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STORY MAPS: TV Drama: The Structure of the One-Hour Television Pilot (Volume 4), by Daniel P. Calvisi
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From the Back Cover
Daniel Calvisi brings his Story Map 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.THE WALKING DEADGAME OF THRONESHOUSE OF CARDSTRUE DETECTIVEBREAKING BADMR. ROBOTSCANDALMAD MENStory Maps: TV Drama offers the first beat sheet for television screenwriters ("Save the Cat" for TV shows). 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.
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About the Author
Daniel P. Calvisi is a story consultant, screenwriter and the author of Story Maps: How to Write a GREAT Screenplay, Story Maps: TV Drama, Story Maps: 12 Great Screenplays, and Story Maps: The Films of Christopher Nolan. He is a former Story Analyst for major studios like Twentieth Century Fox and Miramax Films. He teaches webinars on writing for film and television with The Writers Store and speaks at writing conferences. He holds a degree in Film and Television from the Tisch School of the Arts at New York University. He lives in Los Angeles. To learn more about Story Maps and how you can work with Dan, visit ActFourScreenplays.com.
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Product details
Series: Story Maps
Paperback: 136 pages
Publisher: Act Four Screenplays; 1 edition (March 19, 2016)
Language: English
ISBN-10: 0983626685
ISBN-13: 978-0983626688
Product Dimensions:
6 x 0.3 x 9 inches
Shipping Weight: 11.4 ounces (View shipping rates and policies)
Average Customer Review:
4.9 out of 5 stars
94 customer reviews
Amazon Best Sellers Rank:
#123,717 in Books (See Top 100 in Books)
This is a really superb book that gives a basic structure that the new TV screenwriter can use to generate an good quality script. TV drama spec scripts have specific structure and format requirements that are not obvious to the new writer. Is this the ONLY way to write a salable drama? Of course not--and Dan Calvisi says that up front. But it is a terrific format that lets writers focus on telling their stories and generating acceptably formatted and structured scripts. Once you learn the trade, and know the rules, you'll be able to bend this structure if you want--as long as you're doing so in service to the story itself and not to break them just to break them. Highest recommendation.
As a novice in this genre, Calvisti's book was exactly what I had been looking for. My writing over the past few decades has been exclusively non-fiction, so the gnawing question for me in tackling a TV pilot project was: how do I structure the fictional tale that has been stewing in my imagination since the 1980's?I had not found a clear, usable answer until now. "Story Maps" solved my problem and iIt did so using as examples work with which I was already quite familiar, "Breaking Bad", "Mad Men", "TWD" etc. (The only two pilot examples I had to seek out for a first look were "Scandal" and "Mr Robot").Using his methods I was able to quickly structure the existing elements of my story into a framework I am not fleshing out with dialogue, etc. and I did so within just a few hours after first opening his book.I concur with many of the other points being made here by other 5-star reviewers, so I won't repeat those. "Story Maps" is a concise, inexpensive, highly effective solution to a significant challenge. Calvisi delivers exactly what he promises.
Finally a book that's not just padded with experiences in the trenches and all that irrelevant nonsense. Here you get what it says on the cover- a roadmap. And it works. I'm pitching tv at the moment and with no tv experience but tonnes of commercials, shorts and the like I just needed the recipe. Nothing more. So this feels like a Save the Cat recipe but love it or hate it, that recipe works. Same here. Out of the five or six books I bought to cram for this pitch, this one is the best.
