Socrates

"The only true wisdom is in knowing you know nothing." 

Socrates

"To find yourself, think for yourself."

Nelson Mandela

"Education is the most powerful weapon which you can use to change the world."

Jim Rohn

"Success is nothing more than a few simple disciplines, practiced every day." 

Buddha

"The mind is everything. What you think, you become." 

Wednesday, 11 May 2022

Short story writing

 


Starting to write short fiction

The short story is a form of literature in its own right, and is loved because

 it is able to strike directly into the heart and mind without preamble. A short story is a short, self-contained work of fiction that generally falls between 1,000 and 10,000 words. 

 The compulsion to tell stories is a very powerful and ancient one which continues to have a place in our modern culture.

Short stories demonstrate how diverse, funny, sad, illogical, cruel, rapturous, shocking and mysterious the human experience can be.

It is often said that a short story should provide a snapshot of a moment of illumination.


 

 Short stories typically contain between 1,000 and 10,000 words. Stories longer than 10,000 (but shorter than 40,000) words are generally considered novellas. You might even come across the term novelette to refer to a story between 7,500 and 17,000 words. Once you hit about 50,000 words, you’re in novel territory .

What’s in a short story?

Every short story has these five elements:

·                     Character

·                     Plot

·                     Theme

·                     Conflict

·                     Setting

Characters are the people or animals, aliens, mythical creatures, or sentient objects who do the action in your story. Your protagonist is the character who undergoes some kind of change or lack thereof as a result of the story’s main conflict.

Your antagonist is the character or something abstract attempting to prevent the protagonist’s change.

To clarify, the antagonist doesn’t have to be a person—

1.      it could be the protagonist’s environment,

2.    their society, or

3.    even an aspect of themselves. 

Plot is the series of events that illustrate the story’s conflict.,

A short story’s theme is its central message. This is the point the author wants readers to take away from their work. 

Conflict is the action that drives the story’s plot. It’s the obstacle the protagonist has to overcome or the goal they’re attempting to reach.

 A conflict can be internal, like to prove to herself .

 it can be external, like the protagonist striving to prove to her society

Setting is the time and place where a story’s action occurs. For example, our alien story’s setting might be Nevada in 1955. 

How to write a short story

Mine your imagination

Just like every other type of writing, a short story starts with brainstorming. I

Start your brainstorming session with the elements you already have, then flesh out your story idea from there.

 Write down your setting,

your characters,

 the conflict they face,

 and any key plot points you have in mind.

 Without a conflict, you don’t have a story. Although all of the five elements listed above are necessary for writing a great short story, conflict is the one that drives your plot, shapes your characters, and enables you to express your theme. 

 

The next step in writing short fiction is outlining your story. 

When you outline your story, you organize the notes from your brainstorming session into a coherent skeleton of your finished story.

Outlining your story is a key part of prewriting because it’s where you develop your story’s framework and sketch out how each scene follows the previous scene to advance the plot.

This stage is where you determine any plot twists or big reveals and fit them into the story’s sequence. 

·                     Keep the ending in mind.

·                     Listen to how people speak.   Then, write dialogue that sounds like real conversations. These conversations won’t necessarily be grammatically correct, but they will make your characters sound the way people naturally speak.

Once you have a finished first draft, let it rest. If you have the luxury of waiting a day or so to come back and read what you wrote, do that. That way, you can read your writing again with fresh eyes, which makes it easier to spot inconsistencies and plot holes. 

 

Then it’s time to edit. Read your writing again and note any places where you can make the writing more descriptive, more concise, more engaging, or simply more logical. At this stage, it can be very helpful to work with readers’ feedback. If you’re comfortable sharing your work and receiving constructive criticism, share your rough draft with friends and family—and, if possible, with other writers—and let their feedback guide the revisions you make.  

Tuesday, 10 May 2022

Script Layout Formats

 

Basic Script Layout Formats

 There is not one standard script layout. Script layout styles can vary widely. Some prefer a single-column cinematic format, with transitions in a left margin, and all video and audio information in a single main column.

 Other versions use two vertical columns, with picture treatment (cameras, switching) on the left, and action and dialogue on the right, together with studio instructions and lighting/effects cues.


Single-Column Format

 Although there are different variations of the single-column format, all video and audio information are usually contained in a single main column. Before each scene, an explanatory introduction describes the location and the action. Reminder notes can be made in a wide left-hand margin, including transition symbols (for example, X = cut; FU = fade-up), cues, camera instructions, thumbnail sketches of shots or action, and so on. 



