This essential companion offers invaluable insights and solid, practical guidance to those keen to write for TV and radio. PART 1 explores the nature of the media. It looks at the history of writing drama and comedy for radio and TV through a consideration of its key elements and some of the most successful dramas and comedies of past and present. PART 2 includes reflections and tips from award-winning writers of film, television and radio from the UK, the US and Scandinavia: Sam Bain, Peter Bowker, Elly Brewer, Laura Eason, Ellen Fairey, Nick Fisher, Phil Ford, Jeppe Gjervig Gram, Katie Hims, Rachel Joyce, Marcy Kahan, Rebecca Lenkiewicz, Jan McVerry, Jonathan Myerson, Hattie Naylor, Richard Nelson, Andrew Nickolds, Georgia Pritchett, Mike Walker and Stephen Wyatt. PART 3 offers practical advice on technical aspects of writing for TV and radio including character development, structure and dialogue. It also gives guidance on how to deal with branches of the broadcasting industry, from agents and actors to producers and script editors.
A very funny completion to Nick Warburton's trilogy of the Drama Club's production of Hamlet (seen on stage in Don't Blame it on the Boots and backstage in Easy Stages) which progresses to the after-show party Meticulous stage-manager Gerry, in charge of the refreshments and music, marshals poor Patsy into artistically arranging bridge rolls, to the accompaniment of Peer Gynt
Includes covers, a TreeTops logo, parental notes on inside back cover and new teaching materials. These titles were originally labelled as Stage 11 Pack A.
Two amateur drama groups become joint winners of a play festival. A tie-break involves the groups performing an extract from their own entry and then an excerpt from the opposing team's play, but the pieces are very different. They compete again with hilarious results but the outcome is still a tie. This time a rugby scrum will decide the winner!
Jamie is an orphan struggling to survive off of scraps of food given to him by the kindness of strangers. One night, he overhears two men speaking about their great plans to sail the world, and Jamie decides to go to the dock to find work. While there, he sees two men stealing something from the ship. Jamie follows them, and in the numerous skirmishes that follow, somehow ends up with what they were taking -- a fancy drum. The next morning, Jamie tries to return it to the ship and finds that the drum is the good luck charm of Sir Francis Drake -- famous explorer.Text Type: Realistic Fiction, Historical FictionTheme/Topic: Art and Music, Human History
These are the titles for the OLW fiction strand for upper Key Stage 2, (Y5 and Y6) designed to fit the National Literacy Strategy. Year 6: "Space Rock and Five-a-side" by Jon Blake - what it takes to be popular, a hard hitting story involving addiction "Car Crusher" by Philip Wooderson - story of unfairness and bias and the proving of innocence "Skew Whiff" by Anna Perera - can Anjouli and her friends win the maths contest and repair the damage they've done to the house and still be ready for the birthday party? "Wimmer" by Margaret McAllister - two children find a very curious dog on the run from a research centre. Will they be able to keep him secret when he begins to grow wings? "War Stories" by Nick Warburton - two stories about children whose lives are changed by war "Eva" by Shirley Isherwood - the story of an escape from Nazi Germany and a child's memory afterwards
This is Charles Dickens the social reformer linking cameo child scenes from Great Expectations, Nicholas Nickleby, Bleak House and David Copperfield. One actor plays the adult Dickens and the main child part in each scene while the other 6 actors play a selection of roles, both adult and child, and act as narrators. Within the space of one act, Nick Warburton conveys the humour, pathos and poetry of Dickens.7 women or men
Treetops is the Oxford Reading Tree series of fiction with built-in progression for pupils aged seven to 11. Specially written for children who need the support of carefully monitored language levels, the stories are accessible, motivating and humorous. The series is organized into Oxford Reading Tree stages (from stage ten to stage 14), with each stage introducing more complex narrative forms, including: flashbacks and changes in viewpoint; descriptive writing; extended reading vocabulary; and more pages, more text, and fewer illustrations. Each stage is supported by the Teacher's Guide, which offers guidance on using Treetops to assess children's reading ability, and includes a variety of activities, many on photocopiable sheets.
The committee of an amateur dramatic group is meeting to discuss a new play written by one of its members. We notice that, strangely, the presentation of the meeting to us is reflecting the ideas put forward by the committee - making the play a demonstration and discussion of those ideas.
Bob and Benny are glad to help Mrs. Catkin. But what do they know about baby elephants? And how are they going to take care of Daisy? Includes full-color illustrations and author profile. Chapter Book: 5 chapters.
Daisy is a recently employed waitress at an hotel and Roland, a regular and rather particular customer, is getting more than he ordered. From polite conversation to an outright invasion of privacy, Daisy attends to Roland in her unique way. They realize they have something to learn from each other - Daisy needs to be less nosey and Roland learns how to accept change.
Dennis Dipp hates water, even the thought of it makes him go green. But the Colonel, his host at Hardley-Skint Hall, is busy digging a pond for his goldfish, Gilbert. Worse still, dastardly Phil Buckett is determined to make Dennis cross it! Can Dennis triumph over his fear?
These three mystery stories include The Conjuror's Game, by Catherine Fisher, which was shortlisted for the Smarties Prize. The others are The Thirteenth Owl, by Nick Warburton, and Words of Stone, by Kevin Henkes.
This companion offers invaluable insights and solid, practical guidance to those keen to write for TV and radio. Part 1 explores the nature of the media. It looks at the history of writing drama and comedy for radio and TV through a consideration of its key elements and some of the most successful dramas and comedies of past and present. Part 2 includes reflections and tips from award-winning writers of film, television and radio from the UK, the US and Scandinavia. Part 3 offers practical advice on technical aspects of writing for TV and radio including character development, structure and dialogue. It also gives guidance on how to deal with branches of the broadcasting industry, from agents and actors to producers and script editors"--
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