Even if this is not clearly stated in the title but in the title, this book is addressed not only to the writer of fiction, but also to those who could write a documentary or in the context of advertising spots. For those who would be interested in writing a short film, more specifically, we have a dedicated article on the subject here.
What is it about ?
For writers in business or an apprenticeship, this book details how to create a scenario to be effective for the TV drama or Film (long film), but also for the documentary or promotional film.
Thanks to its methodical approach, it will help the writers to adopt the right techniques and know how to sell their work. It addresses, in effect, point by point, the different key steps of scenario writing, from the initial idea up to the presentation of the final text to the producer, through research of documentation, the work of the characters or the plot development
Scenarios for fiction, the pub, the documentary…
The book is rather short, 117 pages only to address the scenario, the idea to the writing, It’s short. Especially with the ambition to address both the scenario for the film, TV series, advertising, documentary and corporate film, (or ” corporate “).
Necessarily, the content is found, in a certain way, touched on superficially. The authors are not necessarily the bottom of things. They are, for example, reference to antiquity as the origin of the structure of the scenario in the introduction, but are not ever really in the subject. At the same time, this does not seem the aim, with many media and types of scenarios to be addressed, it seems, ultimately, rather a good idea. “The key to a scenario effective” goes to the essential, and wants to be effective.
In this sense, the book is rather successful. The theory is discussed, but always in a succinct manner, without adding to the content and complexity. Importantly, this theory is always in parallel with concrete cases, whether these fiction films famous (The exorcist ; Blade Runner…), documentaries (Apocalyspe, the second world war ; Super Size Me…), commercials…. With these examples, we have a vision of a more precise and clear of what are the concepts discussed and how to address them according to the type of film to make. The book is divided into three major sections : fiction, documentary, and advertising. It is always interesting to enrich his knowledge by reading all the parts, this is not necessarily required. If you are only interested in the advertising film, you can start directly there, and you will not be lost. In this sense, the book is a tool able to respond to specific issues.
In conclusion, this is a book perfectly adapted to people who have a limited knowledge of script writing and finding themselves confronted with this issue in the framework of their work. As this is to write yourself a scenario or to understand the structure of what we present to you, you will have the keys to moving forward in this creative process crucial to the design of a movie successful. If you already know that you want to look solely to the drafting of scenarios of short or feature-length fiction films, you may be able to refer you now to books dedicated to this subject.
A few excerpts
“The scenario. A vulgar pile of leaves blackened. Words and phrases roughly built, devoid of nuances and relief, that tell a story. Poor descriptive details, devoid of feelings, private theatrics that are conducive to the emotion, this tool remains a technical document generator money. “
“The character imposes on the writer reflection and organization. The develop its strengths and weaknesses, to put it into action, to express themselves and to confront it with its allies and adversaries risk of you away from your initial idea about it. Keep the cap on his quest, therefore, as well as on all of the events that will take you there. “
“The question of whether or not a scenario in a documentary is needed. While it would be natural to think that the documentary “classic” or docufiction admit a step-free scenario, the so-called “truth-direct” should not. “
“The first time for commercial production occurs very often around a table on which a screenwriter, producer and customer come together. You immediately understand the motivation of your client. {…} And, therefore, the priority of the writer of advertising should be placed in meetings and exchanges with superiors, and employees, before the work of writing as such. “
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