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Comparing TV And Movie Writing – Pamela Douglas

Pamela Douglas, Author/Professor of Screenwriting: For originality, creativity, and exploration, you really can’t beat what is happening on television now in all of its forms.

Film Courage: Why is writing TV better than writing movies?

Pamela: Television is the place for innovation now. It’s the most exciting area for people who want to create originally. I know that’s in contradiction to the tradition where people thought independent films was me expressing my voice and ideas. Actually television has so much opportunity now that there are many, many ways to tell your story or to tell any story. I think just the plethora of opportunities is part of what makes it great.

The other thing that makes it great is that you can do the long narrative, that in writing a movie (if it’s a two-hour movie) your story really has to end in 90-minutes or 120-minutes or even if it’s a little flexible from that. With television you can tell a six-hour story, an eight-hour story, a 13-hour story, a 26-hour story or a story that lasts 100-hours and that means that you can expand vertically. By that what I mean is not that the plot…(Watch the video interview on Youtube here).

   
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CONNECT WITH PAMELA DOUGLAS

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BIO:

Pamela Douglas is an award-winning writer with numerous credits in television drama. The Fourth Edition of her book Writing the TV Drama Series (2018) has been adopted by network mentoring programs, and foreign language editions have been published in Germany, Italy, China, Spain and used around the globe. She is also author of the 2015 book The Future of Television: Your Guide to Creating TV in the New World. She has been honored with the prestigious Humanitas Prize for “Between Mother and Daughter” (CBS), an original drama. Multiple Emmy and Writers Guild nominations and awards from American Women in Radio and Television went to other dramas she wrote. She was a creator of the PBS series Ghostwriter, Story Editor of the Emmy-winning CBS series, Frank’s Place and wrote for A Year in the Life, and Star Trek: The Next Generation. She has also been a member of the Board of Directors of the Writers Guild of America, west. At the University of Southern California’s School of Cinematic Arts she is a professor in the screenwriting division where she specializes in television.

 

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