This type of script is widely used for narrative film-style production and single-camera video, in which the director works alongside the camera operator. 

Two-Column Format

This traditional television format is extremely flexible and informative. It gives all members of the production crew shot-by-shot details of what is going on. They can also add their own specific information (e.g., details of lighting changes) as needed Two versions of the script are sometimes prepared. In the first (rehearsal script), the right column only is printed.

 



Planning is an essential part of a serious production, and the script forms the basis for that plan. The script usually begins the production process.

 The Dramatic Script

 The dramatic full script may be prepared in two stages: the rehearsal script and the camera script. The rehearsal script usually begins with general information sheets, including a cast/character list, production team details, rehearsal arrangements, and similar details. There may be a synopsis of the plot or storyline, particularly when scenes are to be shot/recorded out of order. The rehearsal script generally includes the following types of details: 

• Location: the setting where the scene will be shot. 

• Time of day and weather conditions.

 • Stage or location instructions: (The room is candlelit and a log fire burns brightly.)

 • Action: basic information on what is going to happen in the scene, such as actors’ moves (Joe gets in the car). 

• Dialogue: speaker’s name (character) followed by his or her dialogue. All delivered speech, voice-over, voice inserts (e.g., phone conversation), commentary, announcements, and so on (perhaps with directional comments such as “sadly” or “sarcastically”) (Figure 5.2). 


• Effects cues:

The Dramatic Script The dramatic full script may be prepared in two stages: the rehearsal script and the camera script. The rehearsal script usually begins with general information sheets, including a cast/character list, production team details, rehearsal arrangements, and similar details. There may be a synopsis of the plot or storyline, particularly when scenes are to be shot/recorded out of order. The rehearsal script generally includes the following types of details:

 • Location: the setting where the scene will be shot.

 • Time of day and weather conditions.

 • Stage or location instructions: (The room is candlelit and a log fire burns brightly.) 

• Action: basic information on what is going to happen in the scene, such as actors’ moves (Joe gets in the car). 

• Dialogue: speaker’s name (character) followed by his or her dialogue. All delivered speech, voice-over, voice inserts (e.g., phone conversation), commentary, announcements, and so on (perhaps with directional comments such as “sadly” or “sarcastically”) (Figure 5.2). 

• Effects cues: indicating the moment for a change to take place (lightning flash, explosion, Joe switches light out).

 • Audio instructions: music and sound effects.


 Scriptwriting Basics A successful script satisfies two important requirements: 

• The program’s main purpose: to amuse, inform, intrigue, persuade, and so on.

 • It must be practical. The script must be a workable vehicle for the production crew. Fundamentally, we need to ensure that:

 • The script meets its deadline. When is the script required? Is it for a specific occasion? • The treatment is feasible for the budget, facilities, and time available. An overambitious script will necessarily have to be rearranged, edited, and have its scenes rewritten to provide a workable basis for the production.

 • The treatment usually must fit the anticipated program length. Otherwise, it will become necessary to cut sequences or pad the production with added scenes afterwards to fit the show to the allotted time slot.

 • The style and the form of presentation are appropriate for the subject. An unsuitable style, such as a lighthearted approach to a very serious subject, may trivialize the subject. • The subject treatment is suitable for the intended audience. 


Monday, 9 May 2022

How to Write a TV Show Proposal

 TV stations receive many proposals for shows. You only have a short time to impress.

The proposal format may vary, but at minimum the document should contain these elements:


§  Objective or Process Message - a brief statement about the desired message that you want the audience to get from watching the show

§  Target Audience - a well-defined process message helps determine the target audience. Be specific about the intended audience, whether it's kids,  men or women, etc

§  Show Format - are you producing a stand-alone show or a series? How long is the show? The format helps you know how you want the show to be distributed and is also vital for planning the budget.

§  Show Treatment - a narrative description of the show, that could take up several pages. But start out with a brief treatment that helps readers get a sense of what the show will look like when finished.

§  Production Method - will the production be , Will you shoot live or will there be heavy emphasis on post-production? You also need to determine the need for costumes, props and other additional materials under production method.

§  Tentative Budget - an estimate of your budget is made using the latest rates available through independent production and post-production houses. A budget reflects the costs associated with the production services, equipment rentals and wages. Budgets also include travel expenses, food and lodging, gratuities and even legal services that include liability insurance. Usually insurance is calculated to be about 20 percent of your total budget.

