Writing for Visual Media

Writing for Visual Media looks at the fundamental problems a writer faces in learning to create content for media that is to be seen rather than read. It takes you from basic concepts to a first level of practice through explicit methods that train you to consistently identify a communications problem, think it through, and find a resolution before beginning to write.

Anthony Friedmann is a member of the British Academy of Film and Television Arts, the Writers' Guild of Great Britain, and the Broadcast Education Association

What's on the DVD	p. xv
Preface to the Second Edition	p. xvii
Introduction	p. xix
Defining the Problem
Describing One Medium Through Another	p. 3
Writing Not to be Read But to be Made	p. 3
Writing, Producing, and Directing	p. 4
Moving from Being a Viewer to Being a Creator	p. 5
The Producer Cannot Read Your Mind	p. 6
Instructions to the Production Crew	p. 6
What is the Role of a Scriptwriter?	p. 7
The "Script" Writer is a New Kind of Writer	p. 7
What is Visual Writing?	p. 8
Visual Writing	p. 10
Where do We Go from Here?	p. 11
Differences Compared to Stage Plays	p. 11
Writing With Dialogue	p. 12
Writing Without Dialogue	p. 13
Conclusion	p. 15
Exercises	p. 15
Endnotes	p. 16
Describing Sight and Sound	p. 17
Describing Time and Place	p. 17
Describing Action	p. 18
Describing the Camera Frame or the Shot	p. 20
Camera Shots	p. 20
Describing Camera Movement	p. 22
Describing Graphics and Effects	p. 23
Describing Transitions Between Shots	p. 24
Describing Sound	p. 26
Shot, Scene, and Sequence	p. 29
Finding a Format for the Page	p. 29
Master Scene Script	p. 29
Dual-Column Format	p. 29
Storyboard	p. 30
Conclusion	p. 31
Exercises	p. 31
Endnote	p. 32
The Stages of Script Development	p. 33
Background Research and Investigation	p. 33
Brainstorming and Freeing Your Imagination	p. 37
Concept	p. 38
Pitching	p. 39
Treatment	p. 39
First Draft Script	p. 40
A First Draft Script for a PSA: Smoked to Death	p. 41
Voice Narration and Dialogue	p. 43
Revision	p. 44
Final Draft	p. 45
Shooting Script	p. 45
Conclusion	p. 45
Exercises	p. 46
Endnotes	p. 46
A Seven-Step Method for Developing a Creative Concept	p. 49
Define the Communication Problem	p. 50
Ivy College: An Admissions Video	p. 51
American Express: American Travel in Europe	p. 52
PSA for Battered Women	p. 52
Shell Gas International	p. 53
Define the Target Audience	p. 55
Demographics	p. 56
Psychographics	p. 58
Define the Objective	p. 62
Define the Strategy	p. 64
Define the Content	p. 64
Define the Appropriate Medium	p. 65
Create the Concept	p. 67
A Concept for an Anti-Smoking PSA	p. 69
Conclusion	p. 71
Exercises	p. 71
Solving Communication Problems with Visual Media
Ads and PSAs: Copywriting for Visual Media	p. 75
Copywriting Versus Scriptwriting	p. 76
Client Needs and Priorities	p. 76
The 20-, 30-, and 60-Second Playlets	p. 77
Visual Writing	p. 78
Devices to Capture Audience Attention	p. 78
More on Ads and PSAs	p. 80
Recruiting the Audience as a Character	p. 90
Mixing Devices and Techniques	p. 90
Infomercials	p. 91
Video News Releases	p. 91
Billboards and Transportation Ads	p. 91
Advertising on the World Wide Web	p. 95
Formats	p. 96
Conclusion	p. 96
Exercises	p. 96
Endnotes	p. 97
Corporate Communications	p. 99
Typical Corporate Communication Problems	p. 100
Other Corporate Uses of Media	p. 103
Meetings with a Visual Focus	p. 104
Getting Background and Product Knowledge	p. 105
Using Subject Matter Experts	p. 105
Video Versus Print Media or Interactive Media	p. 106
Video as a Corporate Communications Tool	p. 106
Corporate Television	p. 107
Script Formats for Corporate Videos	p. 108
Developing the Script with Client Input	p. 108
Length, Pacing, and Corporate Style	p. 109
Devices that Work for Corporate Messages	p. 109
Writing Voice Commentary	p. 122
Selling Creative Ideas	p. 122
Working with Budget Limitations	p. 123
Conclusion	p. 123
Exercises	p. 123
Endnotes	p. 124
Training, Instruction and Education	p. 125
Focus Groups	p. 126
Questionnaires	p. 127
Traditional Devices for Training Videos	p. 127
Show and Tell	p. 127
Job and Task Description	p. 128
Devices that Teach and Entertain	p. 129
Dramatization	p. 129
Educational/Instructional Use of Video	p. 130
How-to-do-it Videos	p. 131
Interactive Applications	p. 131
Conclusion	p. 132
Exercises	p. 132
