I’ve probably said this before, but since it’s THE most important aspect of writing for films and television it can’t hurt to say it again. SHOW what happens, don’t just tell about it.
This means that whenever possible the audience should see key events occurring onscreen. Don’t have Doctor Who gathering her companions together and telling them they have to save London from a new alien enemy. Instead, show her discovering the problem..
Whither diversity? Marina Fang asks – and answers – a very tough question.
For more than a decade, Claudia Forestieri was a reporter and producer for Telemundo, telling stories about Latinx communities around the country, from the Bay Area, to Chicago, to Miami, to Los Angeles, where she now lives. The work was important and meaningful to her. But she began to wonder how she could become a different kind of storyteller: telling more complete stories over a longer timescale.
“With news, you usually only get the tragic end, or the beginning, or the middle. You don’t even know because you’re just having one piece of the story,” she said. “At first, I was a general assignment reporter, and then I started doing more special projects, like more in-depth series and special reports. And those were wonderful, but it still wasn’t as satisfying as, like, seeing a well-told, well-written film or a series.”
Half-hour sitcoms tell less story than one-hour shows, but they have a traditional pattern as well.
Start with a Teaser that states the premise of the episode (as in introduces the problem that’s the central focus) and ends on a laugh.
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