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The TV Writer's Workbook: A Creative Approach to Television Scriptsby Ellen Sandler
Synopses & Reviews
Why is TV writing different from any other kind of writing? How will writing a spec script open doors? What do I have to do to get a job writing for TV? Writing for television is a business. And, like any business, there are proven strategies for success. In this unique hands-on guide, television writer and producer Ellen Sandler shares the trade secrets she learned while writing for hit shows like Everybody Loves Raymond and Coach. She offers concrete advice on everything from finding a story to getting hired on a current series.
Filled with easy-to-implement exercises and practical wisdom, this ingenious how-to handbook outlines the steps for becoming a professional TV writer, starting with a winning script. Sandler explains the difference between “selling” and “telling,” form and formula, theme and plot.
• A technique for breaking down a show style so you’re as close to being in the writing room as you can get without actually having a job there
• The 3 elements for that essential Concept Line that you must have
in order to create a story with passion and consequence
• Mining the 7 Deadly Sins for fresh and original story lines
• Sample scripts from hit shows
• In-depth graphs, script breakdown charts, vital checkpoints
along the way, and much, much more!
A helpful, hands-on handbook for aspiring television writers offers expert guidelines for writers looking at how to raise their scripts to the professional level, using effective techniques and exercises designed to help writers bring together their creative ideas with the practical process of crafting dialogue, maintaining form, avoiding formula, and pitching a script. Original. 15,000 first printing.
Ellen Sandler has over twenty years of experience in the TV writing business. She was Co-Executive Producer and writer on the Emmy-winning hit series Everybody Loves Raymond, and has written for over 25 prime-time network television series, including Taxi, Kate and Allie, and Coach. She is a highly-regarded script consultant, and in addition to her Television Writing workshops in LA and NYC, is a frequent featured speaker at schools and universities across the country.
Table of Contents
Acknowledgments — Introduction — "How I Got Into TV" — PART I: WHAT YOU NEED TO KNOW — 1. The Spec Script — 2. Read To Write — PART II: WHAT YOU NEED TO DO — 3. What's A Story — 4. Finding Your Story — 5. Theme/Plot — 6. Synopsis — 7. Turning Ideas Into Stories — 8 The Plot Thickens — 9. Treatment — 10. Story Structure — 11. Rewriting Your Treatment — 12. The Outline — 13. The Script — 14. Rewriting Again,And Again,And Again — 15. The Hearing Test — 16. Final Polish — 17. Looks Matter — 18. I've Put This Off Long Enough — PART III: WHAT YOU NEED TO KNOW — NOW THAT YOU HAVE A SCRIPT — 19. The Pitch — 20. The Business — 21. Now That You Know Some People — 22. Agents And Managers — 23. To Live And Die In L.A. — 24. But What If I Don't Want To Die In L.A.? — 25. Tech Support — 26. How Many Producers Does It Take... — 27. To Serve And Protect — 28. And Another Thing — 29. Last Words — Showbiz Meanings For Regular Words-A Selective Glossary — Appendix I: The Evolution Of A Sitcom Script — Appendix II: Spec Script Competitions — Appendix III: Sources — Recommended For The Writer's Library — Index
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