#writingfortv

[aprilhunter]

Score: 99. :) #worksforme #straightAs #fulltimestudent #FullSailUniversity #screenwriting #scriptwriting #writing #writingforTV #aprilhunter #picoftheday #whooo

[willcareyisnotpunkrock]

My guest on today’s #betweenawesomeanddisaster #podcast is @dailybez we talk #twitter #standupcomedy and #writingfortv #linkinbio listen on Apple Podcasrs and @stitcherpodcasts https://www.instagram.com/p/Bul3Dwmns_A/?utm_source=ig_tumblr_share&igshid=nj5cssyv3mgl

[robynroste]

Tweeted

NBCUniversal Talent Infusion Programs seeks applicants for Writers on the Verge, a program focused on preparing emerging writers to work on television series. https://t.co/wIWaHaENRk via @nbcunitips #writingcommunity #writingfortv #amwriting

— Robyn Roste (@RobynRoste) May 21, 2019

[rulebostoncamera]

Filmmakers Collaborative presents a Screenwriting Workshop with Bill Lattanzi on Thurs, March 24th from 6-8pm at the Capitol Theater in Arlington. Bill will cover the basics of traditional dramatic story structure and how they might be applied to the unique demands of the film/video narrative. Space is limited! Sign-up now!

[razwriter]

To TV, or not to TV

This month’s experience of being introduced to episodic and serial writing for television and other media ended up in a way I hadn’t expected. Coming into the class, the idea had only glossed over my thoughts once or twice about writing for television, but I had never truly considered it. The only kinds of stories that seemed to come to mind for me were those that would be told at one time, like movies or novels. However, being in this class opened my creative mind into the multitude of possibilities in telling stories that come in multiple installments. One of the primary differences between episodic and serial writing from other kinds of storytelling is the emphasis on character. While it is true that no matter what kind of writing you do, you want to have good characters as well as a good plot, if the show is more episodic in structure, you absolutely need intriguing characters that the audience will come back to see in different situations time and time again. Writing for something that will continue on, possibly even beyond your work on it, is a whole different kind of monster.

One of the main differences, of course, is that a single writer doesn’t have exclusive control over anything. The only exception might be the showrunner, but let’s bypass that for now. It was interesting to work on something that I hadn’t created from scratch. It was easier in the sense that I didn’t have to pound my imagination into mush in order to come up with characters and such. But that was also the difficult part because there were already rules in place that had to be followed for characters, setting, and the types of plots that could be used. Sometimes making your ideas fit in the established structure can be just as frustrating as writer’s block. But those difficulties are eased by the fact that you work in teams when writing for something television. And that collaboration can help smooth rough edges on your script, unlock ideas that you couldn’t access on your own, and provide mountains of feedback that will help all scripts better than one writer could make alone.

Honestly, I could see myself making a living out of writing for television. The problem is that moving to Los Angeles is not an option for me and my family right now, which makes working in mainstream television difficult, if not impossible. However, I do think that I will research more local groups of filmmakers and see if we could make something that could be put online. Whether I want to end up in L.A. later or not, it is a great place to start. I will also get in touch with artists to talk about the possibilities of creating a web comic. If nothing else, these projects will help bolster my portfolio.

Because of this experience, my future in writing has many more paths than I had seen before.