TV Script Project: Day 3

Today, please get into your tv groups. Together, create a list of key characters in your stories. Decide which characters are major/minor, which ones are protagonists and antagonists. You may wish to give a short description of the character and their role in the series.

Then, decide on settings. Which settings will be used typically? Make a list of 3-5 settings that you might be able to reuse (a character's kitchen, an office, a jail cell, a library, a football field, the school lunchroom, etc.) and together agree on what these places look like. Describe them. Writers will be able to use this information when writing their scripts! (see below)

You may use Google docs and share your notes so that all members of your group have access to a character list and set list. Remember: the lower your budget, the fewer sets and actors you can hire!

Then, using your story pitch, writers should use 3 index cards to flesh out and detail your script's 3-act structure (one index card per act). Structure in a tv show looks like this:

• Beginning: (ACT 1)
• Prologue or teaser* (a short scene that introduces the inciting incident)
• The main titles & intro
• Status quo & the introduction of the first problem (exposition/rising action)
• Introduction to the subplot
• Act 1 will end with a complication or crisis for one of your protagonists
• Introduce a deadline into your narrative--this is called the "time lock" in script writing
• Middle: (ACT II)
• Development of the plot (rising action/crisis)
• Development of the subplot (rising action/crisis)--a subplot usually comments on the main plot in a different way. It also can be used to highlight a minor character or theme
• A turning point (crisis) where the story takes an unexpected turn
• Act II usually ends with a dark moment for the protagonist--all looks bleak! (How will the characters solve the crime, solve their problem, react to further complications, etc.)
• End: (ACT III)
• Resolution of the subplot
• An enlightenment moment for the protagonist--who now knows what they need to do (in a mystery, for example, the detective figures out who the killer is and must confront the criminal, etc.)
• Climax (protagonist and antagonist meet)
• Resolution - return to status quo

On your index cards, write the main actions for your plot (what you wrote on your story pitch) for ACT 1 (1 card), ACT II (your second card) and ACT III (your third card). Remember to be specific about the location or setting in which your action takes place! Also, make sure you are specific as to which characters are involved directly with the action. Use your group's cast and set list for help.

Once you have your 3 index cards, gather with your group again (by the end of 7th period, for example). 

Together as a group, work to help each writer get ideas for a subplot. Match the subplot if you can with the main story. Together, as a group, create several subplots (1 subplot per writer per script). Write these ideas (subplots) on index cards. A subplot should: 

• Focus on a character who is NOT the major character/protagonist of the main story line
• Should not be as complex or complicated as the main action
• Should have a clear beginning, middle and end (inciting incident, complication, rising action, climax, resolution) 
• Each writer should select one subplot to include in their script (see plot structure above)

Period 8: 

Once you have your story index cards, begin writing your 10-15 page television script. Use the character lists, the set lists, the index cards with your plot outline and subplot idea to guide your story. 

Television scripts are comprised of:

1. A slugline (all in CAPS) indicating EXT (exterior) or INT (interior): LOCATION, and time of day.
2. Description (left justified) written in paragraphs that are NOT indented. Skip a line between paragraphs for easy reading. A general rule is to limit your scene action to four or five descriptive and specific lines PER action.
3. Dialogue has the character's name all in CAPS, indented to about 2.5" (5 tabs over); A character's dialogue appears under the character name. It is NEVER centered! Instead, tab over 3 tabs. ACTOR NOTES (if used) should be in parenthesis and 4 tabs over. Keep your dialogue specific. Do not waste your plot time with incidental or unnecessary dialogue!
4. Transitions. Transition notes are RIGHT justified. FADE OUT, CUT TO (are the most typical transitions); DISSOLVE TO, or INTERCUT are used less frequently. 

Use the handy handout to guide and help you format your script correctly! Use the models (sample scripts) for ideas and/or formatting examples.

If you plan a 10 page script for example, your first act should be about 3 pages, your second act should be about 4 pages, and your third act should be about 3 pages. -- This isn't a lot of space, please note. Your subplot should comprise no more than 1 page per act (1 of 3 pages in the first act; 1 of four pages in your second act; 1 of 3 pages in your third act, etc.)

In a 15 page script, you might have each act about 5 pages long. Of those 1 or 1.5 pages should be dealing with your subplot.

You may, if you need to, have a longer script. But 10-15 pages is our target.

Get writing! This project is not due yet!

At the end of class (about 1:35 or 1:40) meet again with your group to discuss how things are going. Where are you in your writing process, what questions do you have, what problems are you facing? Etc. Help your group solve problems or find answers/solutions.

HOMEWORK: None.