The calling card script : a writer's toolbox for screen, stage and radio /

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The calling card script is the script that expresses your voice, gets you noticed and helps you reach commission and production. Written by Paul Ashton, Development Manager of the BBC writersroom, and born out of his wide experience of reading scripts, working with writers, and as an industry '...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Ashton, Paul
Formato: Electrónico eBook
Idioma:Inglés
Publicado: London : A & C Black, 2011.
Temas:
Motion picture plays > Technique.
Radio plays > Technique.
Television plays > Technique.
Audiodrames > Technique.
Dramatiques > Technique.
LANGUAGE ARTS & DISCIPLINES > Composition & Creative Writing.
LANGUAGE ARTS & DISCIPLINES > Rhetoric.
REFERENCE > Writing Skills.
Motion picture plays > Technique
Radio plays > Technique
Television plays > Technique
Literature.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cover; CONTENTS; INTRODUCTION; An act of faith; The 'toolbox'; The form of this book; What this book does not do; An industry perspective; Points of reference; The 'calling card' script; A basic definition; The writer's ego versus the writer's journey; 1 THE MEDIUM; THE WRITER AS MEDIUM; 'Medium'; One man and every man; What writers do; Instinct and craft; Is the writer a medium?; Using medium; THE THEATRICAL SPACE; What is theatre?; Magic, ritual and spectacle; Spectator and audience; Auditoria; Complexity of space; Complexity of form; The empty space; The technological space.
  • Clarity of spaceMoney, monsterism and miniaturism; The director; The actor; Directing the action; Theatre and metaphor; RADIO AND THE ACOUSTIC ENVIRONMENT; ''Theatre of the airwaves'; Cinema of the airwaves; The contradiction; Auditorium; The purest form; The audience; Only for radio; Acoustic environment; Scope; Voice; Music; Sound; FILM AND THE CINEMATIC CANVAS; The big picture; Theatrical release; Cinema scope; Knowing your place; 'Show don't tell'; Sign language; Up close; Montage; The whole story; The complex singularity; The kind of story; Universal; TELEVISION AND THE RELENTLESS FORMAT.
  • DistractionsThe morning after; The cold light of day; The schedule; Audience is god; The phenomenon; Jumping the shark; The single exception; Format not formula; Basic distinctions; Serial; Continuing series; Precinct; Returning series; Relentless meets format; 2 THE BEGINNING; WHAT ARE PRODUCERS LOOKING FOR?; The meat market; The market; So what are people looking for?; WHERE TO BEGIN?; The blank page; Knowledge is power; News of the world; Devil in the detail; A head for ideas; You; Your feelings; Your voice; The X Factor; What is a voice?; Can you hear your own voice?; KINDS OF STORIES.
  • ArchetypesLinear; Epic; Full circle; Fractured; Repetitive; Reversed; The impact of shape; Genre; Theatre and genre; Radio and genre; Television and genre; Tone; The right form; WHAT'S THE BIG IDEA?; ''Droit moral'; Theme; Universal; Concept and world; Premise; Premise and character; Premise and emotion; The big idea; Idea and medium; Theatre; Radio; Film; Television; WHAT'S THE STORY?; Beginnings and endings; Knowing where you are going; Direction and purpose; Focus; Point of view; Movie ensembles; Hook; POV turned upside-down; GETTING INTO CHARACTER; Test of character; Dramatic versus comic.
  • Spending timeEmpathy; Definition; Archetypes; Features; Eccentricity; Qualities; Capabilities and flaws; Estimation; Attitude; POV; History and backstory; Moral compass; Morality and conflict; The 'agon'; Hero and villain; Desire and need; Desire versus need; Action; Vulnerability; Character and medium; Theatrical character; Radio character; Film character; TV character; HITTING THE GROUND RUNNING; Page one; Know your story; Hook the attention; The midst of a moment; A focused way in; 'Getting to know' the characters; Exposition; The captive audience; STRUCTURE AND THE BEGINNING; ''Act one'

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