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458 Cards in this Set
- Front
- Back
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True or false? When writing for the screen, your audience is --the-- audience.
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false (at least it's not your only audience)
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When writing for the screen, who is your audience?
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You are writing for the producers, directors, technicians, craftspeople, actors, and on-air personalities who will be MAKING a program from your script. You want to tell your story in the way that is easiest for them to convert it to the screen.
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When writing for the screen, how do you want to tell your story?
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in the way that is easiest for the producers and directors to convert it to the screen
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When writing for the screen it is important to keep in mind that your work will never be read by the audience and that you are the "_____."
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man behind the curtain
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Writing should be fun. There should be a _____ (emotional lift -- both in the audience and yourself) when you have an effective script (or script element).
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catharsis
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What is the cardinal rule of screenwriting?
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show, don't tell
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Grammar, syntax, and vocabulary are useless if you cannot do either of these.
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You have to be able to SEE the sights and HEAR the sounds (and dialogue).
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The more of these you can tap into in a script, the more relatable it will be to all people
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universal/timeless themes, needs, and desires
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a group of related words containing a subject and verb; "She is older than her brother."
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clause
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can stand alone; we refer to them as sentences when they do so; may only be a few words, like "She is old."
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independent clause
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We refer to independent clauses as _____ when they stand alone.
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sentences
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cannot stand alone and can be removed from a sentence without affecting the general message or meaning; "Because she is older than her brother"; "Who used to be a secretary for the President"
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dependent clause
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when two independent clauses are smashed together improperly; "The sun is high, put on some sunblock"; "This computer doesn't make sense to met, it came with a manual"
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run-on sentence
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How should you solve run-on sentences?
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by breaking up the clauses by using semi-colons, commas, periods, or comma-conjunction combos; "The sun is high. Put on some sunblock."; "This computer doesn't make sense to me, but it came with a manual."
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When should capital letters be used for relationships?
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only when they are a part of, or substitute for, someone's name; "Let's go visit Grandmother today."; "I remember Uncle Arthur."
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How should you express shouting in a script?
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With an exclamation point, not by using ALL CAPS (because of format conventions).
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used to separate (related) independent clauses
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semicolon
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the ?! is known as an _____ and is technically incorrect, but we can get away with it if used sparingly
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interbang
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In scripts, everything is written in what tense?
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present tense
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Scripts should use _____ as much as possible; "Steve loves Amy" instead of "Amy is loved by Steve"
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active
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used for contractions or possessive
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apostrophe
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Scriptwriting is a bit like _____ because you want to convey the most amount of information in the shortest amount of time (space).
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charades
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Although sentences should be concise, they also need to be as descriptive as possible for what reason?
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because the success -- the translation of your vision, your intent -- will be as successful or unsuccessful as the ability of the others in the process to accurately envision what you do
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True or false? The conventions of storytelling have remained unchanged throughout the years.
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true
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Why do we laugh? Why do we cry? Why do we slow down at the scene of an accident to gawk? When we talk about _____, this is what we are talking about.
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universal needs and desires
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Storytelling started with _____.
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rituals
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Storytelling started with rituals and _____, the idea that we felt we were at the mercy of the gods so we passed information down from generation to generation.
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rites of passage
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Eventually storytelling on the form of what we now call _____, the idea that every generation is told this is the way it was in the beginning, how things started, etc. Ancient people believed these to be real -- it was their religion.
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myths
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One of the first people to put myths from all over the world together.
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Joseph Campbell
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Wrote The Hero with A Thousand Faces
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Joseph Campbell
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Joseph Campbell proposed what he called the "_____," an idea that heroes from every country would go through a bunch of stages from when they first appear in the story to the end of the story. These stages are similar across cultures -- all heroes generally follow the same path -- the idea being that all of these heroic stories developed independently of each other but took on the same form because people have the same needs across cultures.
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Hero's Journey
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_____ proposed what he called the "Hero's Journey," an idea that heroes from every country would go through a bunch of stages from when they first appear in the story to the end of the story. These stages are similar across cultures -- all heroes generally follow the same path -- the idea being that all of these heroic stories developed independently of each other but took on the same form because people have the same needs across cultures.
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Joseph Campbell
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What is the "Hero's Journey"?
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an idea that heroes from every country would go through a bunch of stages from when they first appear in the story to the end of the story. These stages are similar across cultures -- all heroes generally follow the same path -- the idea being that all of these heroic stories developed independently of each other but took on the same form because people have the same needs across cultures
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The "Hero's Journey" later became known as _____, the idea that there is one myth, or archetypal myths that exist all over the world and that ideas are not that unique.
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monomyth theroy
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the idea that there is one myth, or archetypal myths that exist all over the world and that ideas are not that unique.
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monomyth theory
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ideas are not that unique and can all be traced back to archetypes that exist all over the world
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monomyth theory
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What court case is connected to monomyth theory?
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Buchwald vs. Paramount
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What is the significance of Buchwald vs. Paramount?
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Buchwald was a screenwriter who wrote a monarch from a foreign country who comes to the US; Paramount had a similar script in development titled "Coming to America." Buchwald ended up winning the case even though the storyline is a common archetype, the fish out of water-type story.
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What were the two outcomes/lessons of the Buchwald vs. Paramount court case?
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The first lesson is that Buchwald kept extensive notes about who he showed his notes to and when (including producers who made Coming to America) and could show it to a court that he had copyrighted and registered the script. The second lesson is that Paramount and major studios changed the process of screenwriting.
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Because of this case, studios will no longer look at unsolicited manuscripts because they are afraid they will get sued if they are working on a script that is similar to the one you send in.
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Buchwald vs. Paramount
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involves sending a studio a script that they might be interested in and paying you for it
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spec script
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The stories we do are different only in terms of _____ but share commonalities in plot.
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details
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Dramatic form started in _____.
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Ancient Greece
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What are the three types of ancient Greek Drama?
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(1.) tragedy, (2.) comedy, (3.) satyr play
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Within ancient Greek drama, what is a satyr play?
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It is not structured and is not really a specific written dramatic form, including burlesque, "in" jokes, and sing-a-longs
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True or false? Absurdity in long form can be a difficult beast to tackle.
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true
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What are the four elements of a story?
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(1.) plot, (2.) character, (3.) setting, (4.) theme
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What are the four elements of a story?
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(1.) plot, (2.) character, (3.) setting, (4.) theme
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What is plot?
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WHAT happened and HOW did it happen?
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What is character?
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WHO did it happen to?
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What is setting?
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WHERE and WHEN did it happen?
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What is theme?
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WHY did it happen, and what does it mean?
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answers the question "WHAT happened and HOW did it happen?"
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plot
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answers the question "WHO did it happen to?"
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character
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answers the question "WHERE and WHEN did it happen?"
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setting
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answers the question "WHY did it happen, and what does it mean?"
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theme
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_____ and especially _____ are often internal and similar between stories; the _____ and _____ are things that often change.
