book

Writing for Visual Media, 3rd Edition

by Anthony Friedmann

November 2012

Beginner

432 pages

15h 8m

English

Focal Press

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Writing not to be read but to be madeWriting, producing, and directingMoving from being a viewer to being a creatorThe producer cannot read your mindInstructions to the production crewWhat is the role of a scriptwriter?The “Script” writer is a new kind of writerWhat is visual writing?Meta-writingWhere do we go from here?Differences compared to stage playsWriting with dialogueWriting without dialogueConclusion
Step 1: Define the communication problemIvy college: An admissions videoAmerican Express: American travel in EuropePSA for battered womenShell gas internationalStep 2: Define the target audienceInformation overloadDemographicsAgeGenderRace and ethnic originEducationIncomePsychographicsEmotionAttitudeStep 3: Define the objectiveStep 4: Define the strategyAttention SpanStep 5: Define the contentStep 6: Define the appropriate mediumStep 7: Create the conceptA concept for an antismoking PSAThe communication problemThe target audienceThe objectiveThe strategyThe contentThe mediumThe conceptConclusion
Background research and investigationInterviewingLocation researchBrainstorming and freeing your imaginationConceptA concept for a PSA: Smoked to deathPitchingTreatmentA treatment for a PSA: Smoked to deathFirst draft scriptA first draft script for a PSA: Smoked to deathVoice narration and dialogueRevisionFinal draftShooting scriptConclusion
Describing time and placeDescribing actionDescribing the camera frame or the shotDescribing camera movementDescribing graphics and effectsDescribing transitions between shotsDescribing soundWriting for voiceFormat for radioShot, scene, and sequenceFinding a format for the pageMaster scene scriptDual-column formatStoryboardTV studio multi-camera scriptNews anchor script formatConclusion
Copywriting versus scriptwritingClient needs and prioritiesThe 20-, 30-, and 60-Second miniscriptsVisual writingDevices to capture audience attentionDefine the creative idea or conceptMore on ADS and PSAsHumorShockSuspenseDramaKidsTestimonialSpecial effectsSexualityRecruiting the audience as a characterWriting for audio and radioInfomercialsVideo news releasesBillboards and transportation AdsAdvertising on the world wide webFormatsConclusion
Video versus print media or interactive mediaVideo as a corporate communications toolCorporate televisionTraining, instruction, and educationFormative evaluationSummative evaluationFocus groupsQuestionnairesTypical corporate communication problemsGetting background and product knowledgeUsing subject matter expertsDevices for video expositionShow and tellJob and task descriptionEducational/instructional use of videoHow-to-do-it videosInteractive applicationsOther corporate uses of mediaMeetings with a visual focusDevices that teach and entertainDevices that work for corporate messagesDramatizationHumorVisual metaphorNarrators and anchors on cameraTelevision formatsDocumentaryVox popsLogical argument in documentary narrativeGraphicsVisual seductionInterviewCase historiesThe story of a dayWriting the corporate treatmentScript formats for corporate videosLength, pacing, and corporate styleWriting voice commentaryDeveloping the script with client inputSelling creative ideasWorking with budget limitationsConclusion
Documentary comes firstTruth or fictionScripted and unscripted approachesResearch and formulating a themeWhat is the role of the writer?The proposalThe treatmentTypes of documentary techniqueReportageObservationInterviewsInvestigative documentaryNarrative documentaryDramatized documentaryExpository documentaryPropagandaOther documentary applicationsExpedition documentaryTravel documentaryDocumentaries about the making of feature filmsWildlife documentaryCurrent affairs featuresWriting commentariesNarrative voice-over and postproductionWall-to-wall commentaryCommentary counterpoint and commentary anchorsDual commentatorsCommentary clichésOn-camera/Off-camera combinationsConclusion
Origins of dramaConflictThree-act structures for film and televisionThree-act story structureOther narrative structuresThe flashbackGenresWesternsRomantic comediesHorror moviesRoad moviesScience fictionWar moviesBuddy moviesCrime moviesPrivate eye (film noir)Murder mysteriesGang moviesUndercover copsDisaster moviesMartial artsEpicsAction-adventureMonster moviesBiographySatireCross genreScript developmentAdapting the seven-step methodLog linesThe premiseTag linesConcept or synopsisStory enginesWriting a movie treatmentScreenplayScene outlineMaster scene script formatScripting softwareShooting scriptConclusion
Characters and characterDialogue and actionPlot or storylineComedyComic devicesThe comic character as victimVerbal comedyRunning gagThe cover-up/impersonationDisguise and mistaken identityDramatic ironyDramaCover-up/mistaken identityDisguiseDramatic ironyAmbition/prideChallenge and survivalGreedLove gone wrongDesire/lustWriting techniques for adaptationThe problem of adaptationLengthPoint of viewNarrative tense and screen timeSetting and periodDialogue versus actionDescriptive detail and the camera frameImplied actionIt’s a wonderful lifeBartlebyConclusion
The premise for series, sitcoms, and soapsThree-act structure and the TV time slotUsing commercial breaksVisualizing for the small screenTV dialogueRealism/realistic dialogueBreaking up dialoguePacingThe beat sheetTeam writingHook/teaserThe series bibleCondensing action and plotTarget audienceScript formats for televisionTV comedy and its devicesRunning gagsVisual gagsDouble takesOne-liners and laugh linesSitcomsNew techniques and innovationsSpec scriptsConclusion
Defining interactiveLinear and nonlinear paradigmsCombining media for interactive useBreakdown of script formatsBranchingFlowchartsStoryboardsAuthoring tools and interactive conceptsMultimedia componentsFinding a script formatConclusion
Different writing for websitesMultilayered writingConceptual writing versus content writingWebsite conceptsWriting to be read on the webNavigation: The third dimensionWriting issuesConceptDesign documentFlowchartBreakdown for productionTextVideo, stills, and audioApplying the seven-step methodConceptInstructional and utilitarian programsInteractive catalogues and brochuresEducation and trainingKiosksConclusion
Interactive reference worksE-Commerce and interactive booksGames, narrative, and entertainmentVideo gamesGraphics versus live actionThe order of writingFormatsInteractive televisionWebisodes and television web contentInteractive moviesConclusion
AntecedentsTechnical antecedentsVideo and cell phone useWebisodesThe mobisode™Writing dos and don’tsConclusion
Writing for the entertainment worldWriting contractsPitchingIdeology, morality, and contentEmotional honesty and sentimentalityWriting for the corporate worldClient relationshipsCorporate contractsWork for hireMarketing yourself and your workCopyrightWork-made-for-hire and freelanceAgents and submissionsNetworking, conventions, and seminarsSurfing the webHybrid careersConclusion

Overview

Writing for Visual Media looks at the fundamental problems a writer faces in learning to create content for media that is to be seen rather than read. It takes you from basic concepts to practice through a seven-step method that helps you identify a communications problem, think it through, and find a resolution before beginning to write.

Through successive exercises, Writing for Visual Media helps you acquire the basic skills and confidence you need to write effective films, corporate and training videos, documentaries, web sites, PSAs, TV shows, nonlinear media, and other types of visual narratives. You'll explore your visual imagination and try out your powers of invention.

The companion web site enriches the content of the printed book with video, audio, and sample scripts. It includes scripts and the video produced from them; visual demonstrations of concepts; and an interactive, illustrated glossary of terms and concepts. Please visit

www.focalpress.com/cw/friedmann-9780240812359

click on the Interactive Content tab, and follow the registration instructions.