By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Most writers falter when writing a television treatment. This occurs because there is no definite formula for crafting one that will work every time. Television airs several categories of programs, each requiring specialized handling. Besides, the studios and the producers mostly do not follow any fixed formatting style for crafting treatments. Through the ages, TV has undergone so many evolutionary changes that the original structure of a treatment has been replaced by different ones for different production companies, channels, or networks. Writing a television treatment for a series is quite unlike writing one for a TV film. While the former lays more emphasis of detailing the character development, the latter needs a well formulated story.
Although television is a visual medium, it relies heavily on written material. Scripts and treatments form the foundation of writing success. The ability to clearly communicate your ideas to the people who will help to launch your project is reflected by the way you write the treatment for television. In the language used by TV people, summaries are known as treatments in dramatic productions and as program proposals in non-dramatic productions. Both serve the same purpose - bringing greater clarity to the ideas and to be more organized.
Writing a television treatment often reveals the gaps and weaknesses of your idea and save you much embarrassment later on. The document gives assurance to all concerned that they will be able to work in close collaboration with one another. The treatment attempts to convince the investors that the show deserves to be made, promising viewers an interesting and engaging program. Writing a television treatment is only the beginning of a series of tasks involved in getting your idea screened for the world to watch. There are some guidelines that may come in handy:
� Decide the genre you want to tackle.
� When creating an outline of the story, be sure to give breaks for commercials, before which drop a scintillating cliffhanger. This keeps the audience glued to the TV.
� If you are writing a series of episodes, let the pilot be extraordinarily dynamic to pull the crowds. Each episode should end on a high dramatic note, inducing the viewers to tune in to see what happened next.
� Follow the formatting style for the treatment required by the network with which you are working.
� Include all the turning points and write in present tense using active voice.
� Register your work with WGA to protect it.
Writing a television treatment is done by established writers and not by people pitching their ideas. Most the producers began their career in television as writers. You too can scale great heights by persevering and toiling hard to pen scripts, proposals, and treatments of excellent quality. Begin by writing a short biography of the creator of the show, add a description of the characters and finally use a story to give it a garnishing effect.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK [http://ScreenwritersForHire.Com/]http://ScreenwritersForHire.Com/.
Article Source: [http://EzineArticles.com/?Writing-A-Television-Treatment&id=6613739] Writing A Television Treatment
Thursday, November 10, 2011
Tuesday, November 8, 2011
Writing Treatments
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Writing treatments is a task beyond the capability of most writers. Special skill and years of rigorous practice are usually required before you can sell a treatment. You will do a better job if you can answer the following when writing treatments:
� Why is it that you want to write a treatment?
� Is it meant to act as a guideline for you?
� Is it meant to sell your script?
� Have you been specifically asked by an authority to compose it?
� Are you writing an original screenplay or is it an adaption of someone else's work?
Each of these answers will have profound influence when writing treatments in a certain way. The treatment should not trudge along predictable lines, sounding drab. Instead, add pep to it by capturing the thrill of each scene. For a while, just forget that you are writing. Tell your story in present tense as if you are narrating a cliff-hanger to a group of your buddies. Bring in a visual effect to the treatment if you want it to be worthwhile.
There are hundreds and thousands of aspiring candidates out there, all writing treatments to the best of their abilities. Create yours to be different, something to shake the reader awake, take note of it, and contact you for the main script. Penning treatments saves time -- yours and the prospective customers'. Your time is saved because treatment writing acts as a blueprint for you to base your screenplay upon. It helps to keep you focused on the pre-meditated plan. The reader is also saved the bother of having to read page-after-page of a long, completed screenplay. A short but vivacious treatment is often an instantaneous hit, creating a craving in the reader to know more about it and desire to see it on the small or the large screen. Keep it sailing smoothly like a song to capture the hearts and minds of the reader and soon you will have interested executives.
Writing treatments is second in the sequence to tell the prospective buyer what your story is about; the first step is the pitch. They are an enormous nightmare to write but just have to be done to help you to succeed. A writer should not write a screenplay before a treatment. It is his roadmap and a ticket to his ultimate victory. The treatment is for producers, artists, and directors while a synopsis is only for you. Treatments are often authored by a different writer than the person who ultimately writes the screenplay.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK [http://ScreenwritersForHire.Com/]http://ScreenwritersForHire.Com/.
