Acknowledgments |
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xv | |
Praise |
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xvii | |
Praise for the Previous Editions |
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xix | |
Preface |
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xxi | |
What's on the Companion Website? |
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xxiii | |
Introduction |
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1 | (6) |
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1 | (1) |
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1 | (1) |
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2 | (1) |
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3 | (1) |
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The Basic Idea of a Script |
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3 | (1) |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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PART 1 Defining the Problem |
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7 | (78) |
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1 Describing One Medium through Another |
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9 | (14) |
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Writing Not to Be Read But To Be Made |
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9 | (1) |
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Writing, Producing, and Directing |
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10 | (2) |
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A Viewer Evolves to Become a Creator |
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12 | (1) |
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The Producer and Director Cannot Read Your Mind |
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12 | (1) |
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Instructions to the Production Crew |
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12 | (1) |
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What Is the Role of a Scriptwriter? |
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13 | (1) |
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14 | (2) |
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Differences Compared to Novels and Stage Plays |
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16 | (1) |
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17 | (1) |
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Where do We Go From Here? |
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17 | (1) |
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18 | (1) |
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19 | (1) |
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20 | (1) |
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20 | (3) |
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2 Describing Sight and Sound |
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23 | (20) |
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Describing Time and Place |
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24 | (1) |
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25 | (1) |
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Describing the Camera Frame or the Shot |
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26 | (2) |
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Describing Camera Movement |
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28 | (1) |
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Describing Graphics and Effects |
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29 | (1) |
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Describing Transitions between Shots |
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29 | (2) |
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31 | (2) |
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Voice Narration and Dialogue |
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33 | (1) |
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34 | (1) |
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Finding a Format for the Page |
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35 | (1) |
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35 | (1) |
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36 | (2) |
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38 | (1) |
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TV Studio Multi-Camera Script |
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39 | (2) |
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News Anchor Script Format |
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41 | (1) |
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41 | (1) |
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41 | (2) |
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3 A Seven-Step Method for Developing a Creative Concept |
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43 | (24) |
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Step 1 Define the Communication Problem |
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44 | (1) |
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Ivy College: An Admission Video |
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45 | (1) |
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45 | (1) |
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46 | (1) |
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Step 2 Define the Target Audience |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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51 | (1) |
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51 | (2) |
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53 | (1) |
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53 | (2) |
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Step 3 Define the Objective |
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55 | (1) |
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Step 4 Define the Strategy |
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56 | (1) |
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56 | (1) |
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Step 5 Define the Content |
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57 | (1) |
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Step 6 Define the Appropriate Medium |
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58 | (1) |
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Step 7 Create the Concept |
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59 | (1) |
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60 | (3) |
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A Concept for an Antismoking PSA |
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63 | (2) |
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65 | (1) |
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65 | (2) |
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4 The Stages of Script Development |
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67 | (18) |
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Background Research and Investigation |
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68 | (2) |
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70 | (2) |
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72 | (1) |
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Brainstorming and Freeing Your Imagination |
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72 | (1) |
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73 | (1) |
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A Concept for a PSA: Texting and Driving |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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A Treatment for a PSA: Texting While Driving |
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74 | (1) |
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Shot, Scene, and Sequence |
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75 | (1) |
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75 | (1) |
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A First-Draft Script for a PSA: Texting While Driving |
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76 | (2) |
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78 | (1) |
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78 | (1) |
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A Final-Draft Script for a PSA: Texting While Driving |
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79 | (3) |
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82 | (1) |
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83 | (1) |
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83 | (2) |
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Part 2 Solving Communication Problems with Visual Media |
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85 | (82) |
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5 Ads and PSAs: Copywriting for Visual Media |
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87 | (30) |
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Copywriting versus Scriptwriting |
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88 | (1) |
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Client Needs and Priorities |
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89 | (1) |
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The 15-, 20-, and 30-Second Miniscripts |
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90 | (1) |
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90 | (1) |
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Devices to Capture Audience Attention |
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91 | (7) |
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98 | (1) |
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99 | (1) |
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100 | (1) |
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101 | (1) |
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101 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (1) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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Recruiting the Audience as a Character |
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105 | (1) |
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Engaging the Audience as Visual Thinker |
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106 | (1) |
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Patterns That Engage the Visual Cortex |
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107 | (1) |
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108 | (2) |
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Radio: Words without Pictures |
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110 | (1) |
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110 | (1) |
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Billboards and Transportation Ads |
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110 | (3) |
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Advertising on the World Wide Web |
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113 | (2) |
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115 | (1) |
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116 | (1) |
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116 | (1) |
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6 Corporate Communications: Selling, Training, and Promoting |
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117 | (30) |
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Video as a Corporate Communications Tool |
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118 | (1) |
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119 | (1) |
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Training, Instruction, and Education |
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120 | (1) |
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Educational/Instructional Use of Video |
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120 | (1) |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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124 | (1) |
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Typical Corporate Communication Problems |
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125 | (2) |
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Getting Background and Product Knowledge |
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127 | (1) |
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Devices for Video Exposition |
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128 | (1) |
