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The calling card script : a writer's toolbox for stage, screen and radio

Author: Paul Ashton, M. Phil.
Publisher: London : A & C Black, 2011.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:

Used a toolbox to aid the craftsman, The Writer's Toolkit shows how to write the `calling card' script that expresses your voice, gets you noticed, and is ultimately produced. Written by the  Read more...

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Document Type: Book
All Authors / Contributors: Paul Ashton, M. Phil.
ISBN: 9781408110171 1408110172
OCLC Number: 666237323
Description: xii, 244 pages ; 22 cm
Contents: 1 The Medium 9 --
The Writer as Medium 11 --
'Medium' --
One man and every man --
What writers do --
Instinct and craft --
Is the writer a medium? --
Using medium --
The Theatrical Space 13 --
What is theatre? --
Magic, ritual and spectacle --
Spectator and audience --
Auditoria --
Complexity of space --
Complexity of form --
The empty space --
The technological space --
Clarity of space --
Money, monsterism and miniaturism --
The director --
The actor --
Directing the action --
Theatre and metaphor --
Radio and the Acoustic Environment 21 --
'Theatre of the airwaves' --
Cinema of the airwaves --
The contradiction --
Auditorium --
The purest form --
The audience --
Only for radio --
Acoustic environment --
Scope --
Voice --
Music --
Sound --
Film and the Cinematic Canvas 26 --
The big picture --
Theatrical release --
Cinema scope --
Knowing your place --
'Show don't tell' --
Sign language --
Up close --
Montage --
The whole story --
The complex singularity --
The kind of story --
Universal --
Television and the Relentless Format 32 --
Distractions --
The morning after --
The cold light of day --
The schedule --
Audience is god --
The phenomenon --
Jumping the shark --
The single exception --
Format not formula --
Basic distinctions --
Serial --
Continuing series --
Precinct --
Returning series --
Relentless meets format --
2 The Beginning 45 --
What are Producers Looking for? 47 --
The meat market --
The market --
So what are people looking for? --
Where to Begin? 49 --
The blank page --
Knowledge is power --
News of the world --
Devil in the detail --
A head for ideas --
You --
Your feelings --
Your voice --
The X Factor --
What is a voice? --
Can you hear your own voice? --
Kinds of Stories 55 --
Archetypes --
Linear --
Epic --
Full circle --
Fractured --
Repetitive --
Reversed --
The impact of shape --
Genre --
Theatre and genre --
Radio and genre --
Television and genre --
Tone --
The right form --
What's the Big Idea? 64 --
'Droit moral' --
Theme --
Universal --
Concept and world --
Premise --
Premise and character --
Premise and emotion --
The big idea --
Idea and medium --
Theatre --
Radio --
Film --
Television --
What's the Story? 71 --
Beginnings and endings --
Knowing where you are going --
Direction and purpose --
Focus --
Point of view --
Movie ensembles --
Hook --
POV turned upside-down --
Getting Into Character 77 --
Test of character --
Dramatic versus comic --
Spending time --
Empathy --
Definition --
Archetypes --
Features --
Eccentricity --
Qualities --
Capabilities and flaws --
Estimation --
Attitude --
POV --
History and backstory --
Moral compass --
Morality and conflict --
The 'agon' --
Hero and villain --
Desire and need --
Desire versus need --
Action --
Vulnerability --
Character and medium --
Theatrical character --
Radio character --
Film character --
TV Character --
Hitting the Ground Running 94 --
Page one --
Know your story --
Hook the attention --
The midst of a moment --
A focused way in --
'Getting to know' the characters --
Exposition --
The captive audience --
Structure and the Beginning 100 --
'Act one' --
Structural diagrams --
The universal formula --
Three is the magic number --
But three is not a simple number --
The beginning --
Disorientation versus confusion --