Article Source: [http://EzineArticles.com/?Writing-Treatments&id=6613763] Writing Treatments
Writing treatments is a task beyond the capability of most writers. Special skill and years of rigorous practice are usually required before you can sell a treatment. You will do a better job if you can answer the following when writing treatments:
� Why is it that you want to write a treatment?
� Is it meant to act as a guideline for you?
� Is it meant to sell your script?
� Have you been specifically asked by an authority to compose it?
� Are you writing an original screenplay or is it an adaption of someone else's work?
Each of these answers will have profound influence when writing treatments in a certain way. The treatment should not trudge along predictable lines, sounding drab. Instead, add pep to it by capturing the thrill of each scene. For a while, just forget that you are writing. Tell your story in present tense as if you are narrating a cliff-hanger to a group of your buddies. Bring in a visual effect to the treatment if you want it to be worthwhile.
There are hundreds and thousands of aspiring candidates out there, all writing treatments to the best of their abilities. Create yours to be different, something to shake the reader awake, take note of it, and contact you for the main script. Penning treatments saves time -- yours and the prospective customers'. Your time is saved because treatment writing acts as a blueprint for you to base your screenplay upon. It helps to keep you focused on the pre-meditated plan. The reader is also saved the bother of having to read page-after-page of a long, completed screenplay. A short but vivacious treatment is often an instantaneous hit, creating a craving in the reader to know more about it and desire to see it on the small or the large screen. Keep it sailing smoothly like a song to capture the hearts and minds of the reader and soon you will have interested executives.
Writing treatments is second in the sequence to tell the prospective buyer what your story is about; the first step is the pitch. They are an enormous nightmare to write but just have to be done to help you to succeed. A writer should not write a screenplay before a treatment. It is his roadmap and a ticket to his ultimate victory. The treatment is for producers, artists, and directors while a synopsis is only for you. Treatments are often authored by a different writer than the person who ultimately writes the screenplay.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK [http://ScreenwritersForHire.Com/]http://ScreenwritersForHire.Com/.
Article Source: [http://EzineArticles.com/?Writing-Treatments&id=6613763] Writing Treatments
Sunday, November 6, 2011
Writing a TV Show Treatment
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
The knack of writing a TV show treatment can be developed over time if the writer is determined and hard working. The unwavering resolve to succeed is half the task accomplished. TV is a common medium of telecommunication in homes, businesses and institutions. Due to its far-reaching and widespread acknowledgement as the most popular source of entertainment and news, the number of networks and channels has been continually on the rise. The variety of programs aired on the television is too exhaustive to enumerate. Of late, the demand for newer shows to cater to different tastes and age groups has ramped up the production of newer and better programs. This has put greater pressure on production houses and studios to ready a wider range of TV shows. All screenplays need some kind of written material to act as a guideline. Writing a TV show treatment has emerged as a lucrative profession in the realm of creative writing for the entertainment industry.
Writers can explore a plethora of opportunities to suit their taste in this business. The need for novel programs result in a chain of events, including compiling several proposals, scripts and treatments. Writing a TV show treatment is a necessary prerequisite to screenplay writing. A treatment serves several purposes and has to be carried out very thoroughly to ensure the success of the proposed program. Success of a TV program is evaluated in terms of its viewership and, to some degree, the period of time the serial runs for. The functions of a treatment include:
1. Writing a TV show treatment acts as a broad framework within which the author can work while writing out the actual script. It is a roadmap for the writer so that he stays focused on his mission.
2. A treatment serves as a diagnostic tool. An idea for a TV program may sound wonderful while in his head but the loopholes can be discovered only when the writer begins to transfer that idea on to a piece of paper.
3. Treatments are good marketing tools. After pitching his or her concept, the writer may be requested to elaborate upon it, converting it to a full-fledged screenplay if the idea appeals to the production executives. Often these decision makers may offer to buy the treatment itself. Writing a TV show treatment is an important step in giving a formal shape to an idea.