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128 | (1) |
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128 | (1) |
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129 | (1) |
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130 | (1) |
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Other Corporate Uses of Media |
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130 | (1) |
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Meetings with a Visual Focus |
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131 | (1) |
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Devices That Teach and Entertain |
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131 | (1) |
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Devices That Work for Corporate Messages |
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131 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (2) |
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Narrators and Anchors on Camera |
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136 | (1) |
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137 | (1) |
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137 | (1) |
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138 | (1) |
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138 | (1) |
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Logical Argument in Documentary Narrative |
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139 | (1) |
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140 | (1) |
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140 | (1) |
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141 | (1) |
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141 | (1) |
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141 | (1) |
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Writing the Corporate Treatment |
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142 | (1) |
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Script Formats for Corporate Videos |
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142 | (1) |
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Length, Pacing, and Corporate Style |
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143 | (1) |
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143 | (1) |
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Developing the Script with Client Input |
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144 | (1) |
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144 | (1) |
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Working with Budget Limitations |
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144 | (1) |
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145 | (1) |
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145 | (2) |
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7 Documentary and Nonfiction Narrative |
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147 | (20) |
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147 | (2) |
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149 | (2) |
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Scripted and Unscripted Approaches |
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151 | (1) |
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Research and Formulating a Theme |
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152 | (1) |
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What Is the Role of the Writer? |
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153 | (1) |
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153 | (1) |
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153 | (1) |
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Types of Documentary Technique |
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153 | (1) |
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154 | (1) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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Investigative Documentary |
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155 | (1) |
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Faux or Pseudo Documentary |
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156 | (1) |
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157 | (1) |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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Other Documentary Applications |
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159 | (1) |
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159 | (1) |
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160 | (1) |
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Documentaries about the Making of Feature Films |
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160 | (1) |
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160 | (1) |
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161 | (1) |
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Narrative Voice-Over and Postproduction |
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161 | (1) |
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162 | (1) |
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Commentary Counterpoint and Commentary Anchors |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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On-Camera/Off-Camera Combinations |
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163 | (1) |
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164 | (1) |
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165 | (1) |
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165 | (2) |
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Part 3 Entertaining with Visual Media |
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167 | (112) |
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169 | (24) |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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How Does Storytelling Come about? |
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171 | (1) |
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How Do We Respond to Storytelling? |
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171 | (1) |
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172 | (2) |
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174 | (3) |
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177 | (1) |
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Theories about Images and Meaning |
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177 | (1) |
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177 | (1) |
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Deconstruction of Meaning |
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178 | (3) |
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181 | (1) |
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When Does a Sign Become a Symbol? |
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181 | (1) |
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181 | (2) |
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183 | (1) |
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183 | (1) |
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183 | (2) |
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185 | (1) |
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186 | (1) |
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186 | (1) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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188 | (1) |
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188 | (1) |
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189 | (1) |
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189 | (1) |
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190 | (1) |
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Who Are the Storytellers? |
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191 | (1) |
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192 | (1) |
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192 | (1) |
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9 Visual Storytelling: Structure and Form in the Screenplay |
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193 | (26) |
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The Three-Act Structure of Little Red Riding Hood |
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194 | (4) |
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The Formation of Three-Act Story Structures |
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198 | (1) |
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199 | (1) |
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200 | (1) |
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201 | (1) |
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Writing a Movie Treatment |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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Master Scene Script Format |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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Other Narrative Structures |
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206 | (1) |
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207 | (3) |
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210 | (3) |
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213 | (2) |
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215 | (2) |
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217 | (1) |
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217 | (2) |
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10 Writing Techniques for Long-Form Scripts |
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219 | (36) |
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220 | (1) |
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221 | (4) |
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225 | (1) |
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226 | (1) |
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226 | (1) |
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The Comic Character as Victim |
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227 | (1) |
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227 | (1) |
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228 | (1) |
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228 | (1) |
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The Cover-Up/Impersonation |
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229 | (1) |
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Disguise and Mistaken Identity |
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230 | (1) |
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231 | (1) |
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231 | (1) |
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Cover-Up/Mistaken Identity |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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236 | (1) |
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236 | (1) |
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Writing Techniques for Adaptation |
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237 | (1) |
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The Problem of Adaptation |
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238 | (1) |
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239 | (1) |
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239 | (1) |
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Narrative Tense and Screen Time |
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240 | (1) |
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240 | (1) |
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241 | (2) |
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Descriptive Detail and the Camera Frame |
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243 | (1) |
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244 | (1) |
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244 | (4) |
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248 | (5) |
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253 | (1) |
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254 | (1) |
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11 Television Series, Sitcoms, and Soaps |
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255 | (24) |
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The Premise for Series, Sitcoms, and Soaps |
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256 | (3) |
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259 | (1) |
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259 | (1) |
