Index

2001: A Space Odyssey, 59

A Farewell to Arms, 8–9

Academy Awards, 4, 12, 137

Academy of Motion Picture Arts and Sciences, 8, 137

action, 9, 11–13, 18–20, 188–192, 201–204, 232

action movies, 172

acts, 161–166

adaptation, 10, 197–217

admissions videos, 51–52

adventure movies, 172

advertisements, 75–97

age, 56

agents, 319

Altman, Robert, 39

American Express, 52, 69, 118

analytic thinking, 67

anchors, 114–116, 157

animal characters, 188

animation, 23

AOL, 78

AT&T, 110

attention span, 61

attitude, 52, 60, 62–63

audiences, 4–5, 50–51, 55–62, 78–80, 90, 232–233

audio, 10, 17, see also Sound

authoring tools, 262–265

babies, 87–88

background, 9

background research, see Research

Bartleby, 13–14, 200–201, 209–215

Bartleby, The Scrivener, 13, 209–210

BCU/ECU, 21

beat sheet, 229–231

big close-up, see BCU/ECU

billboards, 91–94

biographies, 146

brainstorming, 37–38

branching, 259–260

brochures, 281–282

buddy movies, 171

budgets, 3, 75, 123

Burns, Ken, 34

Butch Cassidy and the Sundance Kid, 34

camera angles, 20

camera frames, 20

camera movements, 22

CRANE, 23

DOLLY, 23

PAN, 22

TILT, 22

TRACK, 22

ZOOM, 23

camera shots, 20–21, 29

BCU/ECU, 21

CU, 21

ECU, see BCU/ECU

HIGH ANGLE, 21

LOW ANGLE, 21

LS, 20

MS, 21

OVER-THE-SHOULDER, 21

RACK FOCUS, 21

REVERSE ANGLE, 21

TWO SHOT, 21

VLS, 20

WIDE ANGLE, 21

Cameron, James, 4

Capra, Frank, 201

careers, 301–322

clients, 50–51, 77, 101–103, 108–109, 314

commissioned writing, 50, 76–77

contracts, 304–305, 315–316

freelancing, 318

selling, 122–123

spec, 44, 243

case histories, 120–121

cast members, 262–263

catalogues, 281–282

CD-ROMs, 5, 35

characters, 13, 43, 163, 187–188, 204

Chariots of Fire, 12–13

Charley Wheeler’s Big Week, 129–130

children, see Kids

Civil War, 34

class, 58

Cleese, John, 59

clichés, 152, 190–191

clients, 50–51, 77, 101–103, 108–109, 314

close-up, see CU

comedy, see Humor

commissioned writing, 50, 76–77

commentary, 122, 150–153

commercial breaks, 223

commercials, see Advertisements

communication problems, 49–55, 73–74, 79, 100–103, 265

concepts, 38–39, 67–71, 80, 177–178, 275–276

conceptual writing, 273–275

conflict, 159–161, 163, 194

Connections, 110

content writing, 273–275

content, 64–65, 80

contracts, 304–305, 315–316

copyright, 316–318

copywriting, 76, 95

corporate communications, 99–124, 313–314

costs, 3, 75, 123

CRANE, 23

creative idea, see Concept

crisis, 164–166

CU, 21

current affairs, 150

CUT, 24

CUTAWAY, 24–25

cutaways, 8, 24–25

Daisy Miller, 215, 227–229

de Mille, William, 7

decorum, 43–44

demographics, 56–58, 272

design document, 278

detail, 204

detectives, see Private eyes

devices, 109–121, 127

dialogue, 12–13, 43–44, 188–192, 201–203, 225–229

dialogue cards, 7

directors, 4, 7, 11–12

disaster movies, 171

DISSOLVE / MIX TO, 25

distribution, 73–74

Dix, Beulah Marie, 7

documentaries, 34–35, 116–117, 135–155

biographies, 146

current affairs, 150

dramatized, 147

expedition, 149

expository, 147–148

investigative, 145–146

narrative, 146

propaganda, 148–149

travel, 149

wildlife, 150

Dogma, 206

DOLLY, 23

double takes, 240–241

drafts, 40–45

drama, 87, 159–185, 193–194

Dramatica Pro, 179

dramatized documentaries, 147

dual-column format, 29

DVDs, 5, 35

DVE, 25

e-commerce, 286

ECU, see BCU/ECU

Edison, Thomas, 4

education, 57–58

educational videos, 130–131

effects, 23–24

Egoyan, Atom, 4

Elvira Madigan, 59

EMC Corporation, 11

emotions, 60, 63, 310–313

entertainment, 285–300

epics, 166, 172

ER, 34, 229–231

ethnic origin, 57

expedition documentaries, 149

expository documentaries, 147–148

extreme close-up, see BCU/ECU

FADE IN (audio), 27

FADE IN FROM BLACK, 25

FADE OUT (audio), 28

FADE OUT TO BLACK, 25

FADE UNDER, 28

FADE UP, 28

Fairfax, Marion, 7

FCC, 75

Federal Communications Commission, see FCC

feminism, 310–311

fiction, 138–140

film, 5, 137, see also Movies

Film Noir, 171

