Welcome back to your television serial making guidelines. If you will need a recap we had already seen the fixed types of necessities like storyline, characters or sets. Now let's move on to moving ones.
The Story and Dialogue Writers: Having just one single writer is just a risky proposition. You must ideally have a board of writers, if one fails to blow out of his/her mind others deliver. Teri Meri Dooriyan The never ending storyline needs a similarly endless supply of dialogues to keep on the show episode by episode. In a specific scene you must create the most possible dialogues and for this the board of writers would come as a bonus. Should they quarrel over it, that's only natural, maybe you obtain a fresh twist-wish idea to set up new angles-triangles or why don't you a good hyperbola in the story that could again generate new streams of dialogues. You must keep a wrist watch on viewers too; boring them now and then is okay, but you must never drive them mad. The channel producers, remember?
The Director: As you will be the director you must be the toughest nut to break. Okay it is your baby and naturally you prefer to be the first choice and friend-philosopher-guide. But in actual practice you must be described as a ruthless dictator taking decisions unilaterally and respecting no body nevertheless 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 have to be brought alive; some others may have to be replaced; ushering in an occasion transition or injecting one and more absurd characters in to the serial; and, so on. Katha Ankahee Each one of these situations demand your decisions only. We advise you to keep one or two episode directors too as could be the case in lots of soaps. We have good reasons. First, one director is directly identifiable and is just a sitting duck for irate viewers, if any. Second, the endless monotony may be a lot of for you personally and you may lose your sanity. Third, as for the channel producers the buck will always stop exclusively at your end only.
The Time Pass: This time around pass is from the viewpoint of serial makers, not viewers. Making an endless serial is generally not very easy. So you must go on creating rooms for frequent time pass tactics. You take action insurance firms merry go rounds of dramatic reaction shots parading your entire characters in the hall that could get you over one or more episodes; insurance firms dialogues that never cease; by giving extreme shock treatment to one or more characters who lose their capability to speak and communicate only through loud music that could last as much as 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 force authorities are never called in, because entry of police may veer the serial to a logical end. You simply compensate by creating temporary relief measures now and then. Thus, the antagonist becomes the important thing to the success of never ending serials. At the receiving end we can only try get accustomed to it.
So, make your serial in India and have never ending fun!
Chinmay Chakravarty is just a professional specialized in the creative field with over 2 full 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. Experienced in providing professional services in these related fields. Presently employed in Mumbai Doordarshan as a News Editor.
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