10 Steven Bochco from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

10 Steven Bocbco from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

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When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

Then, of course , we have Steven Bochco, who gave us — he, as was said in the keynote, the multi-level story, many characters with different goals. He brought that to television in a way that hadn’t existed before. Adam-12 is a very basic, two guys do cop things all day. This was now groups of people. Here we had the policemen with their own personal lives at home. Later will have LA Law. The lawyers with their own personal lives and NYPD Lue. So that was what Bochco brought to television.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

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A Woman Wrote That – 25 in a series – Thelma and Louise (1991), Writer, Callie Khouri

This new “A Woman Wrote That” post is an echo of the Writers Guild campaign of a few years ago (“A Writer Wrote That”) where they noted famous movie quotes and credited the screenwriter rather than the director.  The difference here being that we will be posting lines from films written by female screenwriters.  Feel free to share! — Rosanne

A Woman Wrote That - 25 in a series - Thelma and Louise (1991), Writer, Callie Khouri

THELMA

I don’t ever remember feeling this awake..

Stephens College MFA in TV and Screenwriting will be at the 2021 True/False Film Fest, Columbia, Missouri, May 7-9, 2021

Stephens College MFA in TV and Screenwriting will be at the 2021 True/False Film Fest, Columbia, MissouriStephens College MFA in TV and Screenwriting will be at the 2021 True/False Film Fest, Columbia, Missouri, May 7-9, 2021

The Stephens College MFA in TV and Screenwriting is hosting a booth at the True/False Film Fest taking place in Stephens Lake Park, Columbia, Missouri this May 7-9th.  

Come out to meet us and find out how to Write – Reach – Represent the stories that need to be told.

Stephens College MFA in TV and Screenwriting will be at the 2021 True/False Film Fest, Columbia, Missouri, May 7-9, 2021

Stephens College MFA in TV and Screenwriting will be at the 2021 True/False Film Fest, Columbia, Missouri, May 7-9, 2021

20 More On Russell T Davies from There And Back Again: Writing and Developing for American TV [Video]

20 More On  Russell T Davies from There And Back Again: Writing and Developing for American TV [Video]

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

Transcript:

This book here, I highly recommend if you like Doctor Who, but if you like writing, Benjamin Cook, the writer, the journalist asked Russell Davies in the last season of David Tennant’s era, could I email you across this year and just ask you questions like — what are you thinking of today and Russell was like sure and so it’s this it’s the collection of their emails as he wrote the last season. So you’ll start with something like well today I’m thinking what if water was deadly? I don’t know what to do with that but that’s on my brain today and a few weeks later it was — what if some astronauts were on Mars and Martian water was deadly and by the time you’re done we have an episode called Waters of Mars right? So he watched the progress and development of a story through these emails with Russell Davies.

Watch this entire presentation

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** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

From The Journal Of Screenwriting V4 Issue 3: Bridges and gaps: The Singing Detective’s serial afterlife by Sean O’Sullivan

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


Bridges and gaps: The Singing Detective’s serial afterlife by Sean O’Sullivan

The Singing Detective has long been considered a high point of televisual storytelling. But what is its specific legacy as a serial narrative, particularly in the contemporary U.S. context of ambitious dramas? In many ways, the experiment of The Singing Detective remains an outlier. If the likes of Mad Men and The Sopranos have re-invigorated seriality by emphasizing the gaps between episodes—by making the narrative broken rather than connected—The Singing Detective’s continuing contribution lies in its insistence on bridging the disparate parts that make a serial: old and new, sound and image, memory and imagination, ritual and eccentricity.

From The Journal Of Screenwriting V4 Issue 3: Bridges and gaps: The Singing Detective’s serial afterlife by Sean O’Sullivan


Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

09 More on Stephen J. Cannell from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

With the full recording of “How The Chaos Of Collaboration in the Writers Room Created Golden Age Television”

09 More on Stephen J. Cannell from How The Chaos Of Collaboration in the Writers Room Created Golden Age Television [Video]

Subscribe to Rosanne’s Channel and receive notice of each new video!

 

 

When the folks hosting the conference announced their theme as “Screen Narratives: Chaos and Order” the word ‘chaos’ immediately brought to mind writers rooms. I offered a quick history of writers rooms (the presentations are only 20 minutes long) and then quoted several current showrunners on how they compose their rooms and how they run them.

Transcript

I was able to interview a certain set of these men — actually, Stephen Cannell in the year before he died — to talk about their time at Universal and the transition from this pool into their own rooms and how they would comprise those rooms. again, all these men that I just mentioned are famous because of what they came up with. Cannel is someone we know from many action-adventure television shows. When he passed away the show, Castle, which was big in the United States — the men who worked on that show had been in his writer’s pools early in their career. So, he was famous for this ending on his show where he would type in the typewriter and pull the paper out — that was his brand. At the end of this show, Castle, which he did not work on. they gave this — colleague, mentor, friend ending — in tribute to him. So that’s how important he was to their careers. They learned how to run their own rooms from working with him. These are all the shows that we know him from at some point or another. So he’s certainly a man with a very distinct style that stood out for a long time.

