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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... move on to different shows, get promotions, earn more money And maybe, someday, you even get a chance to produce a series that you have created, or run a production company that produces several different sitcoms. Or you might parlay ...
... move on to different shows, get promotions, earn more money And maybe, someday, you even get a chance to produce a series that you have created, or run a production company that produces several different sitcoms. Or you might parlay ...
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... 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 crank out winning sample scripts or ...
... 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 crank out winning sample scripts or ...
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... . That, and we can apply this knowledge in a more deliberate fashion during rewrites, when a couple of rules and tools can sometimes fix material that inspiration has left broken. Moving On It is one thing to analyze humor theory,
... . That, and we can apply this knowledge in a more deliberate fashion during rewrites, when a couple of rules and tools can sometimes fix material that inspiration has left broken. Moving On It is one thing to analyze humor theory,
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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.
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... moving in. For example, in several episodes of 30 Rock, Jack Donaghy suddenly finds his career in jeopardy when his arch nemesis, Devon Banks, pops up with a new scheme to grab the promotion that Jack covets. On Everybody Hates Chris ...
... moving in. For example, in several episodes of 30 Rock, Jack Donaghy suddenly finds his career in jeopardy when his arch nemesis, Devon Banks, pops up with a new scheme to grab the promotion that Jack covets. On Everybody Hates Chris ...
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