One of the things that keeps viewers viewing is a constant increase in the dramatic tension of a teleplay.
That means you have to do more than just drop your hero or heroine into a jam and then help him or her get out of it. You’ve got to keep piling on the woe.
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Over the past several years I’ve noticed a running battle on all Message Boards, Bulletin Boards, Facebook Groups, you-name-it about screen and/or television writing. That battle is about how much to describe the action and settings in your script.
I can’t speak for feature films (although my theory there, which I’ve stated in other writings, is that everyone might as well emulate Shane Black, the most successful spec script writer/seller in history. Read something he’s written and then do the same), but I know television.
Here’s what going on, socially and professionally, at the Writers Guild of America West this month:
Members must RSVP in advance to receive access info to participate in online events.
In the history of television westerns, Alias Smith and Jones stands out from the pack.
The small screen answer to the 1969 Paul Newman/Robert Redford feature film, Butch Cassidy and the Sundance Kid, Alias Smith and Jones combined a seriocomic premise and tone, entertaining stories, witty dialogue, ground-breaking cinematography, and likable performances.
The one-hour series presented a new form of TV western which was generated by the 1970 ABC TV-movie The Young Country produced by Universal Studios.