Treatments are sometimes not converted into a script. The synthesis itself is used as a shooting document. All the members of the crew go about their tasks referring to it -- the location planner, the director, the camera men, the lights, sound and set in-charge etc. take guidance from the descriptive outline of show's concept - the treatment. Many networks prefer to use treatments because they offer crew members a chance to exert greater control over the flow of the show.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-a-TV-Show-Treatment&id=6613767] Writing a TV Show Treatment
The knack of writing a TV show treatment can be developed over time if the writer is determined and hard working. The unwavering resolve to succeed is half the task accomplished. TV is a common medium of telecommunication in homes, businesses and institutions. Due to its far-reaching and widespread acknowledgement as the most popular source of entertainment and news, the number of networks and channels has been continually on the rise. The variety of programs aired on the television is too exhaustive to enumerate. Of late, the demand for newer shows to cater to different tastes and age groups has ramped up the production of newer and better programs. This has put greater pressure on production houses and studios to ready a wider range of TV shows. All screenplays need some kind of written material to act as a guideline. Writing a TV show treatment has emerged as a lucrative profession in the realm of creative writing for the entertainment industry.
Writers can explore a plethora of opportunities to suit their taste in this business. The need for novel programs result in a chain of events, including compiling several proposals, scripts and treatments. Writing a TV show treatment is a necessary prerequisite to screenplay writing. A treatment serves several purposes and has to be carried out very thoroughly to ensure the success of the proposed program. Success of a TV program is evaluated in terms of its viewership and, to some degree, the period of time the serial runs for. The functions of a treatment include:
1. Writing a TV show treatment acts as a broad framework within which the author can work while writing out the actual script. It is a roadmap for the writer so that he stays focused on his mission.
2. A treatment serves as a diagnostic tool. An idea for a TV program may sound wonderful while in his head but the loopholes can be discovered only when the writer begins to transfer that idea on to a piece of paper.
3. Treatments are good marketing tools. After pitching his or her concept, the writer may be requested to elaborate upon it, converting it to a full-fledged screenplay if the idea appeals to the production executives. Often these decision makers may offer to buy the treatment itself. Writing a TV show treatment is an important step in giving a formal shape to an idea.
Treatments are sometimes not converted into a script. The synthesis itself is used as a shooting document. All the members of the crew go about their tasks referring to it -- the location planner, the director, the camera men, the lights, sound and set in-charge etc. take guidance from the descriptive outline of show's concept - the treatment. Many networks prefer to use treatments because they offer crew members a chance to exert greater control over the flow of the show.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-a-TV-Show-Treatment&id=6613767] Writing a TV Show Treatment
Friday, November 4, 2011
Writing Treatments For Television
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
A specialized area, writing treatments for television has come to be hailed as a precursor to television shows that will be aired on the small, silver screen. It requires a deep understanding of the conventions to be followed regarding formatting, style, and rhythmic flow of the compiling of the treatment. The word "treatment" refers to the unique piece of literary art that serves several functions before and while the show is under construction. Everyone connected to the TV program has use for it, including the agents, studios, crew members, networks, and production houses. The audience too is affected by the treatment since its quality largely determines the superiority of the program is eventually shapes.
When writing treatments for television care has to be exerted in certain of its areas. Creative writing for the entertainment industry is far from simple, especially where the writer has to rub shoulders with a very large number of competitors. The lure for television glamor has attracted many to try their luck at writing for TV. Assessment of the following will help to better the way the treatment is readied to fit its objective:
Genre - This is of prime concern when writing treatments for television. Treatments written for a documentary, sitcom, serial, tele-film, movie or any other will differ in style and structure. Decide for which category you would like to write and then proceed to learn the finer trade secrets. In this way, the result of your writing treatments for television will be outstanding and the planned shows, a series of roaring successes.
Audience - Treatments are written for a specific purpose, aimed to perform some specific task, and have a certain audience in mind. Writing treatments for television could be for the following:
� Supporting the pitch that has already made a mark on producers, agents, or developmental executives.
� Substituting a script - as in the case of documentaries.
Network or studio - With the evolution of time, the stipulated standard for treatment writing, too, has altered. Different production houses, studios or the network may require a variation in the way the treatment is compiled.
Discrepancies may be in:
� The length of the treatment
� Formatting style - Fonts, header, page numbering, paragraph heading
� Presentation - The front page, binding, paper to be used
� Jargon - The commonly used terminology or the language
� Depth of details given
The task of writing treatments for television is sometimes handed over to experienced writing companies. They are well-versed not only in writing out the treatment but also in submitting it into the right hands so that it has better chances of seeing daylight. Professional writers assist in getting your work registered to ensure that your concept is not used by somebody else. Organizations that can be hired to shape your concept into a treatment and perhaps into a script later on for the upcoming TV program are not difficult to find through the use of the Internet.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-Treatments-For-Television&id=6613772] Writing Treatments For Television
A specialized area, writing treatments for television has come to be hailed as a precursor to television shows that will be aired on the small, silver screen. It requires a deep understanding of the conventions to be followed regarding formatting, style, and rhythmic flow of the compiling of the treatment. The word "treatment" refers to the unique piece of literary art that serves several functions before and while the show is under construction. Everyone connected to the TV program has use for it, including the agents, studios, crew members, networks, and production houses. The audience too is affected by the treatment since its quality largely determines the superiority of the program is eventually shapes.
