How to Write for Stage and Screen
Tips for Writing for TV - Clare Dowling
“If you read a lot of books, you’re considered well read. But if you watch a lot of TV, you’re not considered well viewed.” - Lily Tomlin.
I’ve been writing for Fair City for twelve seasons now, with over a hundred episodes under my belt, but I’m still learning on the job – how best to build tension, how to choose the strongest hook and cliff, when visual moments say ten times more than dialogue ever can. Having a great idea for a television script is the fun bit – it’s turning it into a brilliantly crafted piece of work, brimming with drama, tension and memorable characters that’s a little bit trickier.
Here are some tips that I’ve found useful along the way:
- Watch telly. This seems very obvious, but you’ll find your best teacher on the TV screen in front of you. When I was trying out for Fair City, I would record episodes of it and transcribe it to see exactly how a transmitted episode looked on paper. I learned an enormous amount about dialogue, structure and basically how things work in soap. Easier still, you can buy scripts of anything from Frasier to The Sopranos (if you don’t mind being too depressed by the fantastic writing).
- Every scene should have a purpose; that is, it reveals some new information that drives the drama on. If it doesn’t earn its place, or has the whiff of a ‘filler’ scene about it, then be brutal.
TV Treatments - What to Write About (Part 2 of 2)
When thinking about possible ideas for a television series, human interest stories are best, particularly if you are new to screenwriting. They’re easier to handle and have a much broader appeal when approaching programme makers than subjects such as the supernatural, sci-fi or anything involving gritty realism.
When thinking about possible ideas for a television series, human interest stories are best, particularly if you are new to screenwriting. They’re easier to handle and have a much broader appeal when approaching programme makers than subjects such as the supernatural, sci-fi or anything involving gritty realism.
Read more: TV Treatments - What to Write About (Part 2 of 2)
TV Treatments – What they are and why you need one (Part 1 of 2)
You don’t need me to tell you television is a vast and growing market. The number of channels and variety of programmes available is mindboggling. Aside from established broadcasters such as the BBC, RTÉ, Channel 4 and the ITV group, numerous independent production companies have sprung up in recent years, alongside cable and satellite channels. All of them commission writers for new and existing programmes.
However, this does not mean to imply that there is a desperate need for new writers. The rewards are high which means competition is stiff and because writers rarely make programmes, they must sell their ideas to the people that do. A one-off dynamite script might squeeze a new writer’s foot in the door, but unless he can keep coming up with new ideas for storylines, sooner or later this door will slam shut in his face.
Read more: TV Treatments – What they are and why you need one (Part 1 of 2)
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