![]() ![]() ![]() Creating reality show formats involves storytelling structure similar to screenwriting, but much more condensed and boiled down to specific plot points or actions related to the overall concept and story. ![]() The Writers Guild of America has identified this as a legitimate writer's medium, so much so that they have lobbied to impose jurisdiction over writers and producers who 'format' reality-based productions. That is, the overall skeleton of the show and its episodes are written to dictate the content and direction of the program. With reality-based programming crossing genres to create various hybrid programs, many of the so-called 'reality' programs are in a large part scripted in format. Increasingly, reading copies of screenplays (that is, those distributed by producers and agencies in the hope of attracting finance or talent) are distributed printed on both sides of the paper (often professionally bound) to reduce paper waste.ĭrama series and sitcoms are no longer the only formats that require the skills of a writer. This is especially important if the script is likely to pass through the hands of several people or through the post. Screenplays are usually bound with a light card stock cover and back page, often showing the logo of the production company or agency submitting the script, covers are there to protect the script during handling which can reduce the strength of the paper. A British script may be bound by a single brad at the top left hand side of the page, making flicking through the paper easier during script meetings. Because each country's standard paper size is difficult to obtain in the other country, British writers often send an electronic copy to American producers, or crop the A4 size to US letter. Some UK writers format the scripts for use in the US letter size, especially when their scripts are to be read by American producers, since the pages would otherwise be cropped when printed on US paper. ![]()
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