The calling card script :: a writer's toolbox for screen, stage and radio /
The calling card script is the script that expresses your voice, gets you noticed and helps you reach commission and production. Written by Paul Ashton, Development Manager of the BBC writersroom, and born out of his wide experience of reading scripts, working with writers, and as an industry '...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London :
A & C Black,
2011.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The calling card script is the script that expresses your voice, gets you noticed and helps you reach commission and production. Written by Paul Ashton, Development Manager of the BBC writersroom, and born out of his wide experience of reading scripts, working with writers, and as an industry ''gatekeeper'', this is a guide to the key writing tools you need to know and understand to write a truly original script. As many professionals need to switch mediums and genres in order to survive and thrive, the book uniquely draws together the universal principles of dramatic storytelling for screen, |
| Beschreibung: | 1 online resource (257 pages) : illustrations |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9781408142233 1408142236 |
Internformat
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| 100 | 1 | |a Ashton, Paul. | |
| 245 | 1 | 4 | |a The calling card script : |b a writer's toolbox for screen, stage and radio / |c Paul Ashton. |
| 264 | 1 | |a London : |b A & C Black, |c 2011. | |
| 300 | |a 1 online resource (257 pages) : |b illustrations | ||
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| 504 | |a Includes bibliographical references and index. | ||
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| 505 | 0 | |a Cover; CONTENTS; INTRODUCTION; An act of faith; The 'toolbox'; The form of this book; What this book does not do; An industry perspective; Points of reference; The 'calling card' script; A basic definition; The writer's ego versus the writer's journey; 1 THE MEDIUM; THE WRITER AS MEDIUM; 'Medium'; One man and every man; What writers do; Instinct and craft; Is the writer a medium?; Using medium; THE THEATRICAL SPACE; What is theatre?; Magic, ritual and spectacle; Spectator and audience; Auditoria; Complexity of space; Complexity of form; The empty space; The technological space. | |
| 505 | 8 | |a Clarity of spaceMoney, monsterism and miniaturism; The director; The actor; Directing the action; Theatre and metaphor; RADIO AND THE ACOUSTIC ENVIRONMENT; ''Theatre of the airwaves'; Cinema of the airwaves; The contradiction; Auditorium; The purest form; The audience; Only for radio; Acoustic environment; Scope; Voice; Music; Sound; FILM AND THE CINEMATIC CANVAS; The big picture; Theatrical release; Cinema scope; Knowing your place; 'Show don't tell'; Sign language; Up close; Montage; The whole story; The complex singularity; The kind of story; Universal; TELEVISION AND THE RELENTLESS FORMAT. | |
| 505 | 8 | |a DistractionsThe morning after; The cold light of day; The schedule; Audience is god; The phenomenon; Jumping the shark; The single exception; Format not formula; Basic distinctions; Serial; Continuing series; Precinct; Returning series; Relentless meets format; 2 THE BEGINNING; WHAT ARE PRODUCERS LOOKING FOR?; The meat market; The market; So what are people looking for?; WHERE TO BEGIN?; The blank page; Knowledge is power; News of the world; Devil in the detail; A head for ideas; You; Your feelings; Your voice; The X Factor; What is a voice?; Can you hear your own voice?; KINDS OF STORIES. | |
| 505 | 8 | |a ArchetypesLinear; Epic; Full circle; Fractured; Repetitive; Reversed; The impact of shape; Genre; Theatre and genre; Radio and genre; Television and genre; Tone; The right form; WHAT'S THE BIG IDEA?; ''Droit moral'; Theme; Universal; Concept and world; Premise; Premise and character; Premise and emotion; The big idea; Idea and medium; Theatre; Radio; Film; Television; WHAT'S THE STORY?; Beginnings and endings; Knowing where you are going; Direction and purpose; Focus; Point of view; Movie ensembles; Hook; POV turned upside-down; GETTING INTO CHARACTER; Test of character; Dramatic versus comic. | |
| 505 | 8 | |a Spending timeEmpathy; Definition; Archetypes; Features; Eccentricity; Qualities; Capabilities and flaws; Estimation; Attitude; POV; History and backstory; Moral compass; Morality and conflict; The 'agon'; Hero and villain; Desire and need; Desire versus need; Action; Vulnerability; Character and medium; Theatrical character; Radio character; Film character; TV character; HITTING THE GROUND RUNNING; Page one; Know your story; Hook the attention; The midst of a moment; A focused way in; 'Getting to know' the characters; Exposition; The captive audience; STRUCTURE AND THE BEGINNING; ''Act one' | |
