Writing for visual media/
Anthony Friedmann
- 4th ed.
- New York: Focal Press, 2014.
- 446 p.
PARTI Defining the Problem 1 Describing One Medium through Another Writing Not To Be Read But To Be Made Writing, Producing, and Directing Moving from Being a Viewer to Being a Creator The Producer and Director Cannot Read Your Mind Instructions to the Production Crew What Is the Role of a Scriptwriter? The "Script" Writer Is a New Kind of Writer What Is Visual Writing? Meta-Writing Where Do We Go from Here? Differences Compared to Novels and Stage Plays Writing with Dialogue Writing without Dialogue Conclusion Exercises A Seven-Step Method for Developing a Creative Concept Step 1: Define the Communication Problem Ivy College: An Admissions Video American Express: American Travel in Europe PSA for Battered Women Shell Gas International Step 2: Define the Target Audience Information Overload Demographics Age Gender Race and Ethnic Origin Education Income Psychographics Emotion Attitude Step 3: Define the Objective Step 4: Define the Strategy Attention Span Step 5: Define the Content Step 6: Define the Appropriate Medium Step 7: Create the Concept Seven-Step Questionnaire A Concept for an Antlsmoking PSA Conclusion Exercises Describing Sight and Sound Describing Time and Place Describing Action Describing the Camera Frame or the Shot Describing Camera Movement Describing Graphics and Effects Describing Transitions between Shots Describing Sound Voice Narration and Dialogue Format for Radio ■ Finding a Format for the Page Master Scene Script Dual-Column Format Storyboard TV Studio Multi-Camera Script News Anchor Script Format Conclusion Exercises 4 The Stages of Script Development Background Research and Investigation Interviewing Location Research Brainstorming, and Freeing Your Imagination Concept A Concept for a PSA: Texting and Driving Pitching Treatment A Treatment for a PSA: Texting While Driving Shot, Scene, and Sequence First-Draft Script A First-Draft Script for a PSA: Texting While Driving Revision Final-Draft Script A Final-Draft Script for a PSA: Texting While Driving Shooting Script Conclusion Exercises PART 2 Solving Communication Problems with Visual Media 5 Ads and PSAs: Copywriting for Visual Media Copj^riting versus Scriptwriting Client Needs and Priorities The 15-, 20", and 30-Second Miniscripts Visual Writing Devices to Capture Audience Attention More on Ads and PSAs Humor Animation Shock Suspense Drama Children Serial Storytelling Testimonial Special Effects Sexual Innuendo Recruiting the Audience as a Character Engaging the Audience as Visual Thinker Patterns That Engage the Visual Cortex Writing for Audio Radio: Words without Pictures Infomercials Video News Releases Billboards and Transportation Ads Advertising on the World Wide Web Social Media Script Formats Conclusion Exercises 6 Corporate Communications: Selling, Telling, Training, and Promoting Video, Print Media, and Interactive Media Video as a Corporate Communications Tool Corporate Television Training, Instruction, and Education Educational/Instructional Use of Video i Technical Writing - Formative Evaluation Summative Evaluation Focus Groups Questionnaires SCORM Typical Corporate Communication Problems Getting Background and Product Knowledge Devices for Video Exposition Job and Task Description Show and Tell . ? How-To Videos 1 Z Interactive Applications ; Other Corporate Uses of Media 5 Meetings with a Visual Focus Devices That Teach and Entertain Devices That Work for Corporate Messages Dramatization Humor Visual Metaphor Narrators and Anchors on Camera Ask a Question Television Formats Documentary Vox Pops Logical Argument in Documentary Nanative Graphics Visual Seduction Interview Case Histories The Story of a Day Writing the Corporate Treatment Script Formats for Corporate Videos Length, Pacing, and Corporate Style Writing Voice Commentary Developing the Script with Client Input Selling Creative Ideas Working with Budget Limitations Conclusion Exercises 7 Documentary and Nonfiction Narrative Documentary Comes First Truth or Fiction Scripted and Unscripted Approaches Research and Formulating a Theme What Is the Role of the Writer? | The Proposal The Treatment Types of Documentary Technique Reportage Observation Reality Shows Interviews Investigative Documentary Faux or Pseudo Documentary Narrative Documentary - ? Dramatized Documentary - I Expository Documentary . Propaganda . ;■ Other Documentary