TABLE OF C,ONTENTS. 11 Conclusion 13

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2 PUSAT H.LLIU"'-L.~ PE PUSTi\. r TABLE OF C,ONTENTS CD-ROM TO ACCOMPANY PRINTED BOOK ACKNOWLEDGMENTS INTRODUCTION xv xvii XiX PART I Defining the Problem 1 Chapter 1 DESCRIBING ONE MEDIUM THROUGH ANOTHER 3 Writing Not to Be Read But to Be Made 3 Writing, Producing, and Directing 3 Moving from Being a Viewer to Being a Creator 5 The Producer Cannot Read Your Mind 5 Instructions to the Production Crew 6 What Is the Role of a Scriptwriter? 6 The "Script" Writer Is a ew Kind of Writer 6 What Is Visual Writing? 7 Where Do We Go from Here? 9 Differences Compared to Stage Plays 10 Writing with Dialogue 10 Writing without Dialogue Chapter 2 DESCRIBING SIGHT AND SOUND 15 Describing Time and Place 15 Describing Action 16 Describing the Camera Frame or the Shot 18 Camera Shots 18 Describing Camera Movement 19 Describing Graphics and Effects 20 Describing Transitions between Shots 21 Describing Sound 23 Shot, Scene, and Sequence 24

3 viii WRITING FOR VISUAL MEDIA Finding a Format for the Page 25 Master Scene Script 25 Dual-Column Format 25 Sroryboarding Chapter 3 THE STAGES OF SCRIPT DEVELOPMENT 29 Background Research and Investigation 29 Brainstorming and Freeing Your Imagination 32 Concept 32 A Concept for a PSA: Smoked to Death 33 Pitching 33 Treatment 34 A Treatment for a PSA: Smoked to Death 34 First Draft Script 34 A First Draft Script for a PSA: Smoked to Death 35 Voice Narration and Dialogue 37 Revision 38 Final Draft 39 Shooting Script Chapter 4 A SEVEN-STEP METHOD FOR DEVELOPING A CREATIVE CONCEPT 41 Step 1: Define the Communication Problem 42 Ivy College: An Admissions Video 42 American Express: American Travel in Europe 43 PSA for Battered Women 44 Shell Gas International 44 Step 2: Define the Target Audience 45 Demographics 46 Psychographics 47 Step 3: Define the Objective 51 Step 4: Define the Strategy 52 Step 5: Define the Content 53 Step 6: Define the Appropriate Medium 54 Step 7: Define the Concept 55 A Concept for an Anti-Smoking PSA PART II Solving Communication Problems with Visual Media 61 Chapter 5 ADS AND PSAS 63 Copywriting versus Scriptwriting 63 Client Needs and Priorities 64

4 Table of Contents ix Chapter 6 The 20-, 30-, and 6O-Second Playlets Devices to Capture Audience Attention Humor Shock Suspense Drama Kids Testimonial Special Effects Sexuality Recruiting the Audience as a Character Mixing Devices and Techniques Infomercials Video News Releases Formats CORPORATE VIDEO Typical Corporate Communication Problems Meetings with a Visual Focus Getting Background and Product Knowledge Using Subject Matter Experts Video versus Print Media or Interactive Media Video as a Corporate Communications Tool Corporate Television Script Formats for Corporate Videos Developing the Script with Client Input Length, Pacing, and Corporate Style Devices That Work for Corporate Messages Dramatization Humor Visual Metaphor Narrators/Anchors on Camera Television Formats Documentary Vox Pops Logical Argument in Documentary Narrative Graphics Visual Seduction Interviews Case Histories The Story of the Day Selling Creative Ideas Working with Budget Limitations

5 x WRITING FOR VISUAL MEDIA Chapter 7 Chapter 8 TRAINING AND EDUCATIO Ai VIDEO Formative Evaluation Summative Evaluation Focus Groups Questionnaires Traditional Devices for Training Videos Show and Tell Job and Task Description Devices That Teach and Entertain Dramatization EducationallInstructional Use of Video How-to-Do-It Videos Interactive Applications DOCUMENTARIES AND NO lfictional ARRATIVES Documentary Comes First What Is the Role of the Writer? Scripted and Unscripted Approaches Research and Formulating a Theme Types of Documentary Technique Reportage Observation Interviews Investigative Documentary arrative Documentary Dramatized Documentary Expository Documentary Propaganda Other Documentary Applications Expedition Documentary Travel Documentary Documentary about the Making of Feature Films Wildlife Documentary Current Affairs Feature Writing Commentaries Narrative Voice-Over and Postproduction Wall-to-Wall Commentary Commentary Counterpoint Commentary Anchors Dual Commentators Commentary Cliches On-Camera/Off-Camera Combinations

6 Table of Contents xi PART III Entertaining with Visual Media 121 Chapter 9 DRAMATIC STRUCI1JRE AND FORM 123 Origins of Drama 123 Conflict 123 Three Act Structures for Film and Television 125 Other Narrative Structures 128 The Flashback 129 Genres 130 Script Development 133 The Premise 134 Concept or Synopsis 134 Writing a Movie Treatment 135 Screenplay 136 Master Scene Script Format 138 Scripting Software Chapter 10 WRITING TECHNIQUES FOR LONG-FORM SCRIPTS 141 Characters and Character 141 Dialogue and Action 142 Plot or Storyline 145 Comedy 145 Drama 146 Story Engines 146 Adaptation 147 Length 148 Point of View 148 Setting and Period 149 Dialogue versus Action 150 Descriptive Detail and the Camera Frame 151 Implied Action 152 New Characters 152 Bartleby Chapter 11 TELEVISION SERIES, SITCOMS, AND SOAPS 165 The Premise for Series, Sitcoms, and Soaps 166 Three-Act Structure and the TV Time Slot 167 Using Commercial Breaks 169 Visualizing for the Small Screen 169 TV Dialogue 170 Realism 170 Breaking Up Dialogue 170 Pacing 172

7 xli WRITING F--QR VISUAL MEDIA PART IV Chapter 12 Hook Team Writing The Series Bible Condensing Action and Plot Target Audience Script Formats for Television Comedy and Its Devices Running Gags Visual Gags Double Takes One-Liners New Techniques and Innovations Spec Scripts Writing for Interactive Multimedia NONLINEAR PROGRAMS FOR NEW MEDIA Instructional and Utilitarian Programs Defining Interactive Linear and Nonlinear Paradigms Combining Media for Interactive Use Breakdown of Script Formats Branching Flowcharts Storyboards Authoring Tools and Interactive Concepts Education and Training Interactive Reference Works Interactive Books Writing for Web Sites Games, Narrative, and Entertainment Interactive Television Video Games Graphics versus Live Action Computer Platforms and Capabilities Multimedia Components Finding a Script Format

8 Table of Contents xiii PART V Chapter 13 Appendix: Anticipating Professional Issues YOU CAN GET PAID TO DO THIS Writing for the Entertainment World Writing Contracts Pitching Ideology, MoraliTY, and Content Emotional Honesty and Sentimentality Writing for the Corporate World Client Relationships Corporate Contracts Marketing Yourself and Your Work Copyright Agents and Submissions Networking, Conventions, and Seminars Surfing the Web Hybrid Careers SCRIPT FORMATS Dual Column: PSA, Documentary, Corporate Master Scene Script: Feature Film for Cinema and Television Scene Script, Version 1: Television Sitcoms and Series Scene Script, Version 2: Television Sitcoms and Series Interactive Game Script GLOSSARY OF TERMS AND ABBREVIATIONS BIBLIOGRAPHY INDEX

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