| 520 | |a The calling card script is the script that expresses your voice, gets you noticed and helps you reach commission and production. Written by Paul Ashton, Development Manager of the BBC writersroom, and born out of his wide experience of reading scripts, working with writers, and as an industry ''gatekeeper'', this is a guide to the key writing tools you need to know and understand to write a truly original script. As many professionals need to switch mediums and genres in order to survive and thrive, the book uniquely draws together the universal principles of dramatic storytelling for screen, | ||
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Datensatz im Suchindex
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|---|---|
| _version_ | 1816882265178767360 |
| adam_text | |
| any_adam_object | |
| author | Ashton, Paul |
| author_facet | Ashton, Paul |
| author_role | |
| author_sort | Ashton, Paul |
| author_variant | p a pa |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1992 |
| callnumber-raw | PN1992.7 .A84 2011eb |
| callnumber-search | PN1992.7 .A84 2011eb |
| callnumber-sort | PN 41992.7 A84 42011EB |
| callnumber-subject | PN - General Literature |
| collection | ZDB-4-EBA |
| contents | Cover; CONTENTS; INTRODUCTION; An act of faith; The 'toolbox'; The form of this book; What this book does not do; An industry perspective; Points of reference; The 'calling card' script; A basic definition; The writer's ego versus the writer's journey; 1 THE MEDIUM; THE WRITER AS MEDIUM; 'Medium'; One man and every man; What writers do; Instinct and craft; Is the writer a medium?; Using medium; THE THEATRICAL SPACE; What is theatre?; Magic, ritual and spectacle; Spectator and audience; Auditoria; Complexity of space; Complexity of form; The empty space; The technological space. Clarity of spaceMoney, monsterism and miniaturism; The director; The actor; Directing the action; Theatre and metaphor; RADIO AND THE ACOUSTIC ENVIRONMENT; ''Theatre of the airwaves'; Cinema of the airwaves; The contradiction; Auditorium; The purest form; The audience; Only for radio; Acoustic environment; Scope; Voice; Music; Sound; FILM AND THE CINEMATIC CANVAS; The big picture; Theatrical release; Cinema scope; Knowing your place; 'Show don't tell'; Sign language; Up close; Montage; The whole story; The complex singularity; The kind of story; Universal; TELEVISION AND THE RELENTLESS FORMAT. DistractionsThe morning after; The cold light of day; The schedule; Audience is god; The phenomenon; Jumping the shark; The single exception; Format not formula; Basic distinctions; Serial; Continuing series; Precinct; Returning series; Relentless meets format; 2 THE BEGINNING; WHAT ARE PRODUCERS LOOKING FOR?; The meat market; The market; So what are people looking for?; WHERE TO BEGIN?; The blank page; Knowledge is power; News of the world; Devil in the detail; A head for ideas; You; Your feelings; Your voice; The X Factor; What is a voice?; Can you hear your own voice?; KINDS OF STORIES. ArchetypesLinear; Epic; Full circle; Fractured; Repetitive; Reversed; The impact of shape; Genre; Theatre and genre; Radio and genre; Television and genre; Tone; The right form; WHAT'S THE BIG IDEA?; ''Droit moral'; Theme; Universal; Concept and world; Premise; Premise and character; Premise and emotion; The big idea; Idea and medium; Theatre; Radio; Film; Television; WHAT'S THE STORY?; Beginnings and endings; Knowing where you are going; Direction and purpose; Focus; Point of view; Movie ensembles; Hook; POV turned upside-down; GETTING INTO CHARACTER; Test of character; Dramatic versus comic. Spending timeEmpathy; Definition; Archetypes; Features; Eccentricity; Qualities; Capabilities and flaws; Estimation; Attitude; POV; History and backstory; Moral compass; Morality and conflict; The 'agon'; Hero and villain; Desire and need; Desire versus need; Action; Vulnerability; Character and medium; Theatrical character; Radio character; Film character; TV character; HITTING THE GROUND RUNNING; Page one; Know your story; Hook the attention; The midst of a moment; A focused way in; 'Getting to know' the characters; Exposition; The captive audience; STRUCTURE AND THE BEGINNING; ''Act one' |
| ctrlnum | (OCoLC)874163482 |
| dewey-full | 808.22 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 808 - Rhetoric & collections of literature |
| dewey-raw | 808.22 |
| dewey-search | 808.22 |
| dewey-sort | 3808.22 |
| dewey-tens | 800 - Literature (Belles-lettres) and rhetoric |
| discipline | Literaturwissenschaft |
| format | Electronic eBook |
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| genre | Electronic book. |
| genre_facet | Electronic book. |
| id | ZDB-4-EBA-ocn874163482 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:25:52Z |
| institution | BVB |
| isbn | 9781408142233 1408142236 |
| language | English |
| oclc_num | 874163482 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (257 pages) : illustrations |
| psigel | ZDB-4-EBA |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | A & C Black, |
| record_format | marc |
