers. Only about 750 mainstream films were produced in the United States last year,1 and only a quarter to a third of those were comedies, and many of those were written on spec. (Meaning, you starve for the three months ...
... look at the numbers. Only about 750 mainstream films were produced in the United States last year,1 and only a quarter to a third of those were comedies, and many of those were written on spec. (Meaning, you starve for the three months ...
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... look before leaping. Before you move from Wisconsin or resign from that cushy corporate job, please consider the advice presented in this book regarding ways to prepare for your assault on Hollywood. After all, it is a lot easier to ...
... look before leaping. Before you move from Wisconsin or resign from that cushy corporate job, please consider the advice presented in this book regarding ways to prepare for your assault on Hollywood. After all, it is a lot easier to ...
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... look at a few of these ideas. The. Mechanics. of. Laughter. First, we should consider the basic mechanics of humor-related laughter (as opposed to laughter triggered by mental illness, physical disorders, or other lessthan-humorous causes) ...
... look at a few of these ideas. The. Mechanics. of. Laughter. First, we should consider the basic mechanics of humor-related laughter (as opposed to laughter triggered by mental illness, physical disorders, or other lessthan-humorous causes) ...
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... Look at Seinfeld. Entire storylines were based on things like having a bad hair day or arguing with a Soup Nazi—the little things in life that we can all relate to. (We have been there, Seinfeld is us!) The subjects explored in that ...
... Look at Seinfeld. Entire storylines were based on things like having a bad hair day or arguing with a Soup Nazi—the little things in life that we can all relate to. (We have been there, Seinfeld is us!) The subjects explored in that ...
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Evan S. Smith. Moving On It is one thing to analyze humor theory, another to apply it when writing comedy. Let's take a closer look at how sitcom writers work. 3 PUTTING THEORY INTO PRACTICE Different writers have different strengths.
Evan S. Smith. Moving On It is one thing to analyze humor theory, another to apply it when writing comedy. Let's take a closer look at how sitcom writers work. 3 PUTTING THEORY INTO PRACTICE Different writers have different strengths.
Contenido
COMEDY INSEQUENCES AND SCENES | |
DOING YOUR HOMEWORK | |
DEVELOPING THE STORY | |
Chapter 10CREATING FUNNY CHARACTERS | |
WRITING THE FIRST DRAFT | |
REWRITING THE SCRIPT | |
LANDING AN AGENT ANDOR MANAGER | |
GETTING YOUR WORK OUT THERE | |
PITCHING FOR ASSIGNMENTS | |
LANDING ASTAFF | |
Chapter 20CREATING A NEW SERIES | |
TIME TO WRAP | |
APPENDIX B ADDITIONAL RESOURCES | |
INDEX | |
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Términos y frases comunes
actions actually agent already assignment audience beat become better break changes character’s characters comedy comes consider course create deal describe develop dialogue don’t draft episode example executives feel fees final five format funny give half happens heading hire humor idea important interest it’s joke keep land laughs lead look manager material means meeting move notes offer Office once outline person pilot pitch predicaments premise present probably problem producers professional punchline remember rewriting scene scene descriptions setup show’s sitcom someone sometimes space spec script staff start story studio talk television tension thing usually week writing written