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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... scholars disagree about emphasis, justification, and labels, all keep alluding to one vital element of laughter—tension. Call it “psychical energy” or “nervous excitation,” proclaim it biological rather than emotional in nature, the.
... scholars disagree about emphasis, justification, and labels, all keep alluding to one vital element of laughter—tension. Call it “psychical energy” or “nervous excitation,” proclaim it biological rather than emotional in nature, the.
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... tension is necessary to laughter, and therefore to comedy. Just as dramatic tension is released through the resolution of story conflict, comedic tension is paid off through a punchline. Extrapolating from the above theories, it seems ...
... tension is necessary to laughter, and therefore to comedy. Just as dramatic tension is released through the resolution of story conflict, comedic tension is paid off through a punchline. Extrapolating from the above theories, it seems ...
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... tension dissipated. There is nothing left to “master,” so the joke is no longer funny. On another level, all humor incorporates some element of surprise within its structure. When we create a funny scene or joke, we try to reel the ...
... tension dissipated. There is nothing left to “master,” so the joke is no longer funny. On another level, all humor incorporates some element of surprise within its structure. When we create a funny scene or joke, we try to reel the ...
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... tensions in our everyday lives, the setups for Seinfeld's jokes reeled us all the way in, producing bigger laughs (release of tension) when we heard the punchlines. Obviously, truth means different things to different people ...
... tensions in our everyday lives, the setups for Seinfeld's jokes reeled us all the way in, producing bigger laughs (release of tension) when we heard the punchlines. Obviously, truth means different things to different people ...
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... tension. A SURPRISE twist releases tension. TRUTH and AGGRESSION increase tension. BREVITY brings tension into high relief. Often, much of the tension in a funny situation or an individual joke comes not from comedic structure, but from ...
... tension. A SURPRISE twist releases tension. TRUTH and AGGRESSION increase tension. BREVITY brings tension into high relief. Often, much of the tension in a funny situation or an individual joke comes not from comedic structure, but from ...
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