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plot; theme; character; setting
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These four elements apply to any kind of story, whether it is a feature film or a :30 second television commercial.
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plot, character, setting, theme
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Some people including a fifth element, _____ to the four elements of a story, that is particular to each individual and/or story.
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style
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The first question you should ask yourself when writing
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"Who?"
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The goal(s) created for the protagonist should be what three things?
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(1.) specific, (2.) simple to understand, (3.) desirable
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A character's goals produce _____; that character now has a goal and it is time to go after something.
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motivation
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the Greek word for "contest" or "struggle"
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agon
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What is "agon"?
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the Greek word for "contest" or "struggle"
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The bare bones of writing are to create a character that has a goal, and then to create _____ to achieving those goals.
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obstacles
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Should be difficult to achieve but not too difficult, and can often by achieved in the form of another character, known as the "antagonist"
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obstacles
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Wrote a book called "The Poetics," which looked at all of the plays that were done at his time and attempted to figure out what to do to heighten the emotional impact and what not to do.
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Aristotle
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Aristotle's "_____" looked at all of the plays that were done at his time and attempted to figure out what to do to heighten the emotional impact and what not to do.
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The Poetics
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Wrote "The Poetics"
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Aristotle
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looked at what to do (and what not to do) to heighten the emotional impact of drama
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Aristotle's "The Poetics"
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an unexpected power or event saving a seemingly hopeless situation
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deus ex machina
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What is the translation of "deus ex machina"?
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God coming down out of the machine
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You should never do this because your audience feels cheated if the hero does not solve his or her own problems.
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deus ex machina
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Who is responsible for three-act story structure?
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Aristotle
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said all drama has a beginning, middle, and end
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Aristotle
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includes the set up and backstory (lets the audience know who the characters are)
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Act I
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includes the rising action and the "pinch" (midpoint)
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Act II
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includes the climax and denouement (resolution)
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Act III
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True or false? Nowadays it is considered good form to leave some questions open at the end of a story.
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true
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Along the way in a story you have _____, which are things that stand in the way of the protagonist achieving their goal.
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plot points
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True or false? The more plot points you have, the harder it becomes for the audience to follow because the action does not let up.
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true
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What is the minimum number of plot points needed to tell a good story, and where are they located?
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2; one between Act I and Act II and one between Act II and Act III; these two plot points divide your story from one story into a defined beginning, middle, and end
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What is the minimum number of plot points that you have to have to tell a good story?
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2
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The plot point that occurs between Act I and Act II is called "_____"
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The Big Event
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The plot points that occurs between Act II and Act III is called "_____"
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The Crisis
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Television has a "_____" that refers to where commercials are placed, but these are artificial designations as the script still follows the three-act story structure.
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five-act structure
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In one sentence, answers what the story is about and what the "seed" of the whole is.
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the concept
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the _____ answers what the story is about and what the "seed" of the whole is in one sentence.
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concept
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Storytelling was originally through _____ and _____ tradition (basically sound and image -- which is why movies are so powerful) and then formalized as _____.
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pictures (cave paintings); oral; myths
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the idea that "there is nothing new under the sun" -- there are a few archetypal stories and all we do is tell them over and over
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monomyth theory
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"Scary Movie," "Disaster Movie," and "Meet the Spartans" are related to what kind of Greek drama?
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the satyr play
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The clearer the goal, the _____ the drama ("Moby Dick," "Jaws"). The _____ the obstacles, the better the drama ("The Alamo," "300"). The more challenging to the character, the more _____ the victory.
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better; bigger; satisfying
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What are the seven types of conflict?
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character vs. (1.) self, (2.) character, (3.) society, (4.) nature, (5.) God or the supernatural, (6.) machine/technology, (7.) destiny
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What are the seven types of conflict?
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character vs. (1.) self, (2.) character, (3.) society, (4.) nature, (5.) God or the supernatural, (6.) machine/technology, (7.) destiny
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Many stories combine elements of the different types of conflict, but as Aristotle said in Poetics, the hero must have a _____ conflict.
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single
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answers the question "what keeps the audience watching?"
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dramatic tension
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"a beginning that attracts attention, details, usually chronological, that hold attention as expectations grow, and a conclusion that rewards your [audience's] time and investment"
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dramatic tension
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involves answering the question "what keeps the audience watching?", putting the character in jeopardy, introducing uncertain, and creating suspense
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dramatic tension
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_____ + _____ = suspense
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jeopardy; uncertainty
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jeopardy + uncertainty = _____
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suspense
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basically putting a restriction on your character; now the character not only has to get across a field but has to get across the field by a certain time
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the "ticking clock"
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look at what a character's strengths are and take those strengths away (hands tied behind their back, a deadline)
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restrictions
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_____ means that your story conforms to the rules of storytelling in general; if you are writing in a genre, it means that your story conforms to the conventions of that genre
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external consistency
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if you are writing in a genre, it means that your story conforms to the conventions of that genre
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external consistency
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_____ means that you follow the rules within the story that you set up in your world
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internal consistency
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consistency with the real world
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external consistency
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consistency with other fictional works
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genre consistency
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consistency within a work itself
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internal consistency
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aids suspension of disbelief, which is what you want your audience to do; if you violate this, somewhere along the line you have to tell your viewers you are going to do so (a set-up and a payoff)
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consistency
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if you are going to violate consistency, somewhere along the line you have to tell your viewers that you are going to violate consistency -- through a _____ and a _____
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set-up; payoff
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Short stories contain all that a reader will see and learn from, while a script will be interpreted by others and you are simply laying a _____.
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blueprint
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dialogue, description, etc. that gives the audience or reader the background of the characters and the present situation
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exposition
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You shouldn't "tell" in a script for what two reasons?
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(1.) there's no way to see it on the screen and (2.) it's too wordy
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Television and film are _____ mediums, so you should capitalize on that.
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visual
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Scriptwriters use the printed word to "_____" their creations, but unless you have a strong vision of those creations (sights and sounds), the printed words may not convey the full vision.
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encode
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As a scriptwriter, your message will have to be _____ with clarity, as those who interpret your scripts may enhance or diminish them.
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encoded
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Scripts are written with _____ in mind.
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an audience
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When you know the nature of your _____, you should adjust your approach, your vocabulary, and your objectives to it.
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audience
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True or false? When you tailor a message to a certain audience, you do not need to keep the universal needs and desires in mind.
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false; Although you tailor a message to a certain audience, you must still keep the universal needs and desires in mind
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The terms "public" and "private" are neutral in the sense that they refer to _____ and _____, and not quality.
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distribution; consumption
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a subcategory of public communication
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public arts
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Newscasts, storm warnings, reports, and commercials that merely list items for sale are a _____.
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public communication
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Commercials and PSAs that use dramatizations, devices and symbols of the arts to make a point are _____.
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public arts
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True or false? In the past, cave paintings, tribal ceremonies, special dances, and religious ceremonies paralleled the public arts as they evolved.
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true
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True or false? Many stories in the public arts share themes from religious rituals, sacrifice, martyrdom, death and rebirth, etc.
