Writing the TV Drama Series 3rd Edition: How to Succeed as a Professional Writer in TV (45 page)
Read Writing the TV Drama Series 3rd Edition: How to Succeed as a Professional Writer in TV Online
Authors: Pamela Douglas
PROCEDURALS.
Clue-driven series that solve puzzles or mysteries and close at the end of each episode. Examples include
CSI
and
House
.
PRODUCER.
Most TV producers are writers whose titles have improved because of experience and credits. Producers may supervise and rewrite other writers. This differs from a line producer who is responsible for physical production.
PRODUCTION.
Actually shooting the show, when cameras roll. Sometimes a series described as “in production” includes both preproduction (writing, casting, set-building), and postproduction (editing, music, effects).
PROLOGUE.
See
TEASER.
PROTAGONIST.
The character who drives the action and makes key dramatic decisions; the person the audience roots for.
RESIDUALS.
Additional payments to writers and other talent when a show reruns.
REWRITE.
A significant revision of a script that may include re-structuring and creating new characters and scenes.
SCENE.
The smallest dramatic building block, usually a step of the action, or a beat, with complete dramatic structure. In production, it is sometimes defined as the action in a single time and place.
SCENE HEADING.
See
SLUG LINE.
SEASON.
A television season encompasses the months a show airs. Though the traditional network season runs September to May, cable and other outlets have different schedules.
SECOND DRAFT.
A script that has been rewritten after receiving notes from a producer.
SERIAL.
A series whose stories continue across many episodes in which the main cast develops over time.
SHOOTING SCRIPT.
The final draft which goes into production.
SHORT ORDER.
A
PICK-UP
that commits to airing less than a full season, sometimes only a few episodes of a new show.
SHOWRUNNER.
The top
EXECUTIVE PRODUCER
in charge of a series, the one who determines the course of a show and supervises all aspects.
SLUG LINE.
Some screenwriting software uses the term
SCENE HEADING.
In a script,
INT.
or
EXT.
is followed by the location of a scene, and time.
SPEC SCRIPT.
A speculated screenplay written as a sample or in the hope of being sold. Beginners may write a spec of an existing series to demonstrate their skill.
SPRINGBOARD.
A situation in a show that provokes action; aspects of a
FRANCHISE
that provide premises for episodes. Example: In a medical drama, the arrival of a new patient creates a springboard for a story.
STAFF WRITER.
The first rung in the ladder of a writing staff, usually a beginner; also called “baby writer.”
STEP DEAL.
A writing contract which provides “cut offs” after each step of writing. For example, if a writer’s outline doesn’t work for the show, he may be cut off, not hired to proceed to the first draft.
STORY EDITOR.
A member of a series writing staff above
STAFF WRITER
and below
PRODUCER
who writes and rewrites episodes.
SUPERVISING PRODUCER.
A high-level writer-producer who may run the writing room.
SYNDICATION.
The system of selling television series as packages to groups of stations and foreign markets after a network run is complete, usually requiring at least 88 episodes. A lucrative process that follows a show’s first-run broadcast.
TEASER.
Also called
PROLOGUE
and
COLD OPENING.
Dramatic material before titles that may or may not be related to the story in the episode which follows, but often does provide a
HOOK
or inciting incident.
TELEPLAY.
Screenplay written for television.
TRADES.
Daily or weekly newspapers that cover the entertainment industry, mainly
Variety
and
The Hollywood Reporter
.
TREATMENT.
A narrative of the film, technically the entire script in prose without dialogue, but often abridged to a short summary.
WEBISODES.
Episodes made for Web or Internet distribution. They may be auxiliary episodes of existing shows or original productions.
WRITERS GUILD OF AMERICA.
The professional union that represents screenwriters. It has two branches, West (in Los Angeles) and East (in New York City), as well as affiliates in other countries.
A
BOUT
T
HE
A
UTHOR
Pamela Douglas is an award-winning screenwriter with numerous credits in television drama. She was honored with the Humanitas Prize for
Between Mother and Daughter
(CBS), an hour drama that was also nominated for a Writers Guild Award.
She received an Emmy nomination and an NAACP Image Award for writing
Different Worlds
, an hour drama on CBS. Twice, her shows won awards from American Women in Radio and Television — her original drama,
Sexual Considerations
, and her episode of the series
A Year in the Life
(NBC).
As a developer, she wrote the pilot, bible and 13 episodes of the acclaimed PBS series
Ghostwriter
. Additional series credits include
Star Trek: The Next Generation, Frank’s Place, Paradise, Trapper John, M.D.
, and many others.
She has been a member of the Board of Directors of the Writers Guild of America.
At the University of Southern California, she is a tenured professor in the School of Cinematic Arts, where she teaches screenwriting.
Ms. Douglas is available for consulting and seminars. Further information and excerpts from previous editions of this book are on her website:
or contact:
[email protected]
.
THE WRITER’S JOURNEY
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MYTHIC STRUCTURE FOR WRITERS
CHRISTOPHER VOGLER
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.
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100 ADVANCED CAMERA TECHNIQUES TO GET AN EXPENSIVE LOOK ON YOUR LOW BUDGET MOVIE
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Since 2000, CHRISTOPHER KENWORTHY has written, produced, and directed drama and comedy programs, along with many hours of commercial video, tv pilots, music videos, experimental projects, and short films. He’s also produced and directed over 300 visual FX shots. In 2006 he directed the web-based Australian UFO Wave, which attracted many millions of viewers. Upcoming films for Kenworthy include
The Sickness
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Glimpse
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