When writing treatments for television care has to be exerted in certain of its areas. Creative writing for the entertainment industry is far from simple, especially where the writer has to rub shoulders with a very large number of competitors. The lure for television glamor has attracted many to try their luck at writing for TV. Assessment of the following will help to better the way the treatment is readied to fit its objective:
Genre - This is of prime concern when writing treatments for television. Treatments written for a documentary, sitcom, serial, tele-film, movie or any other will differ in style and structure. Decide for which category you would like to write and then proceed to learn the finer trade secrets. In this way, the result of your writing treatments for television will be outstanding and the planned shows, a series of roaring successes.
Audience - Treatments are written for a specific purpose, aimed to perform some specific task, and have a certain audience in mind. Writing treatments for television could be for the following:
� Supporting the pitch that has already made a mark on producers, agents, or developmental executives.
� Substituting a script - as in the case of documentaries.
Network or studio - With the evolution of time, the stipulated standard for treatment writing, too, has altered. Different production houses, studios or the network may require a variation in the way the treatment is compiled.
Discrepancies may be in:
� The length of the treatment
� Formatting style - Fonts, header, page numbering, paragraph heading
� Presentation - The front page, binding, paper to be used
� Jargon - The commonly used terminology or the language
� Depth of details given
The task of writing treatments for television is sometimes handed over to experienced writing companies. They are well-versed not only in writing out the treatment but also in submitting it into the right hands so that it has better chances of seeing daylight. Professional writers assist in getting your work registered to ensure that your concept is not used by somebody else. Organizations that can be hired to shape your concept into a treatment and perhaps into a script later on for the upcoming TV program are not difficult to find through the use of the Internet.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-Treatments-For-Television&id=6613772] Writing Treatments For Television
Wednesday, November 2, 2011
Writing Television
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Among all forms of creative writing, television attracts many aspirants who want to carve out a niche for themselves. Films, radio, or advertising have taken a backseat as compared to 'the tube'. The content of TV determines the revenues collected to a very large extent. The writers for TV shoulder a lot of responsibilities in the total production of the shows. In order to take on the rigors of writing for the powerful medium confidently, the writer has to be extremely:
• Dedicated
• Talented
• Responsible
• Capable of meeting deadlines
• Creative
• Relentless
• Hard working
A highly lucrative career in writing, television holds many opportunities for the right candidates. The need for quality, trained writers is escalating by the day due to the growing popularity of television as a tool for entertainment and educational purposes. In terms of quantum and stability, TV can provide jobs for writers of every caliber. Most producers today began as writers and inched their way up by their ability to face the hardships along the path. Writing for print is completely different from writing for the electronic media. Every sentence penned by the writer for the latter has to be clear and concise or else the meaning is lost. Unlike printed material, the viewer cannot return to the previous sentence to understand it better.
The foremost quality required is the art of prolific writing. Television content is of several genres and sub-genres such as comedy, drama, soap operas, talk shows, thrillers etc. The more conversant the writer is with the genres, the better will be his chances of making it big in the industry. The seeds of interest in writing for television can be nurtured and honed through experience. A thorough understanding of the format, style, and terminology used for the scripts will become stepping stones for writers hoping to enter the world of entertainment.
Breaking into the business has become tougher since the competition is stiff with countless aspiring contestants. Knowing somebody already established in the industry is an asset because that 'somebody' can give you a leg up. A practical advice is to develop a network of associates who can help to get you started. The few initial failures are hardly considered so because they teach you the craft like none other. As the digital technology is reshaping the world, writing television shows has donned a newer hue. When writing for the ear, you need not pay attention to marks of punctuation. You only have to ensure that whatever you wish to convey gets through to the audience clearly. Use a conversational tone without resorting to complicated vocabulary or high-flown grammar. This makes the person delivering the dialogue and the audience comfortable.