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true
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True or false? People use the public arts in many different ways.
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true
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It's difficult, if not impossible, to lump people into one category, which critics often try to do ("_____").
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pigeonholing
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What are the three schools of criticism?
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(1.) moralistic criticism, (2.) psychological criticism, (3.) archetypal approach
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Is the work of art good or bad for the public? (Think of television violence and graphic adult content)
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moralistic criticism
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Why is this character doing this? (Deals with conscious and subconscious motivations)
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psychological criticism
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presence of universal themes in the arts of "primitive people" of all times and places. Identifies "compelling themes that appear predictably in the public arts."
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archetypal approach
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the written version of the concept
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the logline
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also known as "the pitch," "the hook," and "the premise"
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the logline
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a one-sentence summary of the story
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the logline
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What are four questions that might be included in the logline?
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(1.) Who is the central character? (2.) What is his/her main goal? (3.) Why is the goal so important to him/her? (4.) Who is trying to stop them? Why?
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"In the dizzying world of movie making, we must not be distracted from one fundamental concept: The _____ is king. If a movie begins with a great original _____, chances are it will be successful, even if it is executed only marginally well." -- _____
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idea; idea; Jeffery Katzenberg
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_____ are probably the most lucrative market, but _____ media is catching up.
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teens; kids
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What demographic has long been the most sought after demographic because they tend to have the most disposable income?
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male teens
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What are some considerations in knowing your audience when developing media projects for kids?
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age appropriateness (don't talk down to kids), less attention span and retention, more linear story paths, what development stage? what gender? what are the desires of parents? what are the desires of children (aspirational desires)?
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One of the universal themes and needs for kids is _____, which involves the kind of person they want to be when they grow up.
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aspirational desires
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This is why a lot of times the main characters in kids media tend to be slightly older than the audience they are trying to attract.
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aspirational desires
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Jean Piaget, in The Origins of Intelligence in Children, broke down what children go through in what 4 stages?
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(1.) toddlers-kindergarteners, (2.) 5-8 (early elementary), (3.) 9-12 (late elementary), (4.) teens
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The Japanese model for development includes what 5 categories?
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(1.) seinen (men 18-30), (2.) josei (women in their late teens through adults), (3.) shoji (girls 10-18), (4.) shonen (boys 10-18), kodomo (children under 10; gender not differentiated)
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The #1 most important thing that a parent values for their child in kids media is _____.
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if it is entertaining for the child
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What are the four things parents value in kids media?
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(1.) entertaining for child, (2.) entertaining for adult, (3.) family values, (4.) educational
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The _____ the target audience, generally, the better branded products sell because they are recognizable to the child and are of a known/trusted quality to the parent.
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younger
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What are seven common mistakes in writing for kids media?
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(1.) too much "sugar" (sweet, nice, and happy) (2.) too "healthy" (preachy, this is good for you), (3.) too "light" (kids can handle some depth), (4.) too "safe" (5.) too "broad" (too complex), (6.) telling, now showing, (7.) too "flat" (not enough happens; the stakes aren't high enough)
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What are four guidelines to solve the problems of kids media?
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(1.) Add agon (add more conflict), (2.) add plot points, (3.) employ humor, (4.) don't patronize
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Remember that all of the rules about _____ are also true for kids media.
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conflict
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What is stealth marketing?
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the idea of giving college freshman things to have parties (Monster energy drink) and hiring people to go into chat rooms to say things about a product
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Celtx is a _____ way of approaching the writing process, just like Final Cut Pro is to editing.
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non-linear
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What are two benefits of good characters?
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(1.) makes the audience care, (2.) marketing and selling point (Hannah Montana)
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personify "agon" and may personify death, evil, corruption, creativity, madness -- whatever the main character is struggling against
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antagonist
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True or false? Adjectives, names, etc. lend reality to the story and help people visualize it -- which is the goal of a media writer.
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true
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What are some of the legal issues with using real names in your work?
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defamation (you can say someone did bad things if they actually did bad things), right to privacy, right to privacy by depiction of an actual person in false light (on the surface you tell the facts correctly but through artistic license show someone in false light), and right of publicity (if they are a celebrity)
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referred to as E&O, generally looks to see that there are no real people with that name OR a lot of real people with that name (not 1 real person)
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Error & Omissions Department
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Fictional names allow for more _____ but sacrifices the advantages of the _____.
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creative freedom; familiar
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What are three types of fictional names?
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(1.) characternym (charactonym), (2.) toponyms, (3.) resnyms
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a name that reveals something about the nature of the character (ex. Ratz the bartender)
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characternym (charactonym)
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suggests something about the place and/or the people who live there (ex. Isla Nublar)
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toponym
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means "things" in Latin, the name of a thing that tells us something about that thing in the name (ex. The Umbrella Corporation)
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resnym
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Why are the names of places and things important?
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Because they often take on the role of a character in the story too (ex. film noir, Gotham City in Batman)
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True or false? Whether we realize it or not the meaning of the name of a character affects how that character is viewed.
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true
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A name that identifies the key traits of the character, including how the name sounds (Lara Croft = upper class, crafty), meaningful, and appropriate for the genre (James Bond vs. Jason Bourne)
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characternym
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the person who seeks the goal
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protagonist
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the person who blocks the goal
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antagonist
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True or false? The terms "protagonist" and "antagonist" also refer to good and evil.
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false; the word "hero" and "protagonist" are also used interchangeably, but they are not always referring to a morally "good" character
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All good characters are made up of what three elements?
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(1.) strengths, (2.) weaknesses, (3.) quirks
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In Greek plays, the heroes usually had _____, excessive pride.
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hubris
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Shakespeare incorporated other flaws in his characters, but _____ remains one of the best for drama.
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pride
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Neither a strength nor a weakness, merely something unique about a character.
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quirks
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obstacles create _____, which creates _____
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conflict; drama
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personified opposition; make some of the best obstacles
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antagonists
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True or false? An antagonist has to be evil.
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false; their goals just need to create a direct conflict to the protagonist's goals. Antagonists also have motivations and some of the best stories are ones where the protagonist and antagonist have equally compelling motives.
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_____ or belief system affects how characters behave.
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point of view
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In Amadeus, Salieri believes music comes from God. Therefore he believes Mozart is God's agent sent to torment him. This is an example of _____.