§  Timeline - come up with an estimate of how long it will take you to achieve certain tasks. Usually the timeline includes how long you can expect to work on pre-production, production and post-production. It often takes less time to do the production work (camera and lighting) than it will doing post-production (editing, marketing and distribution). A timeline is helpful in determining the budget.

So you need to demonstrate your show is likely to run. Know your target audience and the sort of shows programmed by this particular TV company.

 

Instruction of Writing TV Program Proposal

Instruction to write a proposal for the ABC TV program

1. You are to form a group of five or six members to work on this assignment. Form a media company and organize your company structure.

2. Your company has been invited to submit a 10 minutes proposal to the management of TV ABC.

3. You propose a magazine-typed  program for TV ABC.

4. For the proposal, you need to include the followings:

i. Name of program.  (make sure it is attractive and catchy enough to get ratings).

ii. Description of program. (A brief description of the program. What is the program about? What does the program focus on?)

iii. Target audience. (Who is your target audience? Why are you targeting the audience? Give statistics to support.

iv. Justification. (Why should TV ABC produce the program? What is the uniqueness of the program? What are the advantages of the program?

v. Execution of the program. (How do you suggest the program should be produced? Come up with a running order for the program.

vi. The team. (Who are and who in your company. Include their professional CV.

vii. The best three proposed programs will be invited to present at the ABC station.

 proposal model


Saturday, 7 May 2022

Television writing

 Television writing is the art of writing a TV show. Television is an exciting medium for writers because they get to control everything from the stories that are told to how the sets are built. TV writers develop stories, write scripts, make edits and revisions, and help determine what an episode looks like.


  1. TV scripts are shorter . Writing an episode of television takes less time and results in fewer pages. TV episodes are either 30 minutes or 60 minutes long with commercial breaks, while feature films are at least 90 minutes long.
  2. TV shows have different narrative structures. A movie has a clear beginning, middle, and end, while TV shows are episodic and allow for multiple beginnings, middles, and ends. Each TV script is part of a larger narrative, with multiple character and story arcs divided across a number of episodes and seasons.
  3. TV scripts don’t have to resolve every story right away. Every episode will come to its own conclusion, but they don’t have to be wrapped up neatly; the stories and characters will continue to grow into the next episode. TV writers can take things slow, play with cliffhangers, and allow plots to develop over time.
  4. TV scripts are dialogue-driven. TV shows typically focus on the writing rather than the visuals to drive the story. Movies are more cinematic than most TV shows and involve more considered cinematography.
  5. TV shows require more writing in the long-run. Individual episodes are shorter than movies, but require more writing over the course of a season or entire series.
  6. Before you begin writing your script, it’s important to understand how to structure an episode of TV. Let’s examine how a standard one-hour television show is structured. Typically on network television, there are about five acts roughly lasting about 11 pages each. Here’s how Rhimes views the structure of each of the acts:

    • Act I: Introduce your characters and present the problem.
    • Act II: Escalate the problem.
    • Act III: Have the worst-case scenario happen.
    • Act IV: Begin the ticking clock.
    • Act V: Have the characters reach their moment of victory.

    It’s helpful to think about how you want each of your acts to end as you begin to lay out the structure for your episode. 

    The other essential components of your episodes are your A, B, and C storylines:

    • A storyline: The A storyline involves your main character and is the core of your show.
    • B storyline: The B storyline is secondary and helps the narrative keep moving forward.
    • C storyline: The c storyline, sometimes referred to as “the runner,” is the smallest storyline and holds the least weight.

    • Work these out ahead of time and properly set your story up for them, rather than dumping a twist at the end of each act just for excitement’s sake.

Writing a TV comedy, or sitcom, is a different process from writing a TV drama. Here’s what makes them different:

  • Tone. TV sitcoms are funny, tackle lighthearted topics, and intend to make viewers laugh. Dramas are more serious and take time to develop a story rather than telling jokes.
  • Story Arc and Pace. Sitcoms have a quick narrative pace, they focus on the build to the climax, have less act breaks, and introduce the conflict before the end of act one. The more time the characters spend solving a problem, the less room there is in the script for humor. Dramas are paced slower, have more act breaks, and spend more time developing the story, building to a climax, and arriving at a conclusion.
  • Run Time
      • Sitcoms run for approximately 21 minutes without commercials
      • while dramas run for about 43 minutes without commercials.
  •  
  • One page of a script in Final Draft equals about one minute on air, so a 21-minute sitcom script should be around 20 pages long, and 
  • a script for a 43-minute long drama should be about 40 pages long.