Documentary and Nonfiction Narratives	p. 135
Documentary Comes First	p. 135
Truth or Fiction	p. 138
Scripted and Unscripted Approaches	p. 140
Research and Formulating a Theme	p. 141
What is the Role of the Writer?	p. 142
Types of Documentary Technique	p. 142
Other Documentary Applications	p. 149
Writing Commentaries	p. 150
Conclusion	p. 154
Exercises	p. 154
Endnotes	p. 155
Entertaining with Visual Media
Dramatic Structure and Form	p. 159
Origins of Drama	p. 159
Conflict	p. 159
Three Act Structures for Film and Television	p. 161
Other Narrative Structures	p. 166
The Flashback	p. 168
Genres	p. 168
Script Development	p. 173
Writing a Movie Treatment	p. 180
Screenplay	p. 181
Scene Outline	p. 182
Master Scene Script Format	p. 183
Scripting Software	p. 183
Conclusion	p. 184
Exercises	p. 184
Endnotes	p. 185
Writing Techniques for Long Form Scripts	p. 187
Characters and Character	p. 187
Dialogue and Action	p. 188
Plot or Storyline	p. 192
Comedy	p. 193
Drama	p. 193
Conclusion	p. 194
Exercises	p. 195
Endnotes	p. 195
Writing Techniques for Adaptation	p. 197
The Problem of Adaptation	p. 197
Length	p. 199
Point of View	p. 199
Narrative Tense and Screen Time	p. 200
Setting and Period	p. 200
Dialogue Versus Action	p. 201
Descriptive Detail and the Camera Frame	p. 203
Implied Action	p. 204
It's a Wonderful Life	p. 205
Bartleby	p. 210
Conclusion	p. 215
Exercises	p. 216
Endnotes	p. 216
Television Series, Sitcoms, and Soaps	p. 219
The Premise for Series, Sitcoms, and Soaps	p. 220
Three-Act Structure and the TV Time Slot	p. 222
Using Commercial Breaks	p. 223
Visualizing for the Small Screen	p. 224
TV Dialogue	p. 224
Realism/Realistic Dialogue	p. 225
Breaking Up Dialogue	p. 227
Pacing	p. 229
The Beat Sheet	p. 229
Team Writing	p. 231
Hook/Teaser	p. 231
The Series Bible	p. 231
Condensing Action and Plot	p. 232
Target Audience	p. 232
Script Formats for Television	p. 233
Comedy and its Devices	p. 234
Running Gags	p. 234
Visual Gags	p. 240
Double Takes	p. 240
One-liners and Laugh Lines	p. 241
Sitcoms	p. 241
New Techniques and Innovations	p. 242
Spec Scripts	p. 243
Conclusion	p. 244
Exercises	p. 244
Endnotes	p. 244
Writing for Non-Linear and Interactive Media
Writing and Interactive Design	p. 251
Defining Interactive	p. 251
Linear and Nonlinear Paradigms	p. 252
Combining Media for Interactive Use	p. 254
Breakdown of Script Formats	p. 258
Authoring Tools and Interactive Concepts	p. 262
Multimedia Components	p. 265
Finding a Script Format	p. 265
Conclusion	p. 266
Exercises	p. 267
Endnotes	p. 267
Writing for Interactive Communications	p. 269
Different Writing for Web Sites	p. 270
Web Site Concepts	p. 275
Writing to be Read on the Web	p. 276
Navigation: The Third Dimension	p. 277
Writing Issues	p. 277
Instructional and Utilitarian Programs	p. 281
Interactive Catalogues and Brochures	p. 281
Education and Training	p. 282
Kiosks	p. 283
Conclusion	p. 283
Exercises	p. 284
Endnotes	p. 284
Writing for Interactive Entertainment	p. 285
Interactive Reference Works	p. 285
E-Commerce and Interactive Books	p. 286
Games, Narrative, and Entertainment	p. 287
Graphics vs. Live Action	p. 293
The Order of Writing	p. 293
Formats	p. 294
Interactive Television	p. 296
Interactive Movies	p. 298
Conclusion	p. 298
Exercises	p. 299
Endnotes	p. 299
Anticipating Professional Issues
You Can Get Paid to Do This	p. 303
Writing for the Entertainment World	p. 303
Writing Contracts	p. 304
Pitching	p. 305
Ideology, Morality, and Content	p. 307
Emotional Honesty and Sentimentality	p. 310
Writing for the Corporate World	p. 313
Client Relationships	p. 314
Corporate Contracts	p. 315
Work for Hire	p. 316
Agents and Submissions	p. 319
Networking, Conventions, and Seminars	p. 319
Surfing the Web	p. 320
Hybrid Careers	p. 320
Conclusion	p. 321
Exercises	p. 321
Endnotes	p. 321
Script Formats	p. 323
Dual Column: PSA, Documentary, Corporate	p. 323
Master Scene Script: Feature Film for Cinema and Television	p. 324
Scene Script, Version 1: Television Sitcoms and Series	p. 325
Scene Script, Version 2: Television Sitcoms and Series	p. 326
Interactive Game Script (This is one Type of Interactive Script)	p. 327
Video Game Concept for Gods & Monsters	p. 331
Glossary of Terms, Abbreviations and Acronyms	p. 339
Bibliography	p. 351
Index	p. 357
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