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point of view
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also includes the character's view of himself (self-concept), and when this changes it is considered "growth'
|
point of view
|
|
|
leads a character to act and answers the question "why does a character do what they do?"
|
motivation
|
|
|
True or false? When describing groups of people, it is permissible to use terse, one word descriptions to give the general feel.
|
true
|
|
|
What is "The Composite Character Technique"?
|
writing what you know by taking two people of the same gender and making two lists of description and then "compositing them" by taking a few items from each list, letting the new character come into life by demanding new and independent traits of his or her own
|
|
|
In general, the first thing you need to know when writing a script is
|
WHO is the main CHARACTER(S)?
|
|
|
True or false? Storytelling has to be fiction.
|
false; storytelling doesn't have to be fiction.
|
|
|
As screenwriters we (can/cannot) be non-fiction storytellers.
|
can
|
|
|
True or false? The non-fiction stories screenwriters tell may or may not include journalism.
|
true; the techniques journalists use can apply, but there are differences between non-fiction film and straight journalism
|
|
|
have been defined as creative treatment of actuality, controlled actuality, dramatic re-enactments, capturing "life as it is," factual film presented in a dramatic way, any non-fiction film
|
documentaries
|
|
|
Why does "creative treatment of actuality" mean?
|
there is no such thing as reality on film or video -- since it is coming through this other medium and you are not eye witnessing it, automatically it is a VERSION of reality that gets further diluted depending on choices made along the way
|
|
|
Documentaries are usually "written" where?
|
in the editing room
|
|
|
Most documentaries are usually _____ of people, places, events, and shots.
|
outlines
|
|
|
What are the nine documentary styles?
|
(1.) biopic, (2.) travelogue/ethnography, (3.) city symphony genre, (4.) kino-pravda (the truth), (5.) newsreel, (6.) propaganda, (7.) cinema verite (truthful cinema), (8.) direct cinema, (9.) mondo cinema/shockumentary
|
|
|
a style of documentary, when you go on a trip and document what you see and where you go (vacation videos -- the idea is told in the order in which the documenter experiences the events)
|
travelogue
|
|
|
a style of documentary, like a travelogue, but looking at an entire culture and trying to capture everything you can about that culture on film or video (National Geographic specials)
|
ethnography
|
|
|
deals with cultures that are disappearing; if there is some culture that is no longer going to be with us at some point, filming it is known as this
|
salvage ethnography
|
|
|
_____ can fall prey to romanticism because in telling the story of a culture you want both the good and the bad
|
ethnography
|
|
|
a style of documentary named for Berlin: Symphony of a Metropolis (set up cameras around Berlin and capture what was happening over the course of a day -- documenting all kinds of events at the same time but at different places)
|
city symphony genre
|
|
|
also known as montage style, continental style, and realist style
|
city symphony genre
|
|
|
a documentary style named after the Soviet newspaper Pravda ("truth") started by Vertov, who came up with the idea of film truth. Uses time-lapse photography to tell the story as Russians said you get at truth by seeing how something happens over a long period of time -- they were into the idea of class warfare and how certain classes oppress over time, so the idea was that you would use long takes to see something over a long time to get at the truth.
|
kino-pravda (film-truth)
|
|
|
started by Vertov, uses time-lapse photography to tell the story
|
kino-pravda (film-truth)
|
|
|
a documentary style that is a narrative documentary (narrator tells you about the image you are seeing, with the idea that the words and pictures complement each other to tell the full story)
|
newsreel
|
|
|
a documentary style that attempts to influence the viewer in one way or another
|
propaganda
|
|
|
True or false? Today propaganda is generally thought of as attempts to intentionally mislead and this is generally the case.
|
false; this isn't necessarily the case, as propaganda doesn't necessarily mean bad and is actually morally neutral
|
|
|
a documentary style that uses portable recording equipment to obtain a more dramatic, confrontational, and engaging view
|
cinema verite (truthful cinema)
|
|
|
involves using camera to get close-ups, etc.; the French theory was that you can never really take the documentarian out of the picture, so don't bother trying
|
cinema verite (truthful cinema)
|
|
|
a documentary style from Canada characterized by a "fly on the wall" style using hidden cameras and microphones; complete opposite of cinema verite
|
direct cinema
|
|
|
a documentary style in which you want to be as jarring as possible and shock the viewer with the subject matter and the way that you present that subject matter
|
mondo cinema/shockumentary
|
|
|
the idea that subjects change their behavior based on the knowledge that they are being observed (came from factory which studied different lighting conditions on its workers)
|
the Hawthorne effect
|
|
|
The first documentary that used dramatic re-enactments to tell the story; prior to this nobody mixed fiction with documentaries
|
The Thin Blue Line (1988) -- Erroll Morris
|
|
|
Combined the way documentaries were made by combining ethnography with propaganda.
|
Roger & Me (1989) -- Michael Moore
|
|
|
influential documentary that was a form of salvage ethnography; since it involved only photographs, used a technique called the "_____" where photos would move and make it look more like reality; also had actors read lines that had been written by people in the past -- dramatic re-enactments on the audio side and photos using post-production techniques
|
The Civil War (1990) -- Ken Burns; "the Ken Burns effect"
|
|
|
In 2006, nothing some of the best journalism was done by bloggers chose "_____" as Man of the Year
|
you
|
|
|
What are five steps in developing a documentary?
|
(1.) Decide on point of view (objective, subjective, both, multiple) -- character, (2.) Find the story/narrative thread (plot), (3.) List out all the major facts you wish to cover (setting), (4,) What way can the story best be captured?, (5.) What do you want the user to come away with? (theme)
|
|
|
What are the three types of announcements stations broadcast?
|
(1.) spot, (2.) promo, (3.) PSA
|
|
|
a type of announcement involving ad time/commercial radio and sales
|
spot
|
|
|
a type of announcement promoting something that is on the station itself ("The Simpsons" weeknights at 6 o'clock)
|
promo
|
|
|
a type of on-air announcement promoting either a non-profit organization or an activity or ideal
|
PSA
|
|
|
What are the three PSA spot times (and how many words or less) we need to know?
|
(1.) 60 seconds = 125 words or less, (2.) 30 seconds = 65 words or less, (3.) 10 seconds = 25 words or less
|
|
|
What are the three most common spot lengths to fill?
|
10, 30, and 60 seconds
|
|
|
What are the big three spot times?
|
(1.) 60 seconds -- 125 words or less, (2.) 30 seconds -- 65 words or less, (3.) 10 seconds -- 25 words or less
|
|
|
ANNCR:
|
announcer (the person doing the public service announcement)
|
|
|
BOARD FADE:
|
fade all sounds (everything in your PSA gets faded down at once -- the music, sound effects, talking, etc.)
|
|
|
CROSS FADE:
|
one thing fades down while another simultaneously fades up (never have any silence; constant noise)
|
|
|
SFX:
|
sound effects (not to be confused with special effects, which is just FX)
|
|
|
FILTER MIC:
|
a microphone that has vocal processing on it to change the person's voice; this can be any number of things, involving making a voice sound deep, echo chamber, etc.
|
|
|
SEGUE:
|
one thing fades down for a brief moment of silence, then another thing fades up after that silence (the ending of one sound such as music followed by a barely perceptible pause followed by another sound)
|
|
|
SNEAK IN:
|
a kind of fade in, but you are fading in very slowly -- a slow fade (the music is very slowly rising; most of the time people don't even notice it at first)
|
|
|
BRIDGE:
|
music transition
|
|
|
UNDER:
|
means that there is one sound under another at a lower volume
|
|
|
UP:
|
a really short abbreviation for "fade up"
|
|
|
What is the standard script format for radio?
