Welcome back to the television serial making guidelines. If you'll need a recap we had already seen the fixed forms of necessities like storyline, characters or sets. Now let's proceed to moving ones.
The Story and Dialogue Writers: Having only one writer is really a risky proposition. You should ideally have a table of writers, if one fails to blow out of his/her mind others deliver. Teri Meri Dooriyan The constant storyline needs a similarly endless way to obtain dialogues to carry on the show episode by episode. In a specific scene you will have to create the utmost possible dialogues and with this the board of writers would come as a bonus. Should they quarrel over it, that's only natural, maybe you receive a brand new twist-wish idea to include new angles-triangles or you will want to even a hyperbola in the story that could again generate new streams of dialogues. You will have to keep a watch on viewers too; boring them now and then is okay, but you have to never drive them mad. The channel producers, remember?
The Director: When you would be the director you should be the toughest nut to break. Okay it's your infant and naturally you want to be the first choice and friend-philosopher-guide. In actual practice you have to be described as a ruthless dictator taking decisions unilaterally and respecting no one however the channel producers. In case a particular character actor is creating problems s/he must get killed in the serial; on the demand of the producers a dead character may need to be brought alive; others may need to be replaced; ushering in a period transition or injecting one and more absurd characters into the serial; and, so on. Katha Ankahee All these situations demand your decisions only. We advise you to help keep 1 or 2 episode directors too as may be the case in many soaps. We've good reasons. First, one director is directly identifiable and is really a sitting duck for irate viewers, if any. Second, the endless monotony might be an excessive amount of for you and you could lose your sanity. Third, as for the channel producers the buck will always stop exclusively at your end only.
The Time Pass: This time pass is from the viewpoint of serial makers, not viewers. Making an endless serial is never easy. So you have to go on creating rooms for frequent time pass tactics. You get it done by having merry go rounds of dramatic reaction shots parading all your characters in the hall that could take you over one or more episodes; by having dialogues that never cease; by providing extreme shock treatment to one or more characters who lose their capability to speak and communicate only through loud music that could last around one or more episodes; by bringing in absurd characters and making their stories count; and, by the like.
Conclusion (?): Since each one of these guidelines are enforced relentlessly some normal doctrines like good wins over evil get neutralized. Yeh Rishta Kya Kehlata Hai serial Evildoers in serials go on doing evil that could include even murder as police authorities are never called in, because entry of police may veer the serial to a logical end. You just compensate by creating temporary relief measures now and then. Thus, the antagonist becomes the key to the success of constant serials. At the receiving end we could only try become accustomed to it.
So, make your serial in India and have constant fun!
Chinmay Chakravarty is really a professional specialized in the creative field with over two decades of experience in journalistic writing, media co-ordination, film script writing, film dubbing, film & video making, management of international film festivals and editing of books & journals. Proficient in providing professional services in these related fields. Presently in Mumbai Doordarshan as a News Editor.
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