How to write a script

A long play is often composed of many different paragraphs. In different kinds of dramas, different units are used to distinguish paragraphs. In western drama, "screen" is widely used as a large unit, and it is divided into many small "fields" under the screen. China's Yuan Zaju takes "Zhe" as the unit, while South Opera takes "Chu" as the unit, which represents the order in which actors enter and leave the theater. After the creation of literati in Ming Dynasty, "Chu" was changed to a more complicated "Chu". The structure of the script can generally be divided into "beginning, development, turning point, climax and climax ending". Of course, the structure will change according to the different screenwriter skills. As we all know, traditional drama structure is an artistic means to organize drama conflicts and arrange plots according to themes and characters. It is an important part of drama creation, and the script is constructed according to the rules of drama. Because life itself develops rhythmically and regularly, the structure reflected by drama conflicts will inevitably form a plot chain of beginning, development, climax and ending caused by conflict actions, which is arranged in chronological order. The characteristics of this structure are reflected in the sub-fields. The whole drama consists of one scene after another, and several scenes make up the whole drama. Each scene has a small climax, and several small climaxes form a big climax. Because the traditional drama structure is based on the development of drama conflict, there are also two opposing figures and a central event running through the meridians. Therefore, it develops vertically, so it may be called a strip structure. Second, the mass structure, as the name implies, its plot is horizontal, which is very different from the vertical strip structure. There is almost no obvious climax in the whole drama, because it is not based on external conflicts, but on the activities of character consciousness. There are also some plays. There is no story that begins and ends, and there is no complete plot. I don't see people who are in conflict with each other. There are only a few fragments of life or groups of irregular plots. There is no causal dependence between these scenes, and the structure is very irregular. But they are "scattered in form but not in spirit", but there is an inevitable internal connection between paragraphs. There is usually no scene or behavior, so it is called no play. This is formed by different themes and different writers' ideas. At present, there are two popular block structures: 1 and loose structure. The structure of this play is similar to that of prose, and it is a literary genre. This kind of drama has no complete story, no highly concentrated contradictions and conflicts, and everything naturally unfolds and ends naturally. It not only emphasizes the documentary nature of life, but also emphasizes the authenticity of emotions and pays attention to expressing the true feelings of characters. It only selects a few seemingly scattered sides, but it can achieve "scattered in form but not scattered in spirit". One of the structural characteristics of this kind of drama is that there is no inevitable dependence between fields; The second feature is that there is no strong climax and ending; The third feature is that there is no complete story and central event; The fourth feature is that it develops horizontally according to the time sequence of life itself, and "flashback" is rarely used, which belongs to the time sequence structure. 2. Psychological structure. The dramatic structure of this kind of drama is a structural form based on the activities of character consciousness. It is different from strip structure and prose structure in narrative mode, and the latter two are generally carried out in chronological order. The psychological structure interweaves the past, the present and the future according to the changes of the psychological activities of the characters. So it is also called time staggered structure. Its characteristics are: first, it pays attention to the inner world of the characters and analyzes their inner feelings, so as to achieve the purpose of portraying the characters. It has no complete storyline, even gripping contradictions and conflicts, and there is no wave after wave of dramatic climax. Even the time sequence is irregular, and it is more of a character consciousness activity. Second, the pursuit of subjectivity in narrative. Interweave reality with the past, layout and cut. The reason why this structure does not follow the chronological order, interweaves the present and the past, and can be understood by the audience is based on the principle that the psychological activities of the characters (memories, associations, dreams, etc. ) Not limited by time and space.

Script format

In episode n, each scene is set as follows: scene 1, location: time: weather (environment): a brief description of the plot in the scene (within 200 words): the name of the person: (bold or italic, but unified): as follows:-self-[action description] (action description needs brackets), if it is necessary to highlight the subjective shot or objective shot. Looking up, the camera is a tall figure of the protagonist, wearing a suit and carrying a small briefcase. Keep the camera parallel and move backwards, indicating that the hero is walking with action. ] dialogue: the format of the dialogue is: the original: if the content of the dialogue needs special explanation, you can use "[]" to add action after the dialogue. Other notes: each page represents 1 minute comics. No matter how long or short the page is, all the pages will be changed in the next minute. Note: dialogue can't be written, it needs humor. For the script, if there is no dialogue, let the audience know what to say. Add a few more points: 1, the theme of the script: The so-called theme of the script, like writing a composition when I was a child, has an ideological center, so the theme of the script is the same. To create a work, we must first determine what our theme is and what is the ideological center to convey to the audience. 2. Basic requirements of scripts: Some newcomers can easily write scripts and become another kind of literary works-novels. This is very wrong and taboo. The biggest difference between a novel and a script is that a novel is a literary work, which expresses a story in the way of the author, including the author's emotion, lyric and inner description. Although the script is also composed of words, it is not only a literary appreciation, but also a dramatic art, and the script is the blueprint for TV drama shooting. Generally, the number of words in an episode of a TV series is 15000- 18000. Scripts generally range from 30 thousand to 50 thousand. Generally, there are 35 to 45 episodes of TV series. Of course, there is no strict standard for the number of words or times, which depends on the individual skill of the screenwriter. 3. Structure of the script: It is not easy to create an excellent script. The writing process of the script includes story outline, diversity outline, biography, breakthrough outline, plot introduction and so on. The above is the process of creating a script. 4, to consider the feelings and suggestions of watching: shooting a TV series (or movie) is ultimately to be played, and the audience is the audience. Whether a work is successful or not depends on the audience. Although the audience doesn't know much about professional drama, they are experts in appreciating a work, so consider why the audience doesn't like the role you created and why they don't like the play. It doesn't look good. Where is it? There are many film and television works that have successfully created "bad guys" but have succeeded or won countless fans. Why? It is a question worthy of every screenwriter's thinking for a long time! The beauty of the story lies not in the need to fight and kill to attract the audience's attention and inner voice, but in the real excavation of the characters and plots. Everyone knows that TV plays are fiction. Why do you sometimes cry when you watch sensational clips? Why do some plots make the audience linger for a long time? Think about it!