| Introduction |
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xiii | |
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Peak TV vs. Pique TV: The Streaming Smorgasbord |
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xiv | |
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How to Navigate TV Writing On Demand |
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xvii | |
| Part I Satisfying The Binge Viewer: New Genres, Formats And Trends |
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1 | (124) |
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1 Blurring the Lines: Redefining Genre and Tone in the Dramedy |
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3 | (30) |
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4 | (3) |
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Dramedies and Life on the Cringe |
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7 | (1) |
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8 | (2) |
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You're the Worst: The Anti-Romantic Dramedy |
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10 | (3) |
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Baskets and Lives in Disarray |
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13 | (3) |
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Satire as the Weapon of Reason in Dear White People |
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16 | (3) |
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I Love Dick: Exploring the "Female Gaze" |
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19 | (2) |
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Master of the Observational: Master of None |
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21 | (4) |
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Better Things: Philosophical Vignettes |
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25 | (1) |
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Love and Death in Atlanta |
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25 | (3) |
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Bonus Content: Further analysis on dramedies, including the rise of the genre, Catastrophe and Casual |
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28 | (5) |
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2 The Slow-Burn, Season-Long Procedural: From Murder One and Twin Peaks to The Night Of, Fargo, Search Party and More |
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33 | (22) |
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36 | (4) |
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The Mystery Underlying the Crime: The Night Of |
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40 | (4) |
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The Good Fight: The Procedural Within a Procedural |
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44 | (2) |
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Search Party: Something From Nothing |
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46 | (1) |
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47 | (3) |
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50 | (1) |
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Bonus Content: American Crime, True Detective Season 1, Riverdale, Medici: Masters of Florence, Happy Valley, The Fall, Bloodline, The Expanse |
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51 | (4) |
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3 Trust Me: The Long Con On-Demand-From The Riches to Sneaky Pete, Patriot, The Americans and More |
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55 | (16) |
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The Masquerade: Sneaky Pete |
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60 | (1) |
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The Period Political Masquerade: The Americans |
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61 | (1) |
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Entrapment and Reversals: The Night Manager |
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62 | (1) |
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All Is Not What It Seems: The Good Place |
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63 | (1) |
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The Farce Thriller: Patriot |
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64 | (3) |
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Ozark: Who Can a Con Artist Trust? |
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67 | (2) |
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Bonus Content: The Path, Younger, Mr. Robot |
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69 | (2) |
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4 Dystopias, Multiverses and Magic Realism |
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71 | (20) |
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The Constructive/Destructive Power of Ideas: The Handmaid's Tale |
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74 | (3) |
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Our World with a Cautionary Twist |
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77 | (2) |
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Crafting the Supernatural/Dystopian Pilot |
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79 | (1) |
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Microcosmic Dystopias and the Monster Mash: American Gods |
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80 | (2) |
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Portals and Multiverses: Childlike Wonder in Stranger Things |
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82 | (2) |
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Surprise and Shifting POV: The OA |
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84 | (2) |
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Adjoining Realms in The Man in the High Castle |
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86 | (2) |
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Bonus Content: Atlanta, Man Seeking Woman, The Good Place, Game of Thrones, The Young Pope, plus "The Neurotic Superhero" |
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88 | (3) |
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5 Story Tentacles: Making Surprising Choices That Yield More Story |
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91 | (20) |
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Inevitable Yet Unpredictable |
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91 | (2) |
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Keep Your Frenemies Close: Orange Is the New Black |
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93 | (1) |
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You Can't Always Get What You Want...Mozart in the Jungle |
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94 | (2) |
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A Window Onto a New World: Switched at Birth |
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96 | (3) |
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Taboo Relationships in Comedies |
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99 | (1) |
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Points of View: The Affair |
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100 | (1) |
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Ensembles and Backstories |
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100 | (1) |
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When a Flaw Becomes an Asset: Girls |
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101 | (2) |
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The Macro/Micro Approach: The Young Pope |
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103 | (1) |
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Game of Thrones: The Ultimate Story Tentacle Show? |