As part of a recent research project on predicting Nielsen ratings, I had to read up on the art and craft of writing for television, particularly writingfor 1-hour dramatic series.The first titles that I read were those by William Rabkin.. After that, Kindle's recommendation algorithm kicked in and suggested one book after another--about a dozen in all. I came across "Story Maps" about midway through the lot.With no disrespect intended to any of the other authors, "Story Maps" is, by far, the best of the bunch. Before I explain why, let me give a few thoughts on this genre of books as a whole.First, it is my very distinct impression that these titles are intended for the aspiring and enthusiastic amateur writer--perhaps recent film school grads and/or writers in other genres, e.g. short stories, film, comedy, or journalism who are looking to break into TV writing. Put another way, such books are probably NOT written for people already working as writers for dramatic series--the assumption being that these folks already (should/do) know most of what is contained in such books.With that having been said, a somewhat a philosophical/pedagogical question arises: what kind of book on the subject of writing 1-hour TV dramas would best serve the aforementioned enthusiastic amateurs? Based on my many years of teaching graduate and undergraduate students--albeit in very different topics--one important criteria is brevity.I say this because of one well-known drawback of learning from experts: they have so much too say and often want to teach all that they know. Dan's book doesn't fall preyto this problem. I didn't do a page count but I'm pretty sure that it's the shortest of all books that I read on the topic. And to be clear: it's brief because it's focused on the essentials--the structure of the 1-hour pilot, just like it says in the subtitle.A second all-too-common problem of learning from experts is that they rely too much on war stories and colorful anecdotes. It's easy to understand why: war stories--especially those told by professional story tellers--are fun to listen to. And they are no doubt instructive. But they are no substitute for spelling out the conceptual vocabulary of the field and the analytical framework needed to apply the concepts to realistic, instructive examples. And it is here that Story Maps really, really shines. (Would it be too redundant if I said "really" one more time?)As the title suggests, the books give a a concise description of what the structure of a 1-hour Drama is. That discussion begins in earnest about 35-40% of the way through the book. Leading up to that, a number of important distinctions and definitions are provided--what the core formats are (comedy, dramedy, drama, etc.), the differentkinds of pilot episodes (e.g. premise vs. 3rd episode), and the meaning/ importance of setting, theme, crisis, teaser, arcs, A/B/C stories, etc.All of the definitions are supported by examples from highly popular and successful shows in very different genres, all created by writers at the top of their respective games. But the listing and defining of the key terms is only the set-up for the real important contribution of this book--the beat sheet that links the terms together and shows how they unfold in a sequence of 4-6 acts over 54-60 pages.In short, the beat sheet takes the reader step-by-step, from teaser/act one through the finale, showing how the many parts combine to make a "engine" that drives the story forward. Each of several shows is analyzed and used as an example in each section of the beat sheet. This is smart teaching. It allows one to see how the same elements combined in different stories but all to the same effect--a compelling pilot that launched a popular and highly acclaimed series.It's hard for me to overstate just how well-organized and useful this part of the book is. If you're like me, you'll need to read and study the beat sheet, and practice diligently at the examples. But should you persist, you'll end up with an excellent command of the structure of the TV drama pilot that will serve you very well going forward.Starling Hunter, Ph.D.(starling@almuni.duke.edu)
This book was detailed, concise, easily understandable, and what I expected. Having read and understood many books on writing feature films, I decided to also learn writing for TV. This book translated well. Calvisi maps out enough of the top shows on today so as to be sure that you've seen at least one of them, if not all. Most importantly, after having detailed what defined the parts of a story, Calvisi details what happens beat-for-beat, and with page numbers. If you're like me and study multiple books of the same, which makes for good research, this is a great addition to the pile.
For anyone that wants to get a clearer vision into writing their next drama, this book may just be what you need. I'm a novice but it has helped me have to foresight to put together a well balanced script for a pilot I always wanted to write. The examples and story maps given helped me be able to better analyze, which in turn made me enjoy more so, some of my favorite programs.
This book is a phenomenal resource to help the budding TV writer establish a framework and process for not only their current project but all future projects. In business terms, think of it as akin to a Due Diligence framework. It's a checklist of all the things you need to think about and do to maximize the potential commercialization of your story. It's that simple and that comprehensive. The magic of the book is that it weeds out all the unnecessary mumbo-jumbo in most how-to writing books and focuses squarely on "process". It's simply wonderful.
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