Have creative [http://ghostwritersforhire.com/]ghostwriters help you publish and perfect your screenplay; visit [http://ghostwritersforhire.com/]http://ghostwritersforhire.com/, CALL (716) 579-5984, or EMAIL ezine[at]GhostWritersForHire.Com
Article Source: [http://EzineArticles.com/?Writing-Television&id=6613785] Writing Television
Among all forms of creative writing, television attracts many aspirants who want to carve out a niche for themselves. Films, radio, or advertising have taken a backseat as compared to 'the tube'. The content of TV determines the revenues collected to a very large extent. The writers for TV shoulder a lot of responsibilities in the total production of the shows. In order to take on the rigors of writing for the powerful medium confidently, the writer has to be extremely:
• Dedicated
• Talented
• Responsible
• Capable of meeting deadlines
• Creative
• Relentless
• Hard working
A highly lucrative career in writing, television holds many opportunities for the right candidates. The need for quality, trained writers is escalating by the day due to the growing popularity of television as a tool for entertainment and educational purposes. In terms of quantum and stability, TV can provide jobs for writers of every caliber. Most producers today began as writers and inched their way up by their ability to face the hardships along the path. Writing for print is completely different from writing for the electronic media. Every sentence penned by the writer for the latter has to be clear and concise or else the meaning is lost. Unlike printed material, the viewer cannot return to the previous sentence to understand it better.
The foremost quality required is the art of prolific writing. Television content is of several genres and sub-genres such as comedy, drama, soap operas, talk shows, thrillers etc. The more conversant the writer is with the genres, the better will be his chances of making it big in the industry. The seeds of interest in writing for television can be nurtured and honed through experience. A thorough understanding of the format, style, and terminology used for the scripts will become stepping stones for writers hoping to enter the world of entertainment.
Breaking into the business has become tougher since the competition is stiff with countless aspiring contestants. Knowing somebody already established in the industry is an asset because that 'somebody' can give you a leg up. A practical advice is to develop a network of associates who can help to get you started. The few initial failures are hardly considered so because they teach you the craft like none other. As the digital technology is reshaping the world, writing television shows has donned a newer hue. When writing for the ear, you need not pay attention to marks of punctuation. You only have to ensure that whatever you wish to convey gets through to the audience clearly. Use a conversational tone without resorting to complicated vocabulary or high-flown grammar. This makes the person delivering the dialogue and the audience comfortable.
Have creative [http://ghostwritersforhire.com/]ghostwriters help you publish and perfect your screenplay; visit [http://ghostwritersforhire.com/]http://ghostwritersforhire.com/, CALL (716) 579-5984, or EMAIL ezine[at]GhostWritersForHire.Com
Article Source: [http://EzineArticles.com/?Writing-Television&id=6613785] Writing Television
Monday, October 31, 2011
Literary Analysis - Focus on Characters
By [http://ezinearticles.com/?expert=Jo_Karabasz]Jo Karabasz
Literary Conflict
EVERY story has at least two essential elements: a central character and a problem. The problem is of course called the 'conflict'. Conflict is the collision between two opposing 'motivations'. The conflict is what drives the story forward and what essentially causes the changes in the main characters. The conflict can be between:
A character and nature - a story of survival against all odds [think 127 Hours]
Two characters - the good guy/bad guy stories [think James Bond]
Two sides of a single character - a decision that must be made, a character flaw that gets one in trouble [think Contents of a Dead Man's Pocket]
A character and society - a person going against the assumptions and demands of his or her society [think Titanic]
A character and the supernatural - resisting ghosts and the occult [think True Blood]
A character and technology - the fight against the evils of over-mechanization [think Transformers]
A character and destiny - a human struggle for personal free will despite fate and expectations [think Macbeth]
Types of Characters
In order to be able to discuss the characters in a piece of literature and compare characters from more than one work, we need some vocabulary to use in describing them. There are many different terms used for this, covering all sorts of details about the characters. Here are the three most important aspects of literary characterization you need to understand.
Round vs. Flat
Some characters in a story we get to 'know' well. We learn what they look like, their backstories [history before the narrative opens], even what they want and why they do what they do. Usually these are the most important characters, for sure, but not always. Any character we learn much about is called 'round'. Other characters who inhabit the story without letting us get to know them well are called flat.
It is very unusual to have a flat character as one of the main characters. Some depth of characterization is absolutely necessary if we are to learn to care about a character very much! On the other hand, we don't NEED to know the motivation of a character that enters the story only briefly.