|
the BBC style, also known as "dual column" or "2-column"
|
|
|
the BBC column is the standard script format for radio and is also known as "_____" or "_____"
|
dual column; 2-column
|
|
|
We are moving toward a society in which people are expected to be _____ who do everything (write, shoot, edit, etc.)
|
generalists
|
|
|
If you are a _____, you need multiple resumes and reels (to appease people who think in terms of specialization).
|
generalist
|
|
|
using someone else's stock and computer animation
|
machinima
|
|
|
establishes main/secondary characters; establish a task, an intention, a desired outcome; establish an obstacle, a problem, an adversary, create conflict; end with a reversal or a setback
|
Act I
|
|
|
complicate the predicament of the main character/raise the stakes; introduce a subplot; introduce subordinate characters; end with a new level of crisis
|
Act II
|
|
|
intensify the problem; close the subplot by resolving it into the main plot; create an ultimate reversal or a setback in the predicament of the main character; create the triumph of the hero, protagonist, or main character and the downfall of the antagonist or villain
|
Act III
|
|
|
the baseline of what everyday life is like for the characters
|
setup
|
|
|
something happens to change from a regular day; not the bad thing yet, but it portends the bad thing; it will set the events in motion toward something bad happening
|
catalyst
|
|
|
when action rises really quickly
|
fast rising action
|
|
|
when action sharply jumps; one of two plot points you HAVE to have in your script; divides the first act from the second act; also known as plot point I
|
The Big Event
|
|
|
also known as Plot Point I
|
The Big Event
|
|
|
not as fast rising action; it's slow building
|
building tension
|
|
|
in the middle of the rising action; a lot of times doesn't have to do with the action but with the character's emotional state
|
The Pinch
|
|
|
the second major plot point you have to have; divides the second act from the third act; the moment when the worst possible thing that could happen to your hero does; also known as Plot Point II
|
The Crisis
|
|
|
also known as Plot Point II
|
The Crisis
|
|
|
very fast buildup into the highest point in the script
|
very fast rising tension
|
|
|
resolution; often short, only a tiny amount of distance of the plotline
|
denouement
|
|
|
the idea that the character's previous baseline is different from the baseline at the end of the script; they have experienced _____
|
growth
|
|
|
Act I should start with a _____ that will get people involved in the story early.
|
hook
|
|
|
Act I should convey _____ -- as much as possible in the first few minutes, but we learn it throughout the entire script as well.
|
backstory
|
|
|
The _____ (thing that sets events in motion) should happen in the first _____ pages.
|
catalyst; 10-15
|
|
|
Thrillers often include the catalyst at exactly _____ minutes.
|
13
|
|
|
Act I ends with the _____, the central conflict.
|
Big Event
|
|
|
The Pinch occurs at approximately page _____.
|
60
|
|
|
Everything in the whole script leads up to this moment.
|
climax
|
|
|
In Act III the protagonist has _____, where character growth comes in; they have solved whatever internal conflict they have and the emotional conflict they have had from the beginning.
|
realization
|
|
|
_____ ties up loose ends. It's okay and even good to leave some things resolved, but you want to solve your main conflict.
|
denouement/resolution
|
|
|
The structure of a script is that Act I takes up _____%, Act II _____%, and Act III _____%. This equates to a roughly _____ page count script of 120 pages total.
|
25%; 50%; 25%; 30-60-30
|
|
|
What are the two key plot points?
|
The Big Event and The Crisis
|
|
|
The turning point between Act I and Act II.
|
The Big Event
|
|
|
The turning point between Act II and Act III.
|
The Crisis
|
|
|
How many plot points does a dramatic piece need to have?
|
2
|
|
|
The one primary document in screenwriting is the _____ (_____).
|
script (screenplay)
|
|
|
A document that tells us a summary of the entire story that will play out on screen, in real time. Condensed.
|
treatment
|
|
|
What are four advantages of a treatment?
|
(1.) usually takes much less time and effort than a script, (2.) doesn't get bogged down in script formatting, (3.) ideal for clients/producers/directors about to spend money, (4.) may include transitionary language ("We open with," "We cut to")
|
|
|
A 10-100 page document that focuses on the important characters and key events and doesn't just tell the story but sells the story.
|
treatment
|
|
|
In the Hero's Journey, the point where the hero becomes fully committed.
|
The Big Event
|
|
|
The bleakest point in the story and usually sends the story in a whole new direction.
|
The Crisis
|
|
|
In the denouement there is usually a moment of _____ for the protagonist.
|
self-discovery
|
|
|
Traditional screenwriters need to produce other documents that just a screenplay such as the log line, the treatment, etc., but the _____ is the primary document.
|
script
|
|
|
Stated that "Tragedy (Drama) is an imitation of action ... not narrative" (basically show don't tell)
|
Aristotle
|
|
|
Film is a _____ medium so you should create a _____ experience.
|
visual; multisensory
|
|
|
In dramatizing a story, you should take the internal and make it _____, take thoughts and turn them into _____, and take dialogue and make it _____.
|
external; dialogue; actions
|
|
|
consistency with the real world
|
external consistency
|
|
|
consistency with other fictional works
|
genre consistency
|
|
|
consistency within the work itself
|
internal consistency
|
|
|
the idea that horses don't sound like coconuts being hit together, but people have become accustomed to that sound effect
|
The Coconut Effect
|
|
|
The protagonist (and antagonist) has a conscious _____. The protagonist (and antagonist) also has an unconscious _____ that must be fulfilled that is usually blocked by the character flaw.
|
goal; need
|
|
|
The two plot points _____ and _____ make up the emotional core of a script.
|
the pinch; the crisis
|
|
|
Sometimes a character's _____ and _____ can be in direct opposition (Man vs. Self-type conflict).
|
goal; need
|
|
|
A character's _____ drives the action of the story.
|
goal
|
|
|
A character's _____ drives the emotion of the story.
|
need
|
|
|
Plot-driven stories focus more on the _____ aspect.
|
goals
|
|
|
Character-driven stories focus more on the _____ aspect.
|
needs
|
|
|
_____ stories focus more on the goals aspect.
|
plot-driven
|
|
|
_____ stories focus more on the needs aspect.
|
character-driven
|
|
|
In a _____ story, the character: wins/lives, loses, self-destructs, grows by doing the right thing, grows up, learns a lesson/fails to learn one, or the _____ destroys the character.
|
goal-driven; goal
|
|
|
_____ to some degree suggests goals and other plot elements.
|
genre
|
|
|
usually has a "character wins"-type plot
|
action
|
|
|
usually has a "character lives"-type plot
|
thriller or horror
|
|
|
the plot element that causes the Big Event
|
MacGuffin
|
|
|
what the bad guys are after
|
MacGuffin
|
|
|
Came from Hitchcock's The Man Who Knew Too Much; doesn't have to be a person, can be a briefcase, etc.; also known as the the inciting incident
|
MacGuffin
|
|
|
also known as the inciting incident, the catalyst, etc. -- it starts the ball rolling and causes the Big Event
|
MacGuffin
|
|
|
usually has a "character grows by doing the right thing"-type plot
|
romantic comedy
|
|
|
True or false? Titles are copyright-able.