final drafts, 45

first drafts, 40–43

First Union, 82–83

fixed media, 103

flashbacks, 168

flowcharts, 261–262, 278

focus groups, 126–127

follow-up questions, 145

formative evaluation, 126

freelancing, 318

funnel approach, 145

gambling, 82

gender, 56–57

genres, 168–173

action, 172

adventure, 172

biographies, 146

buddy movies, 171

documentaries, 34–35, 116–117, 135–155

disaster movies, 171

epics, 166, 172

Film Noir, 171

horror, 169–170

Mafia, 309

martial arts, 172

monster movies, 172

private eyes, 171

road movies, 170

romantic comedies, 169

teen comedies, 178

war, 170–171, 309

westerns, 168–169

GI Jane, 310

Goldman, William, 34

Got Milk? campaign, 57, 92–94

graphics, 23–24, 119, 293

Groundhog Day, 205

Gulliver’s Travels, 198

Hamlet, 192–193

HDTV, 21

Hecht, Ben, 10

Hemingway, Ernest, 8–10

Herbal Essences, 90

HIGH ANGLE, 21

High Noon, 8, 25

hook, 231

horror, 169–170

how-to-do-it videos, 131

humor, 86, 111–112, 193, 234

idea, 11, 66, 78

ideology, 307–310

images, 35

IMAX, 136

impact characters, 179

implied action, 204

income, 58

Industrial Light and Magic, 89

infomercials, 91

information overload, 61–62

instructional videos, 130–131

interactive applications, 131–132

interactive media, 106, 247–249, 261–267

books, 286–287

movies, 298

non-linear, 247–249, 252–253

reference works, 285–286

television, 296–297

video games, 287–292

internet, 5, 269–271, see also World Wide Web

internet portals, 271

interviews, 36–37, 65, 120, 143–145

investigative documentaries, 145–146

It’s a Wonderful Life, 201–203, 205–209

Ivy College, 51–52, 55

James, Henry, 215

job descriptions, 128–129

jokes, see Humor journalism, 36

Jurassic Park, 11

Just Marcy, 234–238

kids, 87–88

kiosks, 283

Kubrick, Stanley, 59

L.A. Law, 220

laugh lines, 241

length, 109, 199

Les Grandes Manoeuvres, 177

Little Red Riding Hood, 162–166

locations, 37

log lines, 175–176

logical argument, 118

long-form scripts, 187–195

long shot, see LS

Loos, Anita, 7

LOW ANGLE, 21

LS, 20

Lucas, George, 89

Macromedia Director, 262–264

Mafia movies, 309

martial arts, 172

master scene scripts, 29, 182–183

media, 65–66, 80

visual, 3–5, 12, 73–74

written, 3

interactive, 106, 247–249, 261–267, 286–292, 296–298

non-linear, 247–249, 252–253

print, 106

medium shot, see MS

meetings, 104–105

Melville, Herman, 13

metaphor, 11, 78, 80, 82, 85, 112–114, 260

meta-writing, 11, 67, 78

Michael, 205–206

Michelin, 88

Milk Marketing Board, 57

miniseries, 222–223

MIX TO, see DISSOLVE / MIX TO

monster movies, 172

montages, 10

Monty Python, 59

morality, 307–310

motion pictures, see Movies Movie

Magic Screenwriter, 29, 34, 180

movies, 4–5, 7, see also Genres

Mozart, Wolfgang Amadeus, 59–60

MS, 21

multilayered writing, 273

multimedia, 5, 265

murder mysteries, 171

Murphy Brown, 238–246

music, 27

MUSIC, 27

Muybridge, Edweard, 135–136

narration, 9–10, 43–44, 114, 116, 150–153

narrative documentaries, 146

narrative tense, 200

narratives, 135–155

navigation, 258–259, 277

needs analysis, 49, 54

networking, 319–320

non-linear media, 247–249, 252–253

novels, 9–10, 12

Now and Again, 206

objectives, 51–52, 55, 62–64, 79

observation, 143

observers, 10

Once and Again, 243–244

one-liners, 241

OVER-THE-SHOULDER, 21

outlines, see Concepts

pacing, 109, 229

PAN, 22

perception, 52

period, 200–201

photo-dramas, 7

photo libraries, 34–35

photoplays, 7

Photoshop, 35

pitching, 39, 175, 305–307

place, 17–18

playlets, 76–77

plays, 11–12

playwriting, 11–12

plot, 11, 13, 192–193, 232

point of view, 12, 62–63, 199–200, 290

postproduction, 23, 27, 150–153

PR, see Public relations

premise, 174–175, 220–222

Pretty Woman, 311

print media, 106

private eyes, 171

private television networks, 99–100, 107–108

producers, 4, 6–7

propaganda, 148–149

proposals, 142, 256–257

prose, 9

PSAs, 30, 34, 52–54, 65–66, 69–71, 75–97

psychographics, 58–62