For more information on the Screenwriting Research Network, visit

Screenwriting Research Network Conference, Porto, Portugal, All Sessions


Ready to present my talk yesterday at the Screenwriting Research Conference here in Porto, Portugal via Instagram

Follow me on Instagram



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!

Screenwriting Question #3 : Act lengths in TV scripts via TikTok [Video]

@drrosannewelch

##Screenwriting ##Question ##3: ##Act ##lengths in ##TV ##scripts ##screenwriting

♬ original sound – Dr. Rosanne Welch


Screenwriting Question #3 : Act lengths in TV scripts via TikTok [Video]


Read more about screenwriting with these books

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

Screenwriting Question 2: Do Act Breaks Still Matter Even On Streaming Shows? via TikTok [Video]

@drrosannewelch

##Screenwriting ##Question 2: Do ##Act ##Breaks Still Matter Even On ##Streaming ##Shows? ##tv ##television ##tips ##writing

♬ original sound – Dr. Rosanne Welch

Screenwriting Question 2: Do Act Breaks Still Matter Even On Streaming Shows? via TikTok [Video]


Read more about screenwriting with these books

* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

19 Russell T Davies and Doctor Who from There And Back Again: Writing and Developing for American TV [Video] (40 seconds)

18 Russell T Davies and Doctor Who from There And Back Again: Writing and Developing for American TV [Video] (40 seconds)

Thanks to the gracious invitation from my Screenwriting Research Network colleague Paolo Russo – and a grant he was able to procure (and in the before-Covid time) I was able to spend a week at Oxford Brookes University working with the screenwriting masters students in Paolo’s course. At the culmination of the week, I gave this lecture on how writers rooms worked in the States.

Transcript:

I got a beloved chance to interview Russell Davies who came to the states to do the fourth season of Torchwood and the editor Written By knew how much I love Doctor Who, so he asked me if I’d like to interview him? Which I did and this was something that he said that meant a lot. Again you probably know he’s an openly gay man and it bothered him what he was seeing on television. So obviously, he invented Queer As Folk, and from that, he invented and revived Doctor Who and invented Torchwood, which allowed us, Captain Jack. it was just so adorable. I can’t stand it, but not on my team. So there you go. So this is really important. He was recognizing that in what he was creating for television and again made the programming more inclusive.

Watch this entire presentation

Subscribe to Rosanne’s Channel and receive notice of each new video!

 


* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!
† Available from the LA Public Library

From The Journal Of Screenwriting V4 Issue 3: ‘Message for Posterity’: The Singing Detective (1986) 25 years on by John R. Cook

Highlighting the articles in the past editions of the Journal of Screenwriting, of which I am the Book Reviews Editor. Hopefully these abstracts will entice you to did a little deeper into the history and future of screenwriting. — Rosanne


‘Message for Posterity’: The Singing Detective (1986) 25 years on by John R. Cook

This article offers a reappraisal of Dennis Potter’s television script for The Singing Detective (BBC, 1986) in the 25th anniversary period of the production’s first broadcast. The article reviews the history of the author’s intellectual engagement with The Singing Detective – of what it meant to him then, when he first saw the production in 1986 and of what it means to him now. It discusses the relationship of The Singing Detective to literary modernism, particularly James Joyce’s novel, Ulysses published in 1922. It examines debates on whether Potter is a postmodern writer and also explores the relationship of The Singing Detective to psychoanalysis. It concludes by arguing that Potter’s TV screenplay for The Singing Detective is best seen as a religious work in which spirituality is redefined as the capacity for human beings to reshape their own reality. In this lies Potter’s Christian optimism and The Singing Detective stands as his message for posterity in this regard.

From The Journal Of Screenwriting V4 Issue 3: ‘Message for Posterity’: The Singing Detective (1986) 25 years on by John R. Cook


Journal of Screenwriting Cover

The Journal of Screenwriting is an international double-blind peer-reviewed journal that is published three times a year. The journal highlights current academic and professional thinking about the screenplay and intends to promote, stimulate and bring together current research and contemporary debates around the screenplay whilst encouraging groundbreaking research in an international arena. The journal is discursive, critical, rigorous and engages with issues in a dynamic and developing field, linking academic theory to screenwriting practice. 

Get your copy and subscription to the Journal of Screenwriting Today!



* A portion of each sale from Amazon.com directly supports our blogs
** Many of these books may be available from your local library. Check it out!