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104 | (2) |
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106 | (2) |
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to Bonus Content: Breaking Bad, Scandal, Mad Men, Taxi, plus the Switched at Birth pilot teaser |
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108 | (3) |
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6 Spotlight on a Rebel: Ryan Murphy Reinvents the Mini-Series by Embracing His Inner Outsider |
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111 | (14) |
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Why Can't I Be Audrey Hepburn? |
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111 | (1) |
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Tone is everything in television |
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112 | (1) |
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113 | (1) |
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The More Specific You Make Something, The More Universal It Becomes |
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114 | (1) |
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"No" = A Rest Stop on the Road to "Yes" |
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115 | (2) |
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Limitation as an Opportunity and Differentiator |
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117 | (1) |
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118 | (1) |
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The Limited Anthology Series |
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118 | (2) |
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120 | (1) |
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121 | (4) |
| Part II Developing Iconic Characters: Relatability And Authenticity |
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125 | (100) |
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7 Character Empathy vs. Sympathy: How and Why We Align With Characters' Wants and Needs |
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127 | (24) |
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128 | (1) |
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129 | (3) |
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132 | (1) |
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132 | (1) |
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Judgment, Morality and Perception |
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133 | (1) |
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The Insatiable Appetite of the Ego |
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134 | (1) |
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Insecure: Authentic as F**k |
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135 | (4) |
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Big Little Lies, Guilt and Shame |
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139 | (2) |
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Sympathy for the Robot: Westworld |
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141 | (3) |
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Hannah, Clay and the Razor's Edge: 13 Reasons Why |
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144 | (3) |
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147 | (1) |
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Bonus Content: Mr. Robot, Getting On, Breaking Bad, Better Call Saul, The Young Pope, Better Things, Animal Kingdom, plus "Empathy and the Female Gaze" |
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148 | (3) |
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8 Choosing Between Two Wrongs: Characters Trapped by Limitation |
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151 | (22) |
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152 | (1) |
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Homeland: The Lasting Effects of Devastating Decisions |
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153 | (5) |
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158 | (1) |
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158 | (2) |
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Politics, Power and Internal Logic: Legion, The Handmaid's Tale |
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160 | (3) |
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Jessica Jones: How Late is Too Late? |
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163 | (3) |
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Guilt, Maturity and Aspirations: This Is Us |
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166 | (2) |
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The Cleanse and Crossing the Line |
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168 | (1) |
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Bonus Content: Bates Motel, Breaking Bad, Queen Sugar, Orange Is the New Black |
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169 | (4) |
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9 The Wild Card Character: Power Dynamics and Motivations |
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173 | (28) |
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The Wild Card With a Twist: Mr. Robot |
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173 | (6) |
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The Wild Card's Wild Card: Mozart in the Jungle |
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179 | (6) |
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The Roommate Soulmate: Unbreakable Kimmy Schmidt |
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185 | (1) |
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The Pushy Roommate/Friend/Business Partner/Mentor: Silicon Valley |
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186 | (3) |
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Disrupting an Institution: The Young Pope |
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189 | (2) |
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The Role of Destabilizing Characters: Better Call Saul, The Crown and Goliath |
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191 | (7) |
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Bonus Content: Luther, Big Little Lies, Stranger Things, Bloodline, plus script excerpts from Mr. Robot, The Crown, Goliath |
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198 | (3) |
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10 Writing Smart Dialogue in the Digital Era |
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201 | (24) |
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201 | (1) |
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Bonus Content: The Profound Power of Silence plus Better Call Saul excerpt |
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202 | (1) |
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Idiosyncratic Voices: Empire, Silicon Valley |
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202 | (3) |
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Get in Late, Get Out Early |
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205 | (1) |
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Verbal and Non-Verbal Communication |
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206 | (2) |
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Point of View and Subtext: The Last Man on Earth, Crazy Ex-Girlfriend |
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208 | (3) |
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Shop Talk: Brooklyn Nine-Nine |
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211 | (2) |
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Naturalistic Dialogue: Profanity in The Wire |
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213 | (3) |
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Backstory: What They Don't Say |
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216 | (1) |