| spelling | Ashton, Paul. The calling card script : a writer's toolbox for screen, stage and radio / Paul Ashton. London : A & C Black, 2011. 1 online resource (257 pages) : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier Includes bibliographical references and index. Online resource; title from PDF title page (ebrary, viewed February 20, 2014). Cover; CONTENTS; INTRODUCTION; An act of faith; The 'toolbox'; The form of this book; What this book does not do; An industry perspective; Points of reference; The 'calling card' script; A basic definition; The writer's ego versus the writer's journey; 1 THE MEDIUM; THE WRITER AS MEDIUM; 'Medium'; One man and every man; What writers do; Instinct and craft; Is the writer a medium?; Using medium; THE THEATRICAL SPACE; What is theatre?; Magic, ritual and spectacle; Spectator and audience; Auditoria; Complexity of space; Complexity of form; The empty space; The technological space. Clarity of spaceMoney, monsterism and miniaturism; The director; The actor; Directing the action; Theatre and metaphor; RADIO AND THE ACOUSTIC ENVIRONMENT; ''Theatre of the airwaves'; Cinema of the airwaves; The contradiction; Auditorium; The purest form; The audience; Only for radio; Acoustic environment; Scope; Voice; Music; Sound; FILM AND THE CINEMATIC CANVAS; The big picture; Theatrical release; Cinema scope; Knowing your place; 'Show don't tell'; Sign language; Up close; Montage; The whole story; The complex singularity; The kind of story; Universal; TELEVISION AND THE RELENTLESS FORMAT. DistractionsThe morning after; The cold light of day; The schedule; Audience is god; The phenomenon; Jumping the shark; The single exception; Format not formula; Basic distinctions; Serial; Continuing series; Precinct; Returning series; Relentless meets format; 2 THE BEGINNING; WHAT ARE PRODUCERS LOOKING FOR?; The meat market; The market; So what are people looking for?; WHERE TO BEGIN?; The blank page; Knowledge is power; News of the world; Devil in the detail; A head for ideas; You; Your feelings; Your voice; The X Factor; What is a voice?; Can you hear your own voice?; KINDS OF STORIES. ArchetypesLinear; Epic; Full circle; Fractured; Repetitive; Reversed; The impact of shape; Genre; Theatre and genre; Radio and genre; Television and genre; Tone; The right form; WHAT'S THE BIG IDEA?; ''Droit moral'; Theme; Universal; Concept and world; Premise; Premise and character; Premise and emotion; The big idea; Idea and medium; Theatre; Radio; Film; Television; WHAT'S THE STORY?; Beginnings and endings; Knowing where you are going; Direction and purpose; Focus; Point of view; Movie ensembles; Hook; POV turned upside-down; GETTING INTO CHARACTER; Test of character; Dramatic versus comic. Spending timeEmpathy; Definition; Archetypes; Features; Eccentricity; Qualities; Capabilities and flaws; Estimation; Attitude; POV; History and backstory; Moral compass; Morality and conflict; The 'agon'; Hero and villain; Desire and need; Desire versus need; Action; Vulnerability; Character and medium; Theatrical character; Radio character; Film character; TV character; HITTING THE GROUND RUNNING; Page one; Know your story; Hook the attention; The midst of a moment; A focused way in; 'Getting to know' the characters; Exposition; The captive audience; STRUCTURE AND THE BEGINNING; ''Act one' The calling card script is the script that expresses your voice, gets you noticed and helps you reach commission and production. Written by Paul Ashton, Development Manager of the BBC writersroom, and born out of his wide experience of reading scripts, working with writers, and as an industry ''gatekeeper'', this is a guide to the key writing tools you need to know and understand to write a truly original script. As many professionals need to switch mediums and genres in order to survive and thrive, the book uniquely draws together the universal principles of dramatic storytelling for screen, Motion picture plays Technique. http://id.loc.gov/authorities/subjects/sh85088066 Radio plays Technique. http://id.loc.gov/authorities/subjects/sh85110532 Television plays Technique. http://id.loc.gov/authorities/subjects/sh85133597 Audiodrames Technique. Dramatiques Technique. LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Motion picture plays Technique fast Radio plays Technique fast Television plays Technique fast Literature. ukslc Electronic book. Print version: Ashton, Paul. Calling Card Script : A writer''s toolbox for screen, stage and radio. London : Bloomsbury Publishing, ©2014 9781408110171 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=697284 Volltext |