How to Pitch a TV Show

Once you have a great concept for a show, there are three things you’ll need in order to pitch it to network executives:

  • A treatment. A treatment is a document that provides an explanation of your TV show’s setting, main characters, and storyline. Every treatment should include a title, logline, synopsis, summary of episodes, and character bios.
  • A pilot script. A pilot is the first episode of a TV series. Your TV pilot needs an opening that is going to grab your viewers and says something important to your audience about the show they are going to watch. Without a compelling pilot, you don’t have a TV show. Pilots are crucial for hooking an audience and setting up your characters and storyline for an entire season.
  • A show bible. A show bible, also called a story bible or a series bible, is a document that contains the history of your characters, an outline of every episode in the first season, and how you see the show expanding into future seasons. Writing a show bible forces you to think beyond the pilot episode and can help you see the bigger picture of your show idea.

FORMS OF NARRATION

 

The assimilation of information and retelling it for the benefit of the readers or the listeners is called narration. It is the process of creating the narrative. Narration takes place through the medium of a narrative text initiated by a narrator

 

Narration is a way of representing our experience in a sequence.

A narrative is an account of events presented serially following a meaningful pattern.

 The selection and ordering of events into a meaningful pattern are the two most important factors for the success of a narrative.

 

A narrative with a beginning, middle and end. Narratives can be oral or written depending on the medium we use.

 

Biographies and autobiographies, news stories and features, T.V serials or a sports commentary, novels, thrillers and romances, advertisements and speeches and all manners of conversations have their distinct forms of narratives.

 

WHAT IS NARRATIVE

The word narrative is derived from the Latin word narrare, which means ‘to recount’ or ‘to tell’. Narrative isa tool for knowing as well as telling. It helps us to absorb knowledge as well as to express it in a systematic manner.

The word ‘story’ is often used as a synonym of ‘narrative’, but, strictly speaking, ‘story’ is used to refer to the sequence of events presented in a narrative.

Narrative is basically a recounting of something that happened at some earlier time, at a distance from the time of narration. Narrative focuses our attention to a story, a sequence of events or an episode through the direct mediation of a teller or a narrator.

 

Teller or Narrator

1.    Tale or Narrative

2.   Addressee

Narratives must have a sense of progression; they usually lead us from one stage to another, with some sort of development. They involve the recall of happenings witnessed by the teller of the narrative.

 

Narrative, is a series of events or  ‘action’. No narrative is possible without an event or an action. The absence of an event or an action makes a piece of writing a mere description, nothing else.

 

Narrative Point of View

1.    The First Person Narrative

 The first person narrative is used as a way of narrating an event directly as an omniscient narrator. He has an omniscient knowledge of time, people and places. In this type of narrative the narrator is also a character within his own story and narrates the story from his own point of view.

 

 It enables the narrator to convey the inner thoughts or the internal reactions of the characters.

 

The Sun also Rises by Ernest Hemingway uses the First Person Narrative mode.

 

2. The second person Narrative.

this mode of narrative the narrator refers to one of the characters as you and prompts the reader to believe that he is also a character in the narrative. This mode of narrative is used to create a sense of intimacy between the narrator and the reader.

 

3.  The third-person narrative

 

In this type of narrative each and every character is referred to as he, she, it or they and not as I or we or you . The narrator is never involved in the action of the narrative and narrates the episodes as an outsider or an onlooker. Third person singular, he/she is the most common type of the third-person narrative

 

Q ns

Define ‘ Narrative’

What are the two most important factors in a narrative What is Narrative Point of View?

 

 

VARIETIES OF NARRATION

The following forms of narration are generally used to transfer experience from one person to another through well  defined narrative structures:

1. poems

2. folktales

3. novels

4. short stories

5. films

6. essays

 7. newspaper reports

8. Advertisements

 

ELEMENTS OF NARRATION

Oral narrative of personal experience generally consists of the following six components:

 1. Abstract: What, in a nut shell, is the story about?

2. Orientation: Who, When, Where? What?

3. Complicating action: then what happened?

4. Evaluation: How is this interesting?

5. Resolution: What happened , finally?

6. Coda: Bringing back to the following situation..


Abstract: A narrative normally begins with an abstract. The title of a short story or the headline of a newspaper sketches the narrative in a nutshell and it may, therefore, be called the ‘abstract’ of the narrative.