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Actions-And Triangulation |
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217 | (2) |
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Overlapping Dialogue: Stranger Things |
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219 | (3) |
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222 | (1) |
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222 | (1) |
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Listening to Our Characters |
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223 | (1) |
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Bonus Content: Bones, Orphan Black, The Americans, Scandal |
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223 | (2) |
| Part III Career Strategies In The Evolving TV Marketplace |
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225 | (75) |
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11 To I.P. or Not to I.P.? That Is the Question: The Value of Intellectual Property in the Scripted TV Ecosystem |
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227 | (16) |
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Intellectual Property Glossary |
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229 | (8) |
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Breaking (Through the Noise) and Entering (the Zeitgeist) |
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237 | (2) |
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239 | (1) |
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Adapting Autobiographical Material |
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239 | (2) |
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Bonus Content: A deeper dive into putting a new spin on forms of I.P., from comics to musicals |
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241 | (2) |
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12 The Show Bible as an Essential Sales Tool |
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243 | (22) |
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That Was Then. This Is Now. |
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244 | (2) |
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The Need for Reassurance: From Closed-Ended, Stand-Alone Procedurals to Open-Ended, Slower-Burn Serials |
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246 | (1) |
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If There's a Central Mystery, There Needs to Be a Series Bible |
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247 | (2) |
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Networks That Circumvent the Pilot Process (Tend to) Commission Series Bibles |
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249 | (5) |
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The Following Networks Still Make Pilots, But Do They Require Series Bibles? |
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254 | (5) |
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Half-Hour Sitcoms Rarely, If Ever, Require a Series Bible... |
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259 | (2) |
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Drafting the Series Mini-Bible |
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261 | (1) |
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Bonus Content: Examples/templates of one-hour drama and half-hour dramedy series mini-bibles, plus how to create a story area document |
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262 | (3) |
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13 Trips, Traps, Tropes: Avoiding Rookie Mistakes |
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265 | (20) |
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Become Experts in the Genre |
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265 | (1) |
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"Great Pilot, But What's the Series?" |
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266 | (1) |
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267 | (1) |
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268 | (1) |
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"Who Are We Rooting For?" |
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268 | (1) |
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"There's No Sense of Place or Time" |
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269 | (1) |
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270 | (1) |
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270 | (1) |
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"It Doesn't Feel Authentic" |
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271 | (1) |
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"The Dialogue/Style/Tone Are Uninspired" |
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272 | (2) |
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274 | (1) |
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275 | (1) |
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"The Stakes Are Not High Enough" |
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276 | (1) |
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"It's Just Talking Heads" |
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277 | (1) |
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278 | (1) |
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"There Are Too Many Characters" |
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278 | (1) |
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"The Good Stuff Appears Too Late" |
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279 | (1) |
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Know the Industry-Yet Be Innovative |
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279 | (2) |
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281 | (1) |
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Bonus Content: "The War Against the Kitchen Sink Pilot," a/k/a "The Premise Pilot Blues" |
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282 | (3) |
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14 The Creative Entrepreneur: From Kickstarting a Web Series to Hitting the Big Time |
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285 | (15) |
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285 | (1) |
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286 | (1) |
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287 | (1) |
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Advice From the (Staff Writer) Trenches |
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287 | (4) |
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Bonus Content List of the Top Contests and Fellowships |
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291 | (1) |
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More Opportunities Than Ever-Yet It's Never Been More Competitive |
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292 | (1) |
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Show Them Your Proof of Concept |
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293 | (1) |
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Think Locally, Act Globally |
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293 | (1) |
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What I Really Want To Do Is Direct (a Web Series) |
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293 | (5) |
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Bonus Content: Advice from Kit Williamson |
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298 | (1) |
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298 | (2) |
| Acknowledgments |
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300 | (1) |
| About the Author |
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301 | (2) |
| About the Editors |
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303 | (2) |
| Index |
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305 | |
Daugiau apie elektronines knygas