Abstract In Ellen Sandler’s The TV Writer’s Workbook, A Creative Approach to Television Scripts, the author explains a series of steps and procedures on how to be a successful writer for television. Writing a television spec script is not the same as writing a spec screen play. Writing for television is usually related for financial gain and rarely has any artistic value. When you submit a script to a film producer they are looking for a script, an idea or concept but in television, the producers are looking for a writer. Ellen Sandler’s used actual examples of her work on television shows such as Coach to reinforce what was expected of her as a writer. She also shared her experience with Joseph Papp, reading scripts for $10, noting she was not reading for pleasure, but for story analysis and theatrical potential. In my reading, Ms. Sandler’s chapter seemed formulaic and she explored some very simple techniques and guide lines that could make or break a spec television script. The major contribution of this work is, if you have an aptitude for writing, do so. You should write a speculative script about a television program you enjoy watching and is currently in production. If you follow Ms. Sandler’s guide lines on formatting and binding, there is a good chance of becoming a television writer.
Bibliography Sandler, Ellen. The TV Writer’s Workbook: A Creative Approach to Television Scripts. New York : Bantam Dell, (2007): 13-23
Abstract
ReplyDeleteIn Ellen Sandler’s The TV Writer’s Workbook, A Creative Approach to Television Scripts, the author explains a series of steps and procedures on how to be a successful writer for television.
Writing a television spec script is not the same as writing a spec screen play.
Writing for television is usually related for financial gain and rarely has any artistic value. When you submit a script to a film producer they are looking for a script, an idea or concept but in television, the producers are looking for a writer.
Ellen Sandler’s used actual examples of her work on television shows such as Coach to reinforce what was expected of her as a writer. She also shared her experience with Joseph Papp, reading scripts for $10, noting she was not reading for pleasure, but for story analysis and theatrical potential.
In my reading, Ms. Sandler’s chapter seemed formulaic and she explored some very simple techniques and guide lines that could make or break a spec television script.
The major contribution of this work is, if you have an aptitude for writing, do so. You should write a speculative script about a television program you enjoy watching and is currently in production. If you follow Ms. Sandler’s guide lines on formatting and binding, there is a good chance of becoming a television writer.
Bibliography
Sandler, Ellen. The TV Writer’s Workbook: A Creative Approach to Television Scripts. New York : Bantam Dell, (2007): 13-23