|
false (titles are NOT copyright-able)
|
|
|
What are three guidelines for picking a title?
|
(1.) pick something that conveys the CONCEPT, (2.) pick something SHORT enough to fit on the box/ads, (3.) try to pick something CATCHY
|
|
|
Why is traditional screenwriting very formalized?
|
Standard formats, spacing, font size, even binding are all ways to communicate information to the production team.
|
|
|
The _____ is the turning point between Act I and Act II.
|
Big Event
|
|
|
The _____ is the turning point between Act II and Act III.
|
Crisis
|
|
|
In A Christmas Carol, the arrival of the first ghost is the _____.
|
Big Event
|
|
|
In A Christmas Carol, the revelation of the fourth ghost is the _____.
|
Crisis.
|
|
|
A script by a writer who hopes the script will eventually be purchased by producers or studios.
|
spec script
|
|
|
Think "amateur writers"; a script that is written before a detailed shooting script, for a client that does not include detailed shooting information (like medium shot, close-up, etc.)
|
spec script
|
|
|
A script in which camera directions are inserted and scenes are numbered, usually done by the director.
|
shooting script
|
|
|
A _____ is a script in which camera directions are inserted and scenes are numbered, usually done by the director.
|
shooting script
|
|
|
For the purposes of this class, we wrote a _____ script.
|
spec
|
|
|
the physical layout of the script, the way the elements are laid out on the page
|
format
|
|
|
the _____ is the physical layout of the script, the way the elements are laid out on the page
|
format
|
|
|
Scripts are generally _____-friendly (for agents and other Hollywood folks). This is why Courier is used, because it may take up space but is easier to read in dark places like sets.
|
reader
|
|
|
True or false? Script formats are completely standardized.
|
false; scripts aren't completely standardized, but there are general guidelines
|
|
|
The screenplay format has evolved to meet the needs of _____.
|
production
|
|
|
Within a script, 1 page is equal to how much screen time?
|
1 minute
|
|
|
1 minute of screen time is equal to how many pages in a script?
|
1 page
|
|
|
Why will producers immediately trash any script not in standard format?
|
Because scripts are budgeted and scheduled by being broken down in eighths of pages in terms of shooting to determine how many days will be needed.
|
|
|
In television and film dramas, you will generally be dealing with _____ scripts (_____ in Celtx).
|
film-style; FILM
|
|
|
In television commercials (and promo scripts), you'll be using the _____ format, also known as the _____ format. (_____ in Celtx)
|
dual-column; BBC; A/V
|
|
|
You should avoid camera directions/cues in a script unless it is a _____ or _____ script.
|
shooting; production
|
|
|
Why should you not write things in all capital letters in scripts?
|
Because caps are reserved for special purposes in a script.
|
|
|
Studios currently have a cap on movie length at _____ minutes, so you want your script to be about _____ pages and no more than _____ pages.
|
128; 120; 128
|
|
|
With the spec script, you are describing what three big things?
|
(1.) location (using slug lines), (2.) action (avoiding detailed camera shot descriptions), (3.) dialogue (occasionally using character cues)
|
|
|
With the spec script, you are describing _____ using slug lines, _____ of what we see on screen, and _____ by occasionally using character cues.
|
location; action; dialogue
|
|
|
Rarely should you include _____ cues, and almost never _____ cues in a spec script.
|
SFX (sound effects); music
|
|
|
_____ in a script tell us whether we are inside or outside, where we are inside or outside, and what time of day it is.
|
sluglines
|
|
|
Sluglines in a script tell us what three things?
|
(1.) Are we inside, or outside? (2.) Where are we inside or outside? (3.) What time of day is it? Day or night?
|
|
|
When time or place changes, use a new _____.
|
slugline
|
|
|
Sluglines have scene #s at the start and end in _____ scripts only.
|
shooting
|
|
|
Descriptions of how the character speaks are set in _____ below the character's name.
|
parentheses
|
|
|
When should caps be used in scripts? (6)
|
INT. or EXT., where the scene is set, DAY or NIGHT, character names, camera directions, scene transition devices
|
|
|
A _____ space should be used between dialogue; camera directions; scene descriptions, stage directions; and cues.
|
single
|
|
|
A _____ space should be used from camera shot to camera shot; between scenes and FADE IN, FADE OUT, DISSOLVE TO, etc.; between dialogue and new character headings; between dialogue and stage or camera directions
|
double
|
|
|
To establish setting we use a _____.
|
slugline
|
|
|
When describing a setting, you should go from the _____ to the _____.
|
general; specific
|
|
|
What are four things to consider in going from the general to the specific when describing setting?
|
(1.) describe the setting, (2.) who's there?, (3.) any other important information about the place, (4.) what are they doing?
|
|
|
In describing a setting from the general to the specific, you should establish a _____ relationship between the setting and the character description.
|
hierarchical
|
|
|
Speaking roles, main characters, and real people are always in _____ the first time we see their names in action/descriptive text. Every other time is is written _____.
|
all caps; normally
|
|
|
Generally, you should try to keep descriptive text at about _____ horizontal lines.
|
four
|
|
|
When you put _____ where day/night are supposed to go, it means you have one shot that may span different scenes. It is best used for "stylized" scenes, where we want action or conversation to quickly continue from one location to another.
|
continuous
|
|
|
When it is necessary to include a camera direction in the script, use the standard abbreviation in _____.
|
caps
|
|
|
Some shoulder may be visible. Not much context of the environment.
|
close-up (CU)
|
|
|
Only a small portion of a person's body is visible.
|
extreme close-up (ECU/XCU)
|
|
|
a close shot of an object; sometimes better expressed with a _____
|
close-up (CU); tight shot (TIGHT SHOT or TIGHT ON)
|
|
|
A small portion of a part of a subject.
|
extreme close-up (ECU/XCU)
|
|
|
Shoulders and head now fully visible; most of the upper body is visible. Some background context. Seen a lot in news broadcasting.
|
medium shot (MS)
|
|
|
A good deal of the environment is still visible for context. Full body is visible, and has more graphic weight.
|
wide shot (WS)
|
|
|
A great amount of the environment is visible. Great for establishing shots.
|
extreme wide shot (EWS)
|
|
|
Looking over the shoulder of a particular subject.
|
over the shoulder (OTS)
|
|
|
when the camera sees things as the character would
|
point of view (POV)
|
|
|
A point of view (POV) shot should always include what?
|
the name of the character -- ex. DEREK POV (Derek is the one looking, not the one we see)
|
|
|
In including camera shots in your script, the goal is not to tell them how to shoot it but to _____.
|
get them to shoot it the way you see it.
|
|
|
When writing a script, your written words are turned into sights and sounds, so you should think about what visuals and sounds will convey your message successfully _____ you write.
