Writers: Only One Creative Element in Successful Television
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Showing posts with label writing for soap operas. Show all posts
Showing posts with label writing for soap operas. Show all posts
Saturday, January 17, 2009
Thursday, January 15, 2009
Formatting Soap Opera Scripts
Formatting Soap Opera Scripts
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
Thursday, May 22, 2008
If I was the Head Writer at Days of Our Lives-Part 12
INT: STEPHANO'S HOSPITAL ROOM: EARLY AFTERNOON
EJ stands in the doorway. Angrily, he watches Stephano is lying in his bed. Slowly he walks into the room and stands at the food of the bed. But even as he walks in the perspective from above follows him into the room.
Zooming into Stephano’s eyes, you see him standing on a stage, wearing a full tux and singing Ave Maria with a full orchestra. He is enjoying himself immensely.
EJ
(Off screen)
Father.
STEPHANO
(In his mind)
Go away! I’m busy.
Stephano tries to continue the song, but the stage has vanished and he sees EJ standing at the foot of his bed. He can see and hear, yet he still doesn’t have access to the outer world.
You traitor. What do you want from me now? My forgiveness? That will never happen.
EJ
Driving over here. I planned to put a pillow over your face and smoother the life out of you.
STEPHANO
You don’t have the guts.
EJ
But that would be too merciful. Do you remember Eva Vitali. She remembers you. So does her father. Was I ever just your son? Or was I just another one of you pawns that you moved around the chest board?
STEPHANO
A true son wouldn’t have turned his back on me. He would have torn apart heaven and earth to find a cure. You turned your back on me! You left me here.
EJ
I loved her and she loved me.
STEPHANO
Is that why you are here, whining at my bedside? A woman?
EJ
We could have been happy together. You took that future from me. For what? To bring me here. To get your revenge. To plant my seed in a Brady woman. You didn’t care which one as long as you had an heir with Brady blood. You took my soul mate from me and bound me to a woman who hates me. But I’m confused. Was the vendetta for Santo or for you? You couldn’t force Marlena to submit to you, so you had me take her daughter.
STEPHANO
I didn’t force you to rape her. It was you who wasn’t man enough to make her want you.
EJ
My whole life is a lie.
STEPHANO
If you had done what you were told, you and my grandson would be living happily at the villa. You were too stupid to listen. You let that woman control you.
EJ
I don’t know how to fix it. Every time I look at Samantha, I see the monster I’ve become. I didn’t used to be that way. I was a good person. I just wanted you to love me as your son. You never thought of me other than a means to an end.
(Picking up a pillow)
I could kill you. It would be so easy. No one would care to ask question. They would just be grateful that you were gone. Father, I hope you can see and hear me. See how close you are to dying.
(Dropping the pillow on Stephano’s chest)
But I won’t. It would be too kind. I want you to live a long time knowing that everything you’ve done was for nothing. My son will never know you.
STEPHANO
(Laughing)
Your son?
From above, the perspective focuses in on Stephano
WOMAN’S VOICE
(Southern Accent)
It has been a long time.
STEPHANO
Who--I know that voice.
Stephano is suddenly standing back in the stage in the middle of the spotlight. The orchestra is gone. The house is dark. The silhouette of a woman can barely be distinguished from the shadows.
WOMAN’S VOICE
Of course you do.
STEPHANO
You’re dead.
WOMAN’S VOICE
Why am I not surprised that you would create this grandiose diversion. You always though the world revolved around you. Than none of the rest of us existed beyond your need or good graces.
STEPHANO
Get out! You have no place here.
WOMAN’S VOICE
This is the in between place. Life. Death. Your will has no meaning here. You locked me away in a room until I begged for death to take me. Now you are locked in this in between. Not free from life. Kept from death.
STEPHANO
You betrayed me.
WOMAN’S VOICE
Do you remember what I told you?
STEPHANO
You were mad! Curses don’t exist!