Applications ^ Expedition Documentary / Travel Documentary Documentaries about the Making of Feature Films Wildlife Documentary Writing Commentaries Narrative Voice-Over and Postproduction Wall-to-Wall Commentary Commentary Counterpoint and Commentary Anchors Dual Commentators Commentary Cliches On-Camera/Off-Camera Combinations YouTube Conclusion Exercises PART 3 Entertaining with Visual Media 8 Visual Storytelling: Dramatic Structure and Form Origins of Drama Conflict Three-Act Structures for Film and Television Three-Act Story Structure The Premise Tag Line Concept Other Narrative Structures The Cooler Thirteen The Place beyond the Pines The Flashback Script Development Adapting the Seven-Step Method Loglines Story Engines Writing a Movie Treatment Scene Outline Screenplay Master Scene Script Format Scripting Software Shooting Script Conclusion Exercises Writing Techniques for Long-Form Scripts Characters and Character Dialogue and Action Plot or Storyline Comedy Comic Devices The Comic Character as Victim Verbal Comedy Running Gag The Visual Gag The Cover-Up/Impersonation Disguise and Mistaken Identity Dramatic Irony Drama Cover-Up/Mistaken Identity Disguise Dramatic Irony Ambition/Pride Challenge and Survival Greed Love Gone Wrong Desire/Lust/jealousy Writing Techniques for Adaptation The Problem of Adaptation Length Point of View Narrative Tense and Screen Time Setting and Period Dialogue vs. Action Descriptive Detail and the Camera Frame Implied Action It's a Wonderful Life Bartleby Conclusion Exercises 10 Television Series, Sitcoms, and Soaps The Premise for Series, Sitcoms, and Soaps Drama Series Miniseries Three-Act Structure and the TV Time Slot Using Commercial Breaks Visualizing for the Small Screen TV Dialogue Realism/Realistic Dialogue Breaking Up Dialogue Pacing The Beat Sheet Team Writing Hook/Teaser The Series Bible Condensing Action and Plot Target Audience Script Formats for Television TV Comedy and Its Devices Running Gags Visual Gags Insult and Putdown Double takes One-Liners and Laugh Lines Spec Scripts Reality TV New Techniques and Innovations Interactive Television Conclusion Exercises PART 4 Writing for Interactive and Mobile Media 11 Writing and Interactive Des' Defining Interactive Linear and Nonlinear Paraoigms Combining Media for Interactive Use V Breakdown of Script Formats Branching Flowcharts Storyboards Authoring Tools and Interactive Concepts Multimedia Components Finding a Script Format Conclusion Exercises 12 Writing for Interactive Communications Instructional and Utilitarian Programs Different Writing For Websites Conceptual Writing vs. Content Writing Website Concepts Navigation: The Third Dimension Writing the Interactive Idea Concept Design Document Flowchart Breakdown for Production Text Video, Stills, and Audio Applying the Seven-Step Method Concept Writing to Be Read on the Web E-Commerce and Interactive Distribution Interactive Reference Works Interactive Catalogues and Brochures Education and Training Kiosks Conclusion Exercises 13 Writing for Video Games . Games, Narrative, and Entertainment Video Games Mobile Games Games for Website Engagement Writing Character in Video Games The Order of Writing Treatment or Overview Describing the World of the Game Flowchart Description of Sub-Quests Character Descriptions Interaction with Non-Player Characters Cut Scenes Storyboard Script Notes Graphics vs. Live Action Formats Interactive Games for Training Military Training Games Corporate Training Games Educational Games Conclusion Exercises 14 Writing for Mobile Media Platforms Technical Antecedents Content on Mobile Platforms Antecedents for Mobile Content Video on Mobile Platforms Video and Cell Phone Use The Mobisode Webisodes and New Digital Formats Writing Changes Second-Screen and Multiple Media Concepts What Is Second Screen? "Snackable" Content What Does All This Mean for Writers? Conclusion Exercises PARTS Anticipating Professionai Issues 15 You Can Get Paid to Do This Writing for Money - Pitching Logline Agents and Submissions Writing for Television Producing and Writing Video Games Ideology, Morality, and Content Emotional Honesty and Sentimentality Truthiness and Consequences Writing for the Corporate World Client Relationships Corporate Contracts Work for Hire Marketing Yourself and Your Work Copyright Work-Made-for-Hire and Freelance Networking, Conventions, and Seminars Resources on the World Wide Web Hybrid Careers Conclusion Exercises