Establish the world --
Delayed establishment --
Desire, need, problem --
Call to change/action --
The complex call --
The uncertainty --
Point of no return --
Tension --
Episode and series beginnings --
The Plan of Action 112 --
When to start writing? --
Treatments --
Clarity --
Coherence --
Building a blueprint --
3 The Middle 117 --
The Muddle in the Middle 119 --
Managing the muddle --
Muddled metaphors --
Fail better --
Dig deeper --
Stretch the line --
Dominoes --
Deeper into Character 122 --
The 'arc' --
Change --
State of becoming --
Muddied wants and needs --
Muddled consequences --
Beyond the comfort zone --
Developing the 'agon' --
Developing the complexity --
New world, new characteristics --
Qualities --
Capabilities and flaws --
POV, morality, attitude --
Vulnerabilities --
Developing relationships --
Journey towards awareness --
Contradiction --
Surprising themselves --
Character and action --
Character and structure --
The 'middle' in series and serials --
Returning series --
Serials --
Abstract alternatives --
Surprise 139 --
Revelation --
Deus ex machina --
Shock tactics --
Secrets --
Dramatic irony --
Unexpected outcomes --
Predictability --
Tedium --
Cliché --
Structure and the Middle 146 --
The dividing lines --
Momentum --
Dominoes --
Peaks and troughs --
The road ahead --
Sharp bends and chicanes --
Cul-de-sacs --
A clear view of the distance --
Quicksands and high tides --
The cave --
Chasms and rockfaces --
A second point of no return --
The (not so) natural order --
Causing a Scene 156 --
What is a scene? --
The basics --
Picture and montage --
Dramatic action --
Conflict --
Goals --
Conflicts that matter --
What's at stake? --
Three dramatic levels --
Subtext --
Surprise --
Beats --
What to show --
Juxtaposition --
Less is more --
Kinds of scenes --
The theatrical scene --
The radio scene --
The screen scene --
From Plan to Action 170 --
Ready to write --
Refer to the blueprint --
Develop the blueprint --
Step outline --
Wild drafts --
Write the beginning --
4 The End 175 --
An Ending in Sight 177 --
Fundamentals --
Some endings --
'The End' --
Simple versus complex --
Is that it? --
Ending is emotion --
A fitting end --
Satisfaction 181 --
Entertainment --
Follow through --
The story beyond --
Open endings --
Ambiguity --
Twists --
Deus ex machina --
Anagnorisis --
Impact --
Structure and the Ending 190 --
Climax and crisis --
Change --
Resolution --
Conclusion --
Coda --
Absurd endings --
Series and serial hooks --
Cliffhangers --
The natural order --
No pause for breath --
A means to an end --
The Character's voice 198 --
Mouthpieces --
Dialectic --
Dialogue is not conversation --
Monologue --
Theatrical soliloquy --
'Inner' and 'close' in radio --
The cinematic voice-over --
TV catchphrases --
Can you hear it? --
Can you say it? --
Dialogue is not logical --
The non-sequitur --
Voice is expression --
Authenticity --
Uniqueness --
Tics --
Accents --
Dialect and slang --
Naturalism --
Stylisation --
Rhetoric --
Lyrical --
On the nose --
Exposition and information --
'Bad language' --
(Prefacing) --
Shouting! --
Terse versus glib --
Wit and wordplay --
Silence and space --
Subtext --
Writing and Rewriting 218 --
Focus and control --
Expectations --
Questions --
Realities --
Rewriting --
Rewriting your signature --
Time and space --
Objective and subjective --
Feedback --
The red pen --
Reclaim your subjectivity --
Is it really finished? --
How finished does it need to be? --
Coda 226 --
Starting over --
It never gets any easier.
Other Titles: Writer's toolbox for stage, screen and radio
Responsibility: Paul Ashton.

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'offers valuable professional development insight for all writers, established or just starting out.' * Writers Forum (March 2011) * `Every aspiring writer needs a Calling Card Script and Paul Read more...

 
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