public domain, 198

public relations, 60–61

public service announcements, see PSAs

Puttnam, David, 12

Quantum Leap, 205

questionnaires, 127

race, 57

RACK FOCUS, 21

realism, 225–229

reference works, 285–286

reportage, 143

research, 33–37, 105

REVERSE ANGLE, 21

revision, 44–45, 141–142, 180

road movies, 170

romantic comedies, 169

Run Lola Run, 206

running gags, 234–240

safety, 59

satire, 173

scenarios, 7

scene outline, 182–183

scenes, 29, 182–183, 189

science fiction, 170

screen size, 224

screen time, 200

screenplays, see Scripts

screenwriters, see Writers

screenwriting, see Scriptwriting

scripts, 3, 7, 12, 181–183

long-form, 187–195

script formats, 29–31, 96, 108, 182–183, 233, 258–262, 266, 294–296

dual-column, 29

master scene scripts, 29, 182–183

storyboards, 30–31, 262

scriptwriters, see Writers

scriptwriting, 3, 6–7, 11, 14, 33, 76, 101

search engines, 95

SEGUE, 28

selling, 122–123

sentimentality, 310–313

sequences, 10, 29

serials, 221–222

series bible, 232

setting, 200–201

seven-step method, 49–72, 173–174, 255, 279–281

sexuality, 89–90

SFX, 27

Shakespeare, William, 166–167

Shell Gas, 53–55, 115

shock, 86–87

shooting scripts, 45

shots, see Camera shots

show and tell, 127–128

silent films, 7

sitcoms, 219–245

slug lines, 18

SMEs, 35–36, 105–106

smoking, 54, 69–71

soap operas, 219–245

software, 29, 31, 34, 183

sound, 8, 26–28

sound cues, 27–28

FADE IN, 27

FADE OUT, 28

FADE UNDER, 28

FADE UP, 28

MUSIC, 27

SEGUE, 28

SFX, 27

sound effects, 26, see also SFX

spec, 44, 243

special effects, 89

sprites, 262–263

Star Wars, 179

story, 11, 139

story engines, 178–180

StoryBoard Artist, 31

storyboards, 30–31, 262

storyforming, 179

storyline, see Plot

storytelling, 179

storyweaving, 179–180

strategy, 64, 80

Strauss, Richard, 59

structure, 109–121, 159–185

three-act, 161–166, 222–223

style, 109

subject matter experts, see SMEs

subplot, 164–166

summative evaluation, 126

SUPER, 25

superimposition, see SUPER

suspense, 87

Swift, Jonathan, 198

synopsis, see Concept

tag lines, 176

target audience, see Audience

task descriptions, 128–129

team writing, 231

teaser, 231

teen comedies, 178

television, 5, 75, 116, 137, 219–245

private networks, 99–100, 107–108

series, 219–245

testimonials, 88–89

The Bachelor, 169, 176

The Greatest Gift, 206–209

The Player, 39, 303

The Right Direction, 110

The Sweet Hereafter, 4

The West Wing, 225–227

theme, 11

Think Different campaign, 92–94

three-act structures, 161–166, 222–223

Thus Sprach Zarathustra, 49

TILT, 22

time, 17–18

time slots, 75, 77, 222–223

Titanic, 4, 11

title cards, 7

Touched by an Angel, 205

TRACK, 22

training, 125–133, 282–283

transitions, 24–26

CUT, 24

CUTAWAY, 24–25

DISSOLVE / MIX TO, 25

DVE, 25

FADE IN FROM BLACK, 25

FADE OUT TO BLACK, 25

MIX TO, see DISSOLVE / MIX TO

SUPER, 25

WIPE, 25

transportation ads, 91–94

travel, 52

travel documentaries, 149

treatments, 39–40, 142, 180–181, 256–257

truth, 138–140

Turnbull, Margaret, 7

TWO SHOT, 21

very long shot, see VLS

video, 5, 106–107

Video Arts, 59

video games, 287–292

video news releases, 91

violence, 309–310

visual gags, 240

visual idea, see Idea

visual metaphor, see Metaphor

visual seduction, 119–120

visual writing, 8, 10, 12, 78, 192

VLS, 20

voice-over, 9–10, 43–44

von Karajan, Herbert, 59

vox pops, 117–118

Wal-Mart, 57

Warhol, Andy, 61

war movies, 170–171, 309

web sites, see World Wide Web

Welland, Colin, 12

westerns, 168–169

WIDE ANGLE, 21

wide-screen, 21

wildlife documentaries, 150

WIPE, 25

World Wide Web, 5, 35, 95, 264, 269–281

Worth Winning, 177

Writers’ Guild, 5, 304–305

writers, 4–5, 7, 9, 12, 101, 142

writing

commissioned, 50, 76–77

conceptual, 273–275

content, 273–275

copywriting, 76, 95

meta-writing, 11, 67, 78

multilayered, 273

techniques, 187–195, 197–217

visual, 8, 10, 12, 78, 192

writing schools, 7

WWW, see World Wide Web

ZOOM, 23