with Linda Aronson
Many emerging writers set their sights on writing for TV, in particular, on devising and writing their own TV drama series. They assume, reasonably enough, that they can simply transfer the skills they’ve studied for film writing into TV. Unfortunately, this isn’t so. Some skills overlap, but writing for TV involves creative demands and restrictions that simply don’t occur in film, demands and restrictions that, from the outside, you’d never suspect. TV is the home of the group story, of multiple protagonists and of multiple interwoven storylines, limited always by budget and the need to write to the minute. Now, with the new generation long form serials, writers have to create and interweave characters and storylines so rich and complex that they can hold an audience for literally years. As if this wasn’t hard enough, nonlinearity, fractured storytelling and flashbacks are now being used because they insert suspense and create binge viewing.
There are techniques to writing to the minute; to creating rich characters and rich interconnected long running interwoven storylines; to condensing stories to their essence; to incorporating nonlinearity and flashbacks to create suspense and, all in all, learning to shine in a craft that keeps throwing problems at you. Linda Aronson’s expertise in nonlinear and multiplot multiple protagonist narrative grew from her long experience as a TV writer. In this session she shares the tricks of the trade.
Appearing in this session
Author of: The 21st-Century Screenplay
Screenwriting for Film and Television
In this session, David Baboulene demonstrates the link between the way the mind works and the way stories grip and engage us; and how you can use this knowledge to create power in your stories.
Without character, you have no story. In this session, David Baboulene discusses the primary colours of character so that you can write with greater clarity, depth and brevity.