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The TV Writer's Workbook: A Creative Approach To Television Scripts, by Ellen Sandler
Free Ebook The TV Writer's Workbook: A Creative Approach To Television Scripts, by Ellen Sandler
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Sandler, whose credits include Everybody Loves Raymond and Coach, offers worldly, practical advice for those hoping for a career in television writing. Sandler emphasizes that the most important thing to do is sit down and write, but before doing so she recommends aspiring screenwriters obtain scripts from their favorite shows and study them carefully, breaking down the structure prior to embarking on capturing the feel and characters of an established show in their own spec scripts. After structure, Sandler moves on to the arc of an episode, which follows a set path and must revolve around the show's central character. She cautions beginners against pitfalls that mark a script as a novice effort, such as introducing new characters into a script for an existing show. After a wealth of writing tips, Sandler offers hints for how to approach agents and managers, how to network at social events, and how to survive a pitch meeting. Sandler's accessible guide is an invaluable tool for anyone aspiring to write for TV. Kristine HuntleyCopyright © American Library Association. All rights reserved
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About the Author
Ellen Sandler has over twenty years of experience in the TV writing business. She was Co-Executive Producer and writer on the Emmy-winning hit series Everybody Loves Raymond, and has written for over 25 prime-time network television series, including Taxi, Kate and Allie, and Coach. She is a highly-regarded script consultant, and in addition to her Television Writing workshops in LA and NYC, is a frequent featured speaker at schools and universities across the country.
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Product details
Paperback: 304 pages
Publisher: Delta; 2/25/07 edition (March 27, 2007)
Language: English
ISBN-10: 0385340508
ISBN-13: 978-0385340502
Product Dimensions:
5.2 x 0.7 x 8.2 inches
Shipping Weight: 7.2 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
74 customer reviews
Amazon Best Sellers Rank:
#60,405 in Books (See Top 100 in Books)
I'm only now transitioning my screenwriting knowledge (which I've written a screenplay, but not had one filmed) into television writing (I'm working on a pilot right now), so take my review with a grain of salt. I found the information to be clear and useful. My primary field is fiction writing, not script writing, so there were several a-hah! moments for that as well. I feel this book gave me a good foundation to adapt my prior screenwriting knowledge into television scriptwriting. I also feel it is not 'the end of the subject' but I'll need to get critiqued. That's expected. Overall, a good solid resource.
Just finished this book on my Kindle and I absolutely recommend it to anyone who is interested in writing for television. I've taken several classes and read many books along this theme, but The TV Writer's Workbook is unique in that it includes a detailed, pragmatic approach to story/script structure as well as plenty of up to date information on what to do with your scripts once they're finished. There is a ton of detailed inside information about the evolution of a TV script from pitch to outline to the many many drafts all the way to the day of filming (mostly from Everybody Loves Raymond).It's not as hilarious/sarcastic as Thomas Lennon and Ben Garant's 'Writing Movies for Fun and Profit...' but the down-to-earth approach and the acknowledgement that we're actually in this to make money reminded me of that book, which I've read and re-read at least three times. Like Lennon and Garant, Sandler is a working writer with lots of experience, and I take her advice much more seriously than anything that someone leading a 'writer's workshop' might espouse. I am confident that I will be referring to this book again and I will very likely check out her analysis service when (not if!) I finish up the two scripts I'm working on.
If you are serious about writing/producing for TV then this book is a must. What better way to get information from someone who has actually worked in the business and taken the journey many of us are currently forging. I found Ellen Sandler writer/producer of Taxi, Coach, Everybody Loves Raymond, and more to be honest and sincere in her description and advice on what it takes to become success writer/producer in the business.This book is a rich resource on how to write your first spec script and what qualities besides good writing one should possesses or develop to break through, what often times seems to be a brick wall of Hollywood studio, producers, agents, managers, ect. The content and tone is that of a workbook, however not in a traditional sense, but in a more subtle and simple way. Ellen gives a brief background about how she herself got into the business and then informs the writer of what they need to know about the spec script and how to read to write. She further goes into what you need to do to develop your story, how to make it come alive, and re-edit it until you cant anymore. In another part of the book she focuses on what you need to do when you have your spec script written and gives you sound advice with real world examples on how to break into the door. She offers up helpful tips on FAQ's such as should you move to LA?, the difference between producers and writers, pitching your ideas, dealing with agents/managers, potential salary figures, respecting the industry and business standards and more.Besides loving the content on writing, I loved the wealth of information contained in the book on such helpful topics as where to get scripts, industry jargon/terminology, bookstores and publication sources for writers, as well as a host of contact information for other beneficial advisors.Lastly, I love the humility with which this book concludes. Ellen acknowledges here successes and rightfully so, but advises the reader to keep searching and seeking out other advisors and not be afraid to listen to contradictory information, keeping in mind that in Hollywood there is not set path to success.As a publicist switching careers and having previously written spec scripts I love this book and highly recommend.
If you are looking to get into TV writing, then you can't go wrong with this book. Worth the price.
While reading, I found the sub-title, "A Creative Approach" a bit ironic. There's one writer's exercise that one might consider creative. The rest of the book is full of rules, structure and more danger signs than you'll find on a nuclear-powered aircraft carrier. To start, forget writing. Yep, most of it has nothing to do with creative writing.She recommends spending time honing the central idea and then plotting out the beats with specific emotional targets (and she means specific). While you're doing all this heavy thinking, you have to plan within strict scene lengths that have been set by the showrunner. Have a great 3 page scene after the break, but the show doesn't do 3 page scenes. Forget it. Want to bring in a guest star? Who do you think you are? Want to make any character other than the star the focus? There goes your script to the DNR (Do not read) pile. Oh, and by the way, she once made an innocuous spelling mistake and remembers it to this day. So make sure your script is spelling-perfect down to the last period.Should you be able to make it past all the "donts" and your script is accepted then you sit in a room for 14 hours a day while 12 writers shred it to pieces and every line you wrote is open-season to someone's better idea. However, as payment for all this work and abuse, your name appears on the credit. She wrote an episode of Everyone Loves Raymond that she is rightfully very proud of. It's a true TV gem.If you take this book seriously than I believe her prediction is one target. It would take you 6 months to come up with a competent script. If you're looking for a book that is "artistic" this is NOT the book for you. This is a book on craft from an insider. There are NO short-cuts. Indeed, everything I thought was easy, turns out, is anything but.If you're just curious about writing for TV reading this book will give you a special appreciation for the amount of work that goes into a 22-minute TV show.
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