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Best story maps tv drama
1. STORY MAPS: TV Drama: The Structure of the One-Hour Television Pilot (Volume 4)
Description
Daniel Calvisi brings his Story Maps screenwriting method to television as he breaks down the structure of the TV drama pilot, citing case studies from the most popular, ground-breaking series of recent years, including THE WALKING DEAD, GAME OF THRONES, HOUSE OF CARDS, TRUE DETECTIVE, BREAKING BAD, MR. ROBOT, SCANDAL and MAD MEN.
Story Maps: TV Drama offers the first beat sheet for television screenwriters ("Save the Cat" for TV). This is the structural template that aspiring and professional TV writers have been looking for. A clear, practical, step-by-step method to write a pilot that adheres to Hollywood standards.
How to write a TV pilot has never been easier. Writing a pilot begins here.
This book first introduces you to the key formats, genres and terminology of modern TV shows, then details the major signpost beats of a teleplay and the crucial characteristics that must be present in each act, using specific examples from our new "Golden Age of Television."
Story Maps: TV Drama has been endorsed by many industry professionals in Hollywood, including:
"Story Maps: TV Drama is a handy, practical guide that walks writers through the process of creating a compelling TV drama. Using examples from some of the most respected shows on television, writers will learn to master the form from outline to Fade Out. I wish I'd had this book when I was first starting out!"
Hilary Weisman Graham, Writer, Bones (Fox), Orange is the New Black (Netflix)
I plan to use Calvisi's process on our upcoming show in development at Starz."
Kirkland Morris, Producer (Tomorrow, Today (STARZ))
"An excellent resource.
M-L Erlbach, Writer, Masters of Sex (Showtime)
This book blows all others out of the water! Theres no other TV writing book that offers this level of detail when it comes to how to structure a one-hour television drama pilot.
Larry Reitzer, Writer, Melissa & Joey, Just Shoot Me!, Ugly Betty
Ive worked in film and television for years and I can say for certain that there is nothing else like Calvisis book anywhere out there. His system is truly unique and breaks TV pilot structure down step-by-step, using very specific examples from some of the great pilots of recent years.
Fritz Manger, Producer, A Deadly Adoption with Will Ferrell and Kristen Wiig
"I've turned to Calvisi for notes on several scripts in the past, and this new book is well-timed as the industry makes a huge shift toward television. This is a fantastic primer in developing a rock-solid one-hour TV pilot. I recommend this book to writers as the foundation in creating excellent story structure.
Richard J. Bosner, Producer, Fruitvale Station, The Wannabe, Other People
"Calvisi has a firm grasp on the nature of the one-hour drama for television. I have little doubt that by following his guidelines and doing your homework, he can lead you to create a great pilot of your own!"
Jenny Frankfurt, Literary Manager, High Street Management
Im thrilled for you that Calvisi has written this fantastic new book that will undoubtedly help you structure your original TV pilot. The bottom line is, dont learn the hard way like I did. Use Dans book instead.
Joe Nimziki, Creator of upcoming Sony TV series Kreskin; Director, The Howling, Outer Limits; Senior Executive, New Line Cinema, Sony Pictures
"Daniel Calvisi does an expert job of breaking down the structure of television pilots in a way that's not only easy to understand, but can be easily applied to one's own work. If you're thinking of writing a TV pilot, read this book first!"
Christine Conradt, Writer/Producer/Director of 50 Lifetime network movies, The Bride He Bought Online, Stalked at 17
2. Writing the Pilot: Creating the Series (Volume 2)
Description
When I finished Writing the Pilot a few years back, I figured Id managed to cram everything I had to say on the subject in that little 90-page package. But that was 2011, and in the years that have passed, a lot has changed about the television business.And when I say a lot, I mean everything. The way series are bought. The way series are conceived. The way stories are told. The way series are consumed. The kinds of stories that can be told. The limitations on content at every level. The limitations on form at every level. And maybe most important of all: The restriction on who is allowed to sell a series.Whats far more confusing about the future is that there are as many changes in the business models for broadcasters out there, and no one knows which ones will prevail. And the changes in the delivery model are actually affecting the way our viewers watch our shows and that in turn is affecting the shows that are being bought and produced. It turns out that we approach a series differently if were going to binge an entire season in three days instead of taking it week by week. And while you might leap to the conclusion that this only applies to shows produced for Netflix, thats actually not true the market for syndicated reruns on independent and cable channels is mostly dead, and the afterlife for almost every drama currently produced will be on a streaming service. So in those cases you are writing for two completely different audiences.And this is only the beginning of the forces that are changing the ways stories are told on television these days. Who could have guessed, for example, that a change in the way networks count their viewers would result in a huge acceleration in the pace of storytelling? Or that an overabundance of outlets would lead to a complete liberalization of the kinds of stories that would be allowed to serve as foundation for a series?TV drama storytelling has been changing constantly since the turn of the millennium, but the pace of that change seems to accelerate with every passing television season except that there really isnt any such thing as a television season anymore. Series are getting bigger and faster and also slower and smaller. A hit show from even five years ago can look hopelessly dated in this new world. And the only thing thats certain is that everything is going to keep changing. Well almost everything. Because the one constant in this new television world is the need for great writing. Strong concepts, rich characters, intriguing plots. And more even than great writing: a voice. Theres a desperate hunger out there for a fresh, original vision, something that can cut through the clutter of all those hundreds of other shows out there.But in order for that voice to be yours, youve got to understand how TV writing has changed and what it may be changing to. Thats why Ive written this book. I believe that almost all of what I said in Writing the Pilot still applies, but right now it feels theres a lot to talk about that wasnt even a fantasy back in 2011. This book is about addressing the changes that have overtaken the TV business and more importantly, have overtaken TV storytelling. Im going to be talking about all the changes I listed above, and how they may how they must affect your pilot.In many ways, this is the greatest time in the history of our art form to be a TV writer. There are no limits to the stories you can tell or the ways you can tell them. But beneath what appears to be a market in chaos, there are still rules that guide our storytelling and you cant get into the game before you master them.3. The Viceroy of Ouidah
Description
Bruce Chatwins debut novel: Conrads Heart of Darkness seen through a microscope (The Atlantic)In this vivid, powerful novel, Chatwin tells of Francisco Manoel de Silva, a poor Brazilian adventurer who sails to Dahomey in West Africa to trade for slaves and amass his fortune. His plans exceed his dreams, and soon he is the Viceroy of Ouidah, master of all slave trading in Dahomey. But the ghastly business of slave trading and the open savagery of life in Dahomey slowly consume Manoel's wealth and sanity.