WOMAN’S VOICE
You made me that way. All those years alone. No comfort. No love. No chance to put flowers on my daughter’s grave. You mocked my tears.
STEPHANO
You should not have kept her from me.
WOMAN’S VOICE
I wanted to save her from your evil. To keep her from turning into a monster. Even locked in my prison, I have seen and heard. Your evil has spread through your children.
STEPHANO
You can do nothing!
WOMAN’S VOICE
Do you remember what I said/
STEPHANO
You are powerless. Meaningless ranting.
WOMAN’S VOICE
Is that why you had Celeste barrier the door, locking me inside. Are you not curious how I was freed?
STEPHANO
You are not real. This is not reality. My mind...EJ, my son you have to help me.
WOMAN’S VOICE
He is your son. The heir of your legacy not only in blood but in deed. He left you here to die alone. As you left me. You didn’t answer my question. What did I say with my last breath?
STEPHANO
Elvis, son I forgive you. Help me!
WOMAN’S VOICE
(Stepping forward but remaining in the shadows)
You murdered my daughter--
STEPHANO
She was my daughter too. I loved her like no other!
WOMAN’S VOICE
You killed her!
STEPHANO
She’s alive!
WOMAN’S VOICE
You lie!
STEPHANO
I would never let anyone harm her!
WOMAN’S VOICE
Where is she?
STEPHANO
I wouldn’t tell you in life. What makes you think I would tell you now?
WOMAN’S VOICE
(Retreating further into the shadows)
You will tell me sooner or later.
STEPHANO
Or you will do what? What is left to be done to me?
WOMAN’S VOICE
You have not yet begun to shed your tears.
She waves her arm toward the darkness of one wall. Lexie and Theo images appears as she reads a book to her son. Beside is an image EJ is seen sliding into his car.
STEPHANO
You waste your time. They are nothing to me any more.
WOMAN’S VOICE
We shall see. Stephano, ask yourself how is that I am free, when the seal could be broken by a woman who bested you?
She disappears into the darkness, leaving Stephano alone: Once again, Stephano is staring at his hospital room.
STEPHANO
(In his mind)
This cannot happen. There has to be a way to stop her. I am Stephano DiMera. No one defies me.
CUT
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EJ stands in the doorway. Angrily, he watches Stephano is lying in his bed. Slowly he walks into the room and stands at the food of the bed. But even as he walks in the perspective from above follows him into the room.
Zooming into Stephano’s eyes, you see him standing on a stage, wearing a full tux and singing Ave Maria with a full orchestra. He is enjoying himself immensely.
EJ
(Off screen)
Father.
STEPHANO
(In his mind)
Go away! I’m busy.
Stephano tries to continue the song, but the stage has vanished and he sees EJ standing at the foot of his bed. He can see and hear, yet he still doesn’t have access to the outer world.
You traitor. What do you want from me now? My forgiveness? That will never happen.
EJ
Driving over here. I planned to put a pillow over your face and smoother the life out of you.
STEPHANO
You don’t have the guts.
EJ
But that would be too merciful. Do you remember Eva Vitali. She remembers you. So does her father. Was I ever just your son? Or was I just another one of you pawns that you moved around the chest board?
STEPHANO
A true son wouldn’t have turned his back on me. He would have torn apart heaven and earth to find a cure. You turned your back on me! You left me here.
EJ
I loved her and she loved me.
STEPHANO
Is that why you are here, whining at my bedside? A woman?
EJ
We could have been happy together. You took that future from me. For what? To bring me here. To get your revenge. To plant my seed in a Brady woman. You didn’t care which one as long as you had an heir with Brady blood. You took my soul mate from me and bound me to a woman who hates me. But I’m confused. Was the vendetta for Santo or for you? You couldn’t force Marlena to submit to you, so you had me take her daughter.
STEPHANO
I didn’t force you to rape her. It was you who wasn’t man enough to make her want you.
EJ
My whole life is a lie.