Dynamic vs. Static
All great stories are about change - things learned, characters refined, decisions made. You can be assured that your most important characters are dynamic - they change or cause change in others. Static characters, in contrast, do not change. Static characters have their places, but are almost never the central character[s] in the story.
Look for changes in characters, and the REASONS for those changes, and you will find the essential points of the story.
Developed/Stock
There are some characters we know enough about JUST because of their profession - the prissy librarian, the jovial barkeep, the sweet granny, the serious judge. These stereotypical 'Stock' characters are very useful in story writing - they don't need a lot of description.
A developed character is one that the writer builds, sometimes beginning with a stock character, but then going deeper, farther into his personality and motivations. Quite often unexpected facets added to a stock character make for delightful, fascinating people in a tale.
Major Characters
Protagonist
The protagonist [or occasionally protagonists] is our central, sympathetic character. To figure out which IS the protagonist, ask yourself two simple questions:
Whose story IS it? Which character matters most to us? Who do we care the most about?
Which character makes the fateful decision or takes the fateful action that brings the conflict to climax [and then inevitably to resolution]?
When analyzing this character be sure to make notes about the following:
Motivation - What does the protagonist want/need/have to achieve?
Conflict - What is in the way? What does the protagonist THINK is in the way?
Changes - How does the protagonist change - physically and/or in personality?
Decisions - Which decision[s] was/were pivotal to the climax?
Antagonist
The antagonist is the character, or force that opposes then motivation of the protagonist. Record these things as you analyze:
Description
Personality [if there is one]
Motivation[s]
Subordinate Characters
Subordinate characters are many. They are 'everyone else'. However, no character is present just by chance. Each has one or more raison d'etre, or reason for being there. These reasons fall into three categories:
A Foil - a character who is in the tale to help us learn more about the protagonist. 'Sidekicks' do that, but so do other minor characters who demonstrate personality traits opposite to the protagonist, and so act as mirror-images that enhance our understanding of the protagonist. The two 'Little Pigs' who built their houses of hay and sticks help one see just HOW smart was the ONE who used bricks, for instance.
Comic Relief - the drama of a story is very often 'interrupted' by a funny scene that serves to heighten the overall tension in the piece. Some characters are just humorous by their appearance or personality, and their interaction with the protagonist is a 'humanizing' one that can help keep a hero from being more irritating than sympathetic.
A Plot Device - a character who moves the story along without being a significant player. For instance, this might be the taxi driver who gets the detective to the crime scene. He is absolutely essential, but we need, and get, few if any details about him
When reading you should record just a few things about subordinate characters.
Name
Description
Personality
Where in the plot they appear
Purpose[s]
Remember that going forward with your analysis you will rely heavily on your understanding of the roles of the characters. Give this focus all the time it needs.
Jo Karabasz
Managing Director
Overlook Tutorial Academy http://www.overlooktutorialacademy.net
As an expert in tutoring, SAT/ACT/AP Test Preparation and College Guidance I can answer other questions or concerns about Literary Analysis. Feel free to check the Information Base on the web site - there is a lot more there and if text materials do not answer all your questions I am available at your service, do call.
Article Source: [http://EzineArticles.com/?Literary-Analysis---Focus-on-Characters&id=6613678] Literary Analysis - Focus on Characters
Literary Conflict
EVERY story has at least two essential elements: a central character and a problem. The problem is of course called the 'conflict'. Conflict is the collision between two opposing 'motivations'. The conflict is what drives the story forward and what essentially causes the changes in the main characters. The conflict can be between:
A character and nature - a story of survival against all odds [think 127 Hours]
Two characters - the good guy/bad guy stories [think James Bond]
Two sides of a single character - a decision that must be made, a character flaw that gets one in trouble [think Contents of a Dead Man's Pocket]
A character and society - a person going against the assumptions and demands of his or her society [think Titanic]
A character and the supernatural - resisting ghosts and the occult [think True Blood]
A character and technology - the fight against the evils of over-mechanization [think Transformers]
A character and destiny - a human struggle for personal free will despite fate and expectations [think Macbeth]
Types of Characters
In order to be able to discuss the characters in a piece of literature and compare characters from more than one work, we need some vocabulary to use in describing them. There are many different terms used for this, covering all sorts of details about the characters. Here are the three most important aspects of literary characterization you need to understand.