|
before
|
|
|
Sluglines are always followed by some form of _____, never with _____.
|
action/description; audio/dialogue
|
|
|
Why should you use parentheticals only if absolutely necessary?
|
Because they break up the pace slow the reading, and annoy actors.
|
|
|
not "in" the program but added in later; not heard by anyone in the story (other than maybe a character thinking something); may be a God-like narrator, a character, a reflection; inner monologue. SHOULD BE USED SPARINGLY.
|
voice-over (VO)
|
|
|
True or false? Voice-overs should be written as (VOICEOVER).
|
false; it should be used next to the name -- JOHN (VO) or JOHN (V.O.) or as a parenthetical JOHN (line break) (V.O.)
|
|
|
Occurs when a character is "in" the movie, but may not be on screen when they deliver dialogue.
|
off-screen dialogue (OS)
|
|
|
What is used when a character is on the phone, for example.
|
off-screen dialogue (OS)
|
|
|
How should off-screen dialogue be written?
|
JOHN (OS) or JOHN (O.S.) or JOHN (line break) (OS)
|
|
|
To indicate you want both characters visible while on-screen, use _____ or _____.
|
intercut; splitscreen
|
|
|
"dialogue, description, etc. that gives the audience or reader the background of the characters and the present situation'
|
exposition
|
|
|
This is easy (and common) to do in a short story or novel but is at best boring and at worst a complete waste of space in a script.
|
exposition
|
|
|
When writing scripts, you should include _____ but avoid _____ writing.
|
description; flowery
|
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Scriptwriters use the printed word to "_____" their creations, but unless you have a strong vision of those creations (sights and sounds), the printed words may not convey the full vision. As a scriptwriter, your message will have to be _____ with clarity, as those who interpret your scripts may enhance or diminish them.
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encode; encoded
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Why should you avoid exclamation points when writing scripts?
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Because too many exclamation points water down the excitement conveyed by the characters. Instead, you should let the excitement be conveyed in your words and style.
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You should write dialogue if it is _____ and is going to be distinctly _____.
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important; audible
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think of as first-person perspective; may have a breaking of the fourth wall; usually some form of establishment that we are going to be seeing this kind of shot
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POV (point of view) shot
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True or false? It is impossible to teach comedy.
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true
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Who was the first person to really intensively study comedy?
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Aristotle, in his book Poetics
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Why do people find things funny?
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For release and relief, also known as catharsis
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People find things funny for release and relief, also known as _____.
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catharsis
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Laughing is a biological instinct stemming from _____ and a _____ that begins as an infant.
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ridiculing the different; spirit of well-being/play
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Why are there warm-up acts for comedians?
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Because they foster a spirit of well-being play that makes people more likely to respond to the acts that come afterward.
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_____ involves the incompatible expectations of comedy.
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incongruity
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In comedy, the discrepancy between what we expect and what actually happens.
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bisociative theory
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used in comedy and horror; the idea of a "running joke" that you repeat over and over again until you play with that joke and tell it in a different way so that something totally different happens to take people by surprise (the music in Jaws)
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bisociative theory
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Freud divided comedy into what three things?
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(1.) comic, (2.) humor, (3.) wit
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What were the three things Freud divided comedy into?
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(1.) comic, (2.) humor, (3.) wit
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why some people are funny and why some people are not
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wit
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"making you laugh at things you forgot to laugh at the first time they happen"
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Carlin theory, George Carlin
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Why is Hitler a good example of comedy?
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Because he began as a source of ridicule, became a source of serious concern, and then became a source of ridicule again. Backlash against The Great Dictator and To Be or Not to Be.
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In writing comedy, it's not the joke that's funny, it's the _____ behind it.
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attitude
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In writing comedy, if you have a funny _____, the jokes will follow.
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concept
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In comedy, in addition to having an _____ you must invent a _____ that provides "fertile ground" for the comic actions of a story.
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attitude; circumstance/situation
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True or false? Comedic structure is the same as drama.
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true (beginning, middle , and end, even in a simple joke that involves a setup and a payoff)
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In comedic structure, you should build on _____ and have a good _____.
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expectations; punch line
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In comedy writing, _____ is important just like drama.
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pacing
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_____ is important in comedic writing; how many jokes rely on pauses (sometimes awkward) in the delivery?
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comedic timing
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In writing comedy, if you find things that elicit _____ like delight, amusement, annoyance, anger, and hatred in you, you will find material for jokes and humor.
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attitudes
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What are five features of myths?
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(1.) MODELS of agents and actions, (2.) the heroes WIN and the villains lose, (3.) recurring THEMES, (4.) threat to protagonist is usually PHYSICAL, (5.) provide CATHARSIS
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What are five features of myths?
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(1.) MODELS of agents and actions, (2.) the heroes WIN and the villains lose, (3.) recurring THEMES, (4.) threat to protagonist is usually PHYSICAL, (5.) provide CATHARSIS
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Folklorist who first studied rituals and myths
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Joseph Campbell
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A certain set of stages that most heroic stories have -- seventeen of them. Not every hero goes through all seventeen, but most stories have most of them.
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Hero's Journey
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A myth from Mesopotamia.
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Gilgamesh
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What are four myths from Ancient Egypt?
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(1.) Tale of Two Brothers, (2.) The Shipwrecked Sailor, (3.) The Doomed Prince, (4.) King Kheops and the Magicians
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What are two myths from Ancient Greece?
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The Iliad and The Odyssey
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Stories that continue to endure because they have immortal cores.
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myths
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_____ and _____ shows us how we ought to be.
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drama; tragedy
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_____ shows us how we ought not to be.
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comedy
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_____ show us what we wish to be or what we fear and are based on hopes, fears, dreams, and nightmares.
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heroic stories
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proposed the concept of the monomyth
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Joseph Campbell's The Hero with a Thousand Faces
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one heroic form repeated throughout the ages and cultures
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monomyth
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involves 17 stages that can roughly be grouped into three sections, which works very nicely within the three-act structure
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The Hero's Journey
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What are there three major sections of the Hero's Journey?
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(1.) departure, (2.) initiation, (3.) return
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Name the three major sections of the Hero's Journey, and name two stages from each.
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(1.) DEPARTURE (call to a venture, refusal of the call, supernatural aid, crossing the first threshold, belly of the whale/the beast), (2.) INITIATION (the road of trials, the meeting with the goddess, women as temptress, atonement with the father, apotheosis, the ultimate boon), (3.) RETURN (refusal of the return, the magic flight, rescue from without, the crossing of the return threshold, master of two worlds, freedom to live)
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involves what the story is really about -- the "why" of the story/what the story really means
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theme
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answers the "why" of the story/what does the story mean?
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theme
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_____ represents human needs and desires that exist not only in your audience but in your characters too.
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themes
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_____ is what is literally written, _____ is what it means.
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text; subtext
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Dialogue often has _____ and _____.
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text; subtext
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what the characters say vs. what the characters mean
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text vs. subtext
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what is actually said and how it is said
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text
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what is actually meant
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subtext
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What are two examples of subtext?