| spellingShingle | Ashton, Paul The calling card script : a writer's toolbox for screen, stage and radio / Cover; CONTENTS; INTRODUCTION; An act of faith; The 'toolbox'; The form of this book; What this book does not do; An industry perspective; Points of reference; The 'calling card' script; A basic definition; The writer's ego versus the writer's journey; 1 THE MEDIUM; THE WRITER AS MEDIUM; 'Medium'; One man and every man; What writers do; Instinct and craft; Is the writer a medium?; Using medium; THE THEATRICAL SPACE; What is theatre?; Magic, ritual and spectacle; Spectator and audience; Auditoria; Complexity of space; Complexity of form; The empty space; The technological space. Clarity of spaceMoney, monsterism and miniaturism; The director; The actor; Directing the action; Theatre and metaphor; RADIO AND THE ACOUSTIC ENVIRONMENT; ''Theatre of the airwaves'; Cinema of the airwaves; The contradiction; Auditorium; The purest form; The audience; Only for radio; Acoustic environment; Scope; Voice; Music; Sound; FILM AND THE CINEMATIC CANVAS; The big picture; Theatrical release; Cinema scope; Knowing your place; 'Show don't tell'; Sign language; Up close; Montage; The whole story; The complex singularity; The kind of story; Universal; TELEVISION AND THE RELENTLESS FORMAT. DistractionsThe morning after; The cold light of day; The schedule; Audience is god; The phenomenon; Jumping the shark; The single exception; Format not formula; Basic distinctions; Serial; Continuing series; Precinct; Returning series; Relentless meets format; 2 THE BEGINNING; WHAT ARE PRODUCERS LOOKING FOR?; The meat market; The market; So what are people looking for?; WHERE TO BEGIN?; The blank page; Knowledge is power; News of the world; Devil in the detail; A head for ideas; You; Your feelings; Your voice; The X Factor; What is a voice?; Can you hear your own voice?; KINDS OF STORIES. ArchetypesLinear; Epic; Full circle; Fractured; Repetitive; Reversed; The impact of shape; Genre; Theatre and genre; Radio and genre; Television and genre; Tone; The right form; WHAT'S THE BIG IDEA?; ''Droit moral'; Theme; Universal; Concept and world; Premise; Premise and character; Premise and emotion; The big idea; Idea and medium; Theatre; Radio; Film; Television; WHAT'S THE STORY?; Beginnings and endings; Knowing where you are going; Direction and purpose; Focus; Point of view; Movie ensembles; Hook; POV turned upside-down; GETTING INTO CHARACTER; Test of character; Dramatic versus comic. Spending timeEmpathy; Definition; Archetypes; Features; Eccentricity; Qualities; Capabilities and flaws; Estimation; Attitude; POV; History and backstory; Moral compass; Morality and conflict; The 'agon'; Hero and villain; Desire and need; Desire versus need; Action; Vulnerability; Character and medium; Theatrical character; Radio character; Film character; TV character; HITTING THE GROUND RUNNING; Page one; Know your story; Hook the attention; The midst of a moment; A focused way in; 'Getting to know' the characters; Exposition; The captive audience; STRUCTURE AND THE BEGINNING; ''Act one' Motion picture plays Technique. http://id.loc.gov/authorities/subjects/sh85088066 Radio plays Technique. http://id.loc.gov/authorities/subjects/sh85110532 Television plays Technique. http://id.loc.gov/authorities/subjects/sh85133597 Audiodrames Technique. Dramatiques Technique. LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Motion picture plays Technique fast Radio plays Technique fast Television plays Technique fast Literature. ukslc |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85088066 http://id.loc.gov/authorities/subjects/sh85110532 http://id.loc.gov/authorities/subjects/sh85133597 |
| title | The calling card script : a writer's toolbox for screen, stage and radio / |
| title_auth | The calling card script : a writer's toolbox for screen, stage and radio / |
| title_exact_search | The calling card script : a writer's toolbox for screen, stage and radio / |
| title_full | The calling card script : a writer's toolbox for screen, stage and radio / Paul Ashton. |
| title_fullStr | The calling card script : a writer's toolbox for screen, stage and radio / Paul Ashton. |
| title_full_unstemmed | The calling card script : a writer's toolbox for screen, stage and radio / Paul Ashton. |
| title_short | The calling card script : |
| title_sort | calling card script a writer s toolbox for screen stage and radio |
| title_sub | a writer's toolbox for screen, stage and radio / |
| topic | Motion picture plays Technique. http://id.loc.gov/authorities/subjects/sh85088066 Radio plays Technique. http://id.loc.gov/authorities/subjects/sh85110532 Television plays Technique. http://id.loc.gov/authorities/subjects/sh85133597 Audiodrames Technique. Dramatiques Technique. LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Motion picture plays Technique fast Radio plays Technique fast Television plays Technique fast Literature. ukslc |
| topic_facet | Motion picture plays Technique. Radio plays Technique. Television plays Technique. Audiodrames Technique. Dramatiques Technique. LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. LANGUAGE ARTS & DISCIPLINES Rhetoric. REFERENCE Writing Skills. Motion picture plays Technique Radio plays Technique Television plays Technique Literature. Electronic book. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=697284 |
| work_keys_str_mv | AT ashtonpaul thecallingcardscriptawriterstoolboxforscreenstageandradio AT ashtonpaul callingcardscriptawriterstoolboxforscreenstageandradio |