STEPHANO
If you had done what you were told, you and my grandson would be living happily at the villa. You were too stupid to listen. You let that woman control you.
EJ
I don’t know how to fix it. Every time I look at Samantha, I see the monster I’ve become. I didn’t used to be that way. I was a good person. I just wanted you to love me as your son. You never thought of me other than a means to an end.
(Picking up a pillow)
I could kill you. It would be so easy. No one would care to ask question. They would just be grateful that you were gone. Father, I hope you can see and hear me. See how close you are to dying.
(Dropping the pillow on Stephano’s chest)
But I won’t. It would be too kind. I want you to live a long time knowing that everything you’ve done was for nothing. My son will never know you.
STEPHANO
(Laughing)
Your son?
From above, the perspective focuses in on Stephano
WOMAN’S VOICE
(Southern Accent)
It has been a long time.
STEPHANO
Who--I know that voice.
Stephano is suddenly standing back in the stage in the middle of the spotlight. The orchestra is gone. The house is dark. The silhouette of a woman can barely be distinguished from the shadows.
WOMAN’S VOICE
Of course you do.
STEPHANO
You’re dead.
WOMAN’S VOICE
Why am I not surprised that you would create this grandiose diversion. You always though the world revolved around you. Than none of the rest of us existed beyond your need or good graces.
STEPHANO
Get out! You have no place here.
WOMAN’S VOICE
This is the in between place. Life. Death. Your will has no meaning here. You locked me away in a room until I begged for death to take me. Now you are locked in this in between. Not free from life. Kept from death.
STEPHANO
You betrayed me.
WOMAN’S VOICE
Do you remember what I told you?
STEPHANO
You were mad! Curses don’t exist!
WOMAN’S VOICE
You made me that way. All those years alone. No comfort. No love. No chance to put flowers on my daughter’s grave. You mocked my tears.
STEPHANO
You should not have kept her from me.
WOMAN’S VOICE
I wanted to save her from your evil. To keep her from turning into a monster. Even locked in my prison, I have seen and heard. Your evil has spread through your children.
STEPHANO
You can do nothing!
WOMAN’S VOICE
Do you remember what I said/
STEPHANO
You are powerless. Meaningless ranting.
WOMAN’S VOICE
Is that why you had Celeste barrier the door, locking me inside. Are you not curious how I was freed?
STEPHANO
You are not real. This is not reality. My mind...EJ, my son you have to help me.
WOMAN’S VOICE
He is your son. The heir of your legacy not only in blood but in deed. He left you here to die alone. As you left me. You didn’t answer my question. What did I say with my last breath?
STEPHANO
Elvis, son I forgive you. Help me!
WOMAN’S VOICE
(Stepping forward but remaining in the shadows)
You murdered my daughter--
STEPHANO
She was my daughter too. I loved her like no other!
WOMAN’S VOICE
You killed her!
STEPHANO
She’s alive!
WOMAN’S VOICE
You lie!
STEPHANO
I would never let anyone harm her!
WOMAN’S VOICE
Where is she?
STEPHANO
I wouldn’t tell you in life. What makes you think I would tell you now?
WOMAN’S VOICE
(Retreating further into the shadows)
You will tell me sooner or later.
STEPHANO
Or you will do what? What is left to be done to me?
WOMAN’S VOICE
You have not yet begun to shed your tears.
She waves her arm toward the darkness of one wall. Lexie and Theo images appears as she reads a book to her son. Beside is an image EJ is seen sliding into his car.
STEPHANO
You waste your time. They are nothing to me any more.
WOMAN’S VOICE
We shall see. Stephano, ask yourself how is that I am free, when the seal could be broken by a woman who bested you?
She disappears into the darkness, leaving Stephano alone: Once again, Stephano is staring at his hospital room.
STEPHANO
(In his mind)
This cannot happen. There has to be a way to stop her. I am Stephano DiMera. No one defies me.
CUT
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