Round vs. Flat
Some characters in a story we get to 'know' well. We learn what they look like, their backstories [history before the narrative opens], even what they want and why they do what they do. Usually these are the most important characters, for sure, but not always. Any character we learn much about is called 'round'. Other characters who inhabit the story without letting us get to know them well are called flat.
It is very unusual to have a flat character as one of the main characters. Some depth of characterization is absolutely necessary if we are to learn to care about a character very much! On the other hand, we don't NEED to know the motivation of a character that enters the story only briefly.
Dynamic vs. Static
All great stories are about change - things learned, characters refined, decisions made. You can be assured that your most important characters are dynamic - they change or cause change in others. Static characters, in contrast, do not change. Static characters have their places, but are almost never the central character[s] in the story.
Look for changes in characters, and the REASONS for those changes, and you will find the essential points of the story.
Developed/Stock
There are some characters we know enough about JUST because of their profession - the prissy librarian, the jovial barkeep, the sweet granny, the serious judge. These stereotypical 'Stock' characters are very useful in story writing - they don't need a lot of description.
A developed character is one that the writer builds, sometimes beginning with a stock character, but then going deeper, farther into his personality and motivations. Quite often unexpected facets added to a stock character make for delightful, fascinating people in a tale.
Major Characters
Protagonist
The protagonist [or occasionally protagonists] is our central, sympathetic character. To figure out which IS the protagonist, ask yourself two simple questions:
Whose story IS it? Which character matters most to us? Who do we care the most about?
Which character makes the fateful decision or takes the fateful action that brings the conflict to climax [and then inevitably to resolution]?
When analyzing this character be sure to make notes about the following:
Motivation - What does the protagonist want/need/have to achieve?
Conflict - What is in the way? What does the protagonist THINK is in the way?
Changes - How does the protagonist change - physically and/or in personality?
Decisions - Which decision[s] was/were pivotal to the climax?
Antagonist
The antagonist is the character, or force that opposes then motivation of the protagonist. Record these things as you analyze:
Description
Personality [if there is one]
Motivation[s]
Subordinate Characters
Subordinate characters are many. They are 'everyone else'. However, no character is present just by chance. Each has one or more raison d'etre, or reason for being there. These reasons fall into three categories:
A Foil - a character who is in the tale to help us learn more about the protagonist. 'Sidekicks' do that, but so do other minor characters who demonstrate personality traits opposite to the protagonist, and so act as mirror-images that enhance our understanding of the protagonist. The two 'Little Pigs' who built their houses of hay and sticks help one see just HOW smart was the ONE who used bricks, for instance.
Comic Relief - the drama of a story is very often 'interrupted' by a funny scene that serves to heighten the overall tension in the piece. Some characters are just humorous by their appearance or personality, and their interaction with the protagonist is a 'humanizing' one that can help keep a hero from being more irritating than sympathetic.
A Plot Device - a character who moves the story along without being a significant player. For instance, this might be the taxi driver who gets the detective to the crime scene. He is absolutely essential, but we need, and get, few if any details about him
When reading you should record just a few things about subordinate characters.
Name
Description
Personality
Where in the plot they appear
Purpose[s]
Remember that going forward with your analysis you will rely heavily on your understanding of the roles of the characters. Give this focus all the time it needs.
Jo Karabasz
Managing Director
Overlook Tutorial Academy http://www.overlooktutorialacademy.net
As an expert in tutoring, SAT/ACT/AP Test Preparation and College Guidance I can answer other questions or concerns about Literary Analysis. Feel free to check the Information Base on the web site - there is a lot more there and if text materials do not answer all your questions I am available at your service, do call.
Article Source: [http://EzineArticles.com/?Literary-Analysis---Focus-on-Characters&id=6613678] Literary Analysis - Focus on Characters
Saturday, October 29, 2011
How to Write Script
By [http://ezinearticles.com/?expert=Mike_Hunter]Mike Hunter
You've seen some really moving content on television, in movies and in theater productions, and you think you could really create some competitive fare on your own. Learning how to write script isn't difficult, and for those who want to present their ideas to large audiences, it can be the perfect medium for expression. Establishing good practices for creating accessible work that performers enjoy as much as audiences is
Theater and Stage Basics
If you're still a student, take a theater class, or at least pick up a book on the basics. Learn about blocking, the placement of stage elements and performers, so that you can create directions that make sense. Understand the technical fundamentals of the lighting and stage setup for your target performance area, whether it be a theater or sound stage, so the script you craft allows directors and performers to understand the intent behind your writing. If you have an opportunity to do so, get some first-hand, behind-the-scenes experience at an actual production. This can provide valuable insight on what really happens to scripts when they are performed.