Orientation: The orientation is often called the ‘setting’ of the narrative as it creates the spatiotemporal (

  1. belonging to both space and time or to space–time.)

setting of the story. It also creates the necessary environment which enhances the overall meaning of the narrative. 

The orientation introduces and identifies the participants in the action, the time, place and the initial behaviour. 

The orientation section provides answers to the questions— Who? When? Where? Sentences describing the persons involved in an action, the time and place of occurrence of the event are used in orientation.

Complicating action:  The complicating action normally constitutes the longest section of a narrative. In this section, the ordered events of the narrative are reported and the actions of the protagonists are described in great details to heighten the impact of the narrative.

Evaluation :The evaluation highlights the relevance of the narrative to the narrator or the reader. The resolution tells us what happened finally and provides a sense of completion.

 Coda: The coda brings the narrator and the listener or the reader to the point at which they entered the narrative. 

A moral or a lesson learnt by the narrator or the reader may be included in a coda.

All the six elements are not equally crucial in a narrative.

Depending on the nature of the narrative the narrator has the choice of highlighting some of these elements. The ordering of the elements may be altered by a skilful narrator.

Salient features of a narrative:

1. Narrative is an account of events

2. Narrative is a sequence of events

 3. Narrative follows a predetermined pattern

4. Narrative structure begins with a setting of a scene and introduction of characters in an initial situation

5. Narrative unfolds tension, conflict or mystery to be resolved later

 6. Narrative builds up climax.

 7. Narrative proceeds towards resolution.

 

REPORTABILITY AND CREDIBILITY OF A NARRATIVE

  • Narrative text
  • Reportability
  • Credibility

An event narrated in a text must satisfy the criteria of reportability and credibility. All events or all experiences are not worth reporting, and, therefore, the narrator has to decide if an event or an experience is worth reporting. Again, some events or actions are more reportable than others. The reportability or reliability of an action depends on the context and the relations of the narrators with the listeners or the readers. 

 Along with reportability, a narrative must have credibility, otherwise it will not be accepted by the readers or the listeners. The narrators or the writers must be very resourceful to bring in a sense of credibility in their narrative texts.

 

LINEAR AND NON-LINEAR NARRATIVE STRUCTURE

 When narrative proceeds smoothly in a straight line in a step-by step fashion is called a Linear narrative.

 Non-linear narrative is the opposite of a Linear structure as in this type of structure the narrative does not proceed in a straight line. The example of a nonlinear narrative structure is a story where the narrator narrates the story’s ending before the middle is finished.

 When a narrator narrates the events in a non-linear structure, that is, when he does not follow the sequence chronologically, he adds complexity to the plot of his narrative. 

The complex narrative structure often contain the following: 

1. flashback 

2. flash forwards 

3. repetition 

4. dream sequence 

5. different time frames 

6. backward story telling

Flashback: A flashback is a narrative technique in which a narrative presents a set of events that had occurred before the scenes immediately preceding it. 

Flash- forward: This technique is used to present a scene that takes the narrative forward in time from the current point of the narrative.

 Flashforward describes expected, projected or imagined events. or the reader to look at the story from different angles.

 

NARRATIVE PARAGRAPH 

Narrative paragraphs describe an experience. Sentences in a narrative paragraph may be arranged in several ways depending on the narrator’s purpose. Narrator can do it chronologically, according to time order.  While narrating the physical appearance of something,  it is however, not time that is important, it is space that matters. 


 But depending on the kind of the paragraph, the topic sentence may be in the middle or at the end of the paragraph. Points to Remember:

 1. Write a topic sentence with a strong controlling idea 

2. Arrange idea using chronological development 

3. Maintain coherence among the sentences

4. See that all the sentences are related to the topic sentence thematically. 

5. See that all the sentences support the controlling idea.

 

 DESCRIPTIVE OR EXPOSITORY PARAGRAPH 

While writing a descriptive or an expository paragraph the physical appearance of the thing described should be pointed out from the point of view of location. In this type of paragraph it is space that matters and this type of organization is called spatial organization. The topic sentence must be supported with details organized spatially. Descriptive writing uses sensory details to paint a picture of a place, a person, or an object and the controlling idea of a descriptive or expository paragraph is generally an attitude or an impression about the subject. Points to remember 

1. Organize ideas using spatial organization 

2. Use information or examples to support your topic sentence 

3. Arrange the sentences in a such a way that they support the main ideas 

4. Make it unified and coherent