Running Head Response

Running Head Response

The evolution of the writer continues to be a topic of discussion even in the 21st century. From the dawn of time, people have been moved with passion to write down their experiences with the material and immaterial world. From these experiences, true and fictional stories have been created that capture audiences’ attention allowing them to transcend from the ordinary to the extraordinary. Yet even with modern technological advances resulting in the television, mobile devices, and the computer, the science of story has changed very little. The Freytag Pyramid still serves as the best structure for communicating stories although the sequence is debated (Zak, 2015).

Zak (2015) observed that the brain functions around story structure and that the climax is the hinge for connecting the beginning and ending of a story. However, he concludes that the order in terms of rising and falling action, doesn't matter in relation to the climax. There is much more to be considered in Zak’s research, but suffice to say the structure of story hasn't changed much. Writing for Television, Radio, Internet, Broadway, or Movie often means adhering to the specific writing rules that govern each medium. As such, two audiences emerge: the visual and audio audience.

The visual audience however can be separated into two sub-audiences of stationary viewers and live audiences. One of the first things that should be considered by writers, before they can solve the issue of tension between isolation and audience, is to consider which medium the script is intended for. There are basically 6 mediums for which stories are communicated and require a script. The visual mediums include Television, Internet, Movie, and Broadway or Theater. The audio mediums are Radio and Podcasting.

Once the audience is established, the script writer can focus on crafting a script. Crafting a script includes considering the demographics and psychographics of the intended audience (Hilliard, 2014). Demographics refers most commonly to the gender and age of an audience, while psychographics refers to habits, attitudes, and desires of an audience. If a script is intended to reach a broad audience, Hilliard (2014) suggests steering clear of controversial subject matter. Writing a controversial script for broad audiences usually results in negative reviews and risks never being picked up by a broadcasting company.

This is not to say that controversial subjects don’t have their place, but rather that niche markets are better suited for controversial subjects. Controversial scripts are commonly found in Radio, Podcasting, and select Television and Internet mediums. Another important strategy to keep in mind is making sure that each word and scene are important and significant (Hilliard, 2014). This is especially true for visual audiences. A script designed for Radio and Podcast may include long dialogues between characters without much mentioned in terms of the surrounding elements.

In contrast, Television and Movie scripting rely heavily on visual elements. Every little detail in a visual scene must be carefully crafted to communicate its importance to the overarching narrative. I mentioned earlier that visual audiences can be divided into stationary and live audiences. Television, Movie, and Internet scripts are for stationary audiences because the focus of attention remains on the screen. Scripts designed for live audiences include directional change of focus. In other words, the audience’s eyes may be directed to one part of the stage and then redirected to another area for some intended purpose. All these elements must be cognizant for script writers as they consider their audience and writing in isolation. Before writing it helps to actually visit and interact with the places so that an accurate description can be created and therefore accurately portrayed to the audience.

Paper For Above instruction

The evolution of storytelling and scriptwriting has remained remarkably consistent throughout history, grounded in fundamental narrative structures that resonate with the human brain’s innate processing of stories. Despite technological advances in media and communication, the core principles of storytelling—such as those outlined by Gustav Freytag’s pyramid—continue to underpin modern scripts, whether for television, film, radio, or internet media (Zak, 2015). Understanding these foundational elements is crucial for scriptwriters aiming to create engaging, audience-specific content that adapts to the nuances of different media formats and audience types.

One of the key insights from Zak’s (2015) research is that the placement of the climax in a story acts as a pivotal connection point, regardless of whether the narrative structure follows traditional rising and falling actions or deviates from them. The human brain is naturally inclined to focus on the climax as a hinge point, which explains why stories that emphasize a compelling climax tend to resonate deeply with audiences. This consistency across storytelling mediums highlights the importance of structure, even as content and delivery methods evolve.

When considering scriptwriting for different media platforms, the distinction between visual and audio audiences becomes critical. Visual media—such as television, internet, film, and live theater—demand detailed, visual-rich scripts that direct viewers’ attention efficiently. Scripts for stationary audiences, like television shows or movies watched on a screen, focus on visual cues, scene details, and camera directions to communicate meaning. Conversely, scripts intended for live theater audience require dynamic direction changes to guide viewers’ focus across physical stages, adding complexity to script design (Hilliard, 2014).

Audio media—radio and podcasting—offer different challenges, emphasizing dialogue, sound effects, and narration over visual cues. Scriptwriters must craft engaging dialogues and auditory cues that evoke vivid imagery in listeners’ minds, ensuring that each word and scene holds significance. For instance, long dialogues in radio scripts function to develop characters and plot without visual support, requiring careful attention to tone and delivery (Hilliard, 2014). Likewise, podcasts often cater to niche audiences with specific interests, making the inclusion of provocative or controversial subjects more viable than in broader media contexts.

Demographic and psychographic profiling of audiences guides scriptwriters in tailoring content effectively. Demographics—age, gender, socio-economic status—help determine what themes and language are most appropriate, while psychographics—values, beliefs, attitudes—shape the emotional and intellectual engagement of the audience (Hilliard, 2014). For example, scripts aimed at young adults may incorporate contemporary slang and themes of rebellion, whereas content for older audiences might focus on nostalgia or societal issues. Broad appeal necessitates avoiding controversial topics that could alienate segments of the audience, whereas niche markets can embrace such content to foster deeper engagement (Hilliard, 2014).

Preparing for scriptwriting also involves immersive research, including visiting and experiencing the physical spaces portrayed in the script. Accurate descriptions aid actors and directors in conveying authenticity, which enhances the audience’s immersion—regardless of the media format. This preparatory step underscores the importance of thorough fieldwork in developing compelling scripts that resonate with viewers or listeners.

In sum, while the methods and technologies of storytelling continue to evolve, the underlying structural principles remain anchored in classic narrative theories. Recognizing the differences between visual and auditory media, understanding audience profiles, and paying keen attention to visual detail are all vital for effective scriptwriting. By integrating these elements, writers can craft stories that not only entertain but also emotionally engage diverse audiences across multiple mediums, ensuring the enduring power of storytelling in a rapidly changing media landscape.

References

• Hilliard, R. L. (2014). Writing for television, radio, and new media (11th ed.). Stamford, CT: Cengage Learning.
• Zak, P. J. (2015). Why inspiring stories make us react: The neuroscience of narrative. Cerebrum: The Dana Forum on Brain Science.
• Roberts, J. (n.d.). E-book: Writing for strategic communication industries. Pressbooks.
• Doshi, T. (2020, March 25). Writing through wordlessness in a time of isolation. Retrieved March 25, 2020, from W.
• Scholarly Voice: Objectivity. (n.d.). Retrieved March 25, 2020, from W.
• Ryan, M.-L. (2015). Narrative across media. The MIT Press.
• Seger, L. (2010). Creating unforgettable characters: Secrets of character development. De Capo Press.
• McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. ReganBooks.
• Thompson, K. (2016). Storytelling in the new media age. Routledge.
• Owen, J. M. (2017). The essentials of storytelling. Routledge.