Do Your Research
If you're writing a drama about the US Civil War, it makes sense to learn something about it first. Script writers often leave wardrobe and time period-specific prop basics up to production companies and groups, but you need to ensure that the action taking place in your script fits in well with the setting you've designated or created. Even in fantasy locales, things need to look like they belong, and doing some background research before you start your script is the only way to ensure all the pieces come together smoothly to create the desired impression.
Develop a Process
Remember that instructing others how to tell your story is the most important function of your script. In order to maintain your overall message or theme from the brainstorming stages to the completed script and production, you've got to make sure you stay organized enough not to get distracted by how far you've already gotten at any point along the way.
While there's no set-in-stone process for how to write script, you ought to figure out something that works well for you and stick with it. For instance, many writers start off with a basic skeleton or outline that details key points, and then continue by fleshing their ideas out as they go. Others simply begin writing once they've thought about a basic concept for long enough, relying on multiple revisions, edits and extensively cross-referenced notes to make the little bits and details work out. Above all, your rules must be flexible, because you may be struck with a sudden great idea at the coffee shop or on your way to do something else, so make sure your personal method can accommodate for sudden bursts of inspiration. Find something that works for you and you'll be able to write great scripts for any performance medium.
If you'd like to know more about [http://www.besthowtoguides.com/do-it-yourself/how-to-write-a-movie-script/]how to write a movie script, visit BestHowtoGuides.com.
Also you will find that [http://tonyshepard.hubpages.com/hub/How-To-Write-A-Film-Script]how to write a script on HubPages.com
Article Source: [http://EzineArticles.com/?How-to-Write-Script&id=6621777] How to Write Script
You've seen some really moving content on television, in movies and in theater productions, and you think you could really create some competitive fare on your own. Learning how to write script isn't difficult, and for those who want to present their ideas to large audiences, it can be the perfect medium for expression. Establishing good practices for creating accessible work that performers enjoy as much as audiences is
Theater and Stage Basics
If you're still a student, take a theater class, or at least pick up a book on the basics. Learn about blocking, the placement of stage elements and performers, so that you can create directions that make sense. Understand the technical fundamentals of the lighting and stage setup for your target performance area, whether it be a theater or sound stage, so the script you craft allows directors and performers to understand the intent behind your writing. If you have an opportunity to do so, get some first-hand, behind-the-scenes experience at an actual production. This can provide valuable insight on what really happens to scripts when they are performed.
Do Your Research
If you're writing a drama about the US Civil War, it makes sense to learn something about it first. Script writers often leave wardrobe and time period-specific prop basics up to production companies and groups, but you need to ensure that the action taking place in your script fits in well with the setting you've designated or created. Even in fantasy locales, things need to look like they belong, and doing some background research before you start your script is the only way to ensure all the pieces come together smoothly to create the desired impression.
Develop a Process
Remember that instructing others how to tell your story is the most important function of your script. In order to maintain your overall message or theme from the brainstorming stages to the completed script and production, you've got to make sure you stay organized enough not to get distracted by how far you've already gotten at any point along the way.
While there's no set-in-stone process for how to write script, you ought to figure out something that works well for you and stick with it. For instance, many writers start off with a basic skeleton or outline that details key points, and then continue by fleshing their ideas out as they go. Others simply begin writing once they've thought about a basic concept for long enough, relying on multiple revisions, edits and extensively cross-referenced notes to make the little bits and details work out. Above all, your rules must be flexible, because you may be struck with a sudden great idea at the coffee shop or on your way to do something else, so make sure your personal method can accommodate for sudden bursts of inspiration. Find something that works for you and you'll be able to write great scripts for any performance medium.
If you'd like to know more about [http://www.besthowtoguides.com/do-it-yourself/how-to-write-a-movie-script/]how to write a movie script, visit BestHowtoGuides.com.
Also you will find that [http://tonyshepard.hubpages.com/hub/How-To-Write-A-Film-Script]how to write a script on HubPages.com
Article Source: [http://EzineArticles.com/?How-to-Write-Script&id=6621777] How to Write Script
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