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Three-Act Structure and the TV Time Slot |
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260 | (1) |
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261 | (1) |
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Visualizing for the Small Screen |
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261 | (1) |
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262 | (1) |
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262 | (1) |
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262 | (1) |
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263 | (1) |
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264 | (1) |
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264 | (1) |
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265 | (1) |
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Condensing Action and Plot |
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265 | (1) |
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265 | (1) |
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Script Formats for Television |
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266 | (1) |
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TV Comedy and Its Devices |
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267 | (1) |
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267 | (1) |
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267 | (1) |
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268 | (2) |
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270 | (2) |
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One-Liners and Laugh Lines |
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272 | (1) |
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273 | (1) |
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274 | (1) |
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New Techniques and Innovations |
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274 | (1) |
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275 | (2) |
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277 | (1) |
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277 | (2) |
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Part 4 Writing for Interactive and Mobile Media |
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279 | (78) |
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12 Writing for Interactive Communications and Interactive Design |
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283 | (30) |
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283 | (1) |
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Linear and Nonlinear Paradigms |
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284 | (1) |
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Combining Media for Interactive Use |
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285 | (3) |
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Breakdown of Script Formats |
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288 | (1) |
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289 | (2) |
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291 | (2) |
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293 | (1) |
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Authoring Tools and Interactive Concepts |
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293 | (2) |
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295 | (1) |
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Instructional and Utilitarian Programs |
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296 | (1) |
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Different Writing For Websites |
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297 | (1) |
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Conceptual Writing vs. Content Writing |
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298 | (2) |
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300 | (1) |
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Navigation: The Third Dimension |
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300 | (1) |
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Writing the Interactive Idea |
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301 | (1) |
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301 | (1) |
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301 | (1) |
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301 | (1) |
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302 | (1) |
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302 | (1) |
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302 | (1) |
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Applying the Seven-Step Method |
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302 | (1) |
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303 | (1) |
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Writing to Be Read on the Web |
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304 | (2) |
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E-Commerce and Interactive Distribution |
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306 | (1) |
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Interactive Reference Works |
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307 | (1) |
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Interactive Catalogues and Brochures |
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308 | (1) |
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309 | (1) |
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309 | (1) |
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310 | (1) |
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310 | (3) |
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13 Writing for Video Games |
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313 | (16) |
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Games, Narrative, and Entertainment |
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313 | (1) |
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313 | (2) |
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315 | (1) |
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316 | (1) |
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317 | (1) |
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318 | (1) |
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319 | (1) |
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Describing the World of the Game |
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319 | (1) |
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320 | (1) |
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Description of Sub-Quests |
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320 | (1) |
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320 | (1) |
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Interaction with Non-Player Characters |
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320 | (1) |
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320 | (1) |
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320 | (1) |
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320 | (1) |
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321 | (2) |
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323 | (1) |
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323 | (2) |
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Interactive Games for Training |
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325 | (1) |
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325 | (1) |
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326 | (1) |
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Games for Website Engagement |
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326 | (1) |
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327 | (1) |
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327 | (1) |
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328 | (1) |
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14 Writing for Mobile Media Platforms |
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329 | (28) |
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Content on Mobile Platforms |
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329 | (1) |
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Antecedents for Mobile Content |
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330 | (2) |
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Video on Mobile Platforms |
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332 | (1) |
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333 | (1) |
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Viewing on YouTube from Mobile Platforms Has Increased Dramatically |
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333 | (1) |
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Mobile and Desktop Use Compared |
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334 | (1) |
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334 | (9) |
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Webisodes and New Digital Formats |
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343 | (3) |
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346 | (1) |
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Second-Screen and Multiple Media Concepts |
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346 | (2) |
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348 | (5) |
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353 | (1) |
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What Does All This Mean for Writers? |
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354 | (1) |
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354 | (1) |
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355 | (2) |
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Part 5 Anticipating Professional Issues |
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357 | (32) |
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15 You Can Get Paid to Do This |
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359 | (30) |
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359 | (1) |
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360 | (1) |
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361 | (3) |
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364 | (2) |
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366 | (2) |
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Producing and Writing Video Games |
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368 | (1) |
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Ideology, Morality, and Content |
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369 | (4) |
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Emotional Honesty and Sentimentality |
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373 | (4) |
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Truthiness and Consequences |
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377 | (1) |
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Writing for the Corporate World |
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378 | (1) |
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379 | (1) |
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379 | (2) |
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381 | (1) |
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Marketing Yourself and Your Work |
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381 | (1) |
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381 | (1) |
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Work-Made-for-Hire and Freelance |
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382 | (1) |
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Networking, Conventions, and Seminars |
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383 | (1) |
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Resources on the Internet |
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384 | (1) |
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384 | (1) |
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385 | (1) |
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386 | (1) |
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387 | (2) |
Index |
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389 | |
Additional Material Available Online |
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Appendix |
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Bibliography |
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Glossary |
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