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(1.) To Catch a Thief (Grace Kelly work to catch a diamond thief but also looking to catch the thief romantically), (2.) Moonstruck (they both think they are getting married to the wrong person, lots of references to dogs and wolves focused on the full moon)
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_____ often gives clues to the theme.
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subtext
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One of the largest ad firms; also responsible for producing the "Waking Up Hannah" ad campaign for Dove
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Ogilvy & Mather
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The first kind of media advertising appeared in which medium?
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radio
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The term "broadcasting" started in this medium.
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radio
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How did the term "broadcasting" begin?
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a farming term about casting seeds which meant reaching as far as you could with seeds
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People are now focused on "_____" as media has become more centered to specific groups and specific products targeting a specific audience
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narrowcasting
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Dove GoFresh targeting women in their 20s is an example of _____.
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narrowcasting
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Why didn't the first ads on television maximize the capability of the medium?
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Because they were basically a repurposing of radio advertising; originally they just moved the same ads from radio onto television with a person reading the copy.
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Advertising began to develop in the early 1960s under _____, who stated "Let us prove to the world that good taste, good art, and good writing can be good selling."
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Bill Bernbach
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came up with the idea teaming an art director with a copywriter and created the famous "Think Small" campaign for Volkswagen -- communicating everything the company wanted to communicate in one line
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Bill Bernbach
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began the "Creative Revolution" of the 1960s/1970s, in which advertising was no longer just showing the product and telling people to buy it but was about creating a piece of story that sold the product
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Bill Bernbach
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Bill Bernbach launched the "_____" of the 1960s/1970s in which advertising was not longer just showing the product and telling people to buy it but was about creating a piece of story that sold the product
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Creative Revolution
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Why were the Kennedy-Nixon debates significant to advertising?
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People who heard the debates on the radio said that Nixon won the debate but people who saw it on TV said that Kennedy won because he looked a lot better on TV (Nixon sweated a lot). Almost every election since then the candidate that looks better on TV has won.
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Wrote Understanding Media in 1964, in which he stated "the medium is the message."
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Marshall McLuhan
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Stated "the medium is the message."
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Marshall McLuhan
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What does Marshall McLuhan's "the medium is the message" mean?
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Basically means that your whole concept should be geared toward the medium that you are using; you want to select the right medium depending on the message you want to get across and maximize the strengths of that medium for effectiveness
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Advertiser who stressed the importance of "The Big Idea"
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David Ogilvy
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Wrote Confessions of an Advertising Man in 1962, which stressed the importance of market research in advertising
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David Ogilvy
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Considered "The Bible on advertising"
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Ogilvy on Advertising, 1983
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What are "soft sell" ads?
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Ads that gained prominence during the 80s (as a result of Ogilvy on Advertising) that you don't know what product is actually being sold (someone drinking a Coca-Cola and hopping on a motorcycle)
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"Soft sell" ads are related to _____ from "The Merchants of Cool."
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stealth marketing
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When using the three-act story structure for advertisements you usually highlight the product at the _____ between Act II and Act III.
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climax
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When writing advertising, you should _____ to sell a brand.
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tell a story
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Using the three-act structure in 30 seconds is sometimes called the "_____" and still includes a beginning, middle, and end as well as plot, character, setting, and theme, just established very quickly.
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rule of 3
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How have themes in advertising changed?
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The theme of old commercials used to be "X product solves Y problem" (like laundry detergent solves dirty kid's clothes), but nowadays you'll probably be given the theme by the brand manager and we have MOVED FROM SELLING PRODUCTS TO SELLING LIFESTYLES
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In today's advertising we have moved from selling _____ to selling _____.
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products; lifestyles
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Primarily done because the "noncreatives" can't envision your story and in advertising they want to be able to see it, so you show them this visual representation.
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storyboards
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basically a comic that involves a story being told by moving from one image to the next; you want to create something so that people seeing it can infer what happens in between the panels
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storyboard
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For a :30 spot you want your storyboard to be between _____ and _____ images and to be simple enough to effectively pitch the idea.
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4; 6
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The primary concept in "The Persuaders" is _____.
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emotional branding
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Super brands that engage in "pseudo-spiritual marketing" like Nike about transcendence through sports and Starbucks being a community are an example of _____.
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emotional branding
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deals with how a brand can form a bond with the consumer as people join cults and brands to belong and to make meaning
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emotional branding
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How does monomyth theory apply to advertising?
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In the sense that there are only so many "big ideas" to go around.
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Advertisements attempt to appeal to the _____, which is also what we try to do in our scripts.
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senses
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What did Chuck from WNKU talk about when he came to speak to the class?
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About how to get funding and sponsorship opportunities (the importance of writing clear letters).
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The primary concept from "The Merchants of Cool" is the idea of "_____."
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cool hunting
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The main point of "The Persuaders" is the evolution of advertising from selling products to selling _____.
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lifestyles
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The idea that all detergents get your clothes clean and all coffee is hot and tastes good but that some consumers choose more expensive options is related to the idea of _____.
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selling lifestyles/emotional branding
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similar to general assignment reporting; means working in a wide range of subject areas, includes all types of media and can encompass virtually any subject
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generalizing
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What are the pros of generalizing? (5)
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(1.) a wide range of TOPICS and any form of media or communication outlet, (2.) an easy way for freelancers to get STARTED, especially for those who don't know where they should specialize, (3.) a specific NICHE or area of expertise is not needed, (4.) opportunity for steady CASH FLOW, (5.) avoid being PIGEON-HOLED into a specific category
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What are the cons of generalizing? (2)
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(1.) may not PAY AS WELL as specialized work, (2.) work in some subject areas may not be CHALLENGING enough
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What are the skills and tools needed for generalizing? (4)
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(1.) VERSATILITY, (2.) ability to learn "ON THE FLY", (3.) solid RESEARCH skills, (4.) general PORTFOLIO or online clips to show the breadth and depth of your work
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refers to defining a niche or an area of expertise that you become known for; similar to beat reporting, a freelancer can still try out new topics, but the work will tend to be clustered in areas of interest and expertise
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specializing
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What are the pros of specializing? (5)
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(1.) specialized work PAYS BETTER, (2.) trade publications tend to be MORE STABLE than newspapers and consumer-oriented publications, (3.) becoming an expert can OPEN DOORS to other opportunities, (4.) ability to SERVE YOUR AUDIENCE well, (5.) potential for greater JOB SATISFACTION
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What are the cons of specializing? (3)
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(1.) less VARIETY of subject matter than generalizing, (2.) need to IDENTIFY publications or media outlets that serve your niche, (3.) requires PITCHING your ideas within your niche to develop a credible portfolio
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What are the skills and tools needed for specializing? (3)
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(1.) a credible PORTFOLIO or online clips showing your expertise in a particular subject, (2.) a PASSION for one or more subjects around which you want to build your body of work, (3.) a solid BACKGROUND in your area of expertise through education or experience
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