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Do celu tam się wysiada. Lec Stanisław Jerzy (pierw. de Tusch-Letz, 1909-1966)
A bogowie grają w kości i nie pytają wcale czy chcesz przyłączyć się do gry (. . . ) Bogowie kpią sobie z twojego poukładanego życia (. . . ) nie przejmują się zbytnio ani naszymi planami na przyszłość ani oczekiwaniami. Gdzieś we wszechświecie rzucają kości i przypadkiem wypada twoja kolej. I odtąd zwyciężyć lub przegrać - to tylko kwestia szczęścia. Borys Pasternak
Idąc po kurzych jajach nie podskakuj. Przysłowie szkockie
I Herkules nie poradzi przeciwko wielu.
Dialog półinteligentów równa się monologowi ćwierćinteligenta. Stanisław Jerzy Lec (pierw. de Tusch - Letz, 1909-1966)
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.The same holds true for local PSAs, sponsored byorganizations with a limited budget to spend on production.PSAs offer an excellent training ground for student scriptwriters.They are short and complete miniscripts.They require all the disciplines of scriptwriting.You can easily settle on a public service issuesuch as smoking, domestic violence, education, drugs, or drinking and driving.You know the issues.Youcan test-drive your creative imagination.If you are enrolled in a related production course, you mightbe able to make your PSA into video.You can also take a familiar product and try to devise a TV spotfor it.However, a lot of ads rely on specialized production companies to get pack shots or create com-puter-generated effects that might be difficult to duplicate in a college production setup.Another good The 20-, 30-, and 60-Second Miniscripts 81exercise is to write and produce an anti-ad.You satirize and expose the false logic of many ads exposingthe shallow strategy of communication.A good one running at the moment takes the message of thecoal industry that it has enough energy to power America for years to come, generating well-paying jobsand alluding to a new clean coal technology.The anti-ad exposes the complete absence of fact and logicin the ad.A presenter invites you to look at the new clean coal technology.You go through a door to anempty landscape.There is no clean coal technology (www.thisisreality.org).Another one has a familyusing a can of clean coal clean to create a cleaner atmosphere in the home.The black dust coming fromthe spray can of clean has them coughing.The presenter exposes the patent deception in the idea ofclean coal an oxymoron.What we are learning here as writers also enhances our media literacy.CLIENT NEEDS AND PRIORITIESThe PSA and the TV ad are works commissioned by a client.The client needs a solution to a commu-nication problem that the writer must provide.We alluded to this discipline of the professional writerin Chapters 2 and 3.You write for someone who represents the interests of an organization or a cor-poration.Later we will look more closely at another kind of script writing for a producer of enter-tainment films or programs.The entertainment script is different from commissioned works becauseneither the producer nor the writer can know for sure what a good script is until it is produced,shown to an audience, and validated by box office or audience ratings.Commissioned programmingdoesn t have an audience measurement expressed in terms of box office revenue.Successful commu-nication can only be measured by quantifying audience responses as changes in sales or behavior.Advertisers expect to measure the effect of an ad in increased sales.Otherwise, there is no businesssense in spending money on it.A PSA often aims to change people s behavior.It is much more dif-ficult to garner information that positively proves the effectiveness of the PSA.A good example wouldbe the Ad Council s campaign launched in 1983 against drinking and driving and the slogan FriendsDon t Let Friends Drive Drunk, sponsored by the U.S.Department of Transportation/NationalHighway Traffic Safety Administration.Changes in behavior are much more difficult to achieve thanchanges in the buying choices of the public.However, by 1998 15 years later alcohol-relatedfatalities had declined to a historic low.Writing for clients is often challenging and exciting precisely because you are given a problem, knowthe desired result, and have to devise a solution.The seven-step method explained in Chapter 2 isan excellent way to approach this challenge.The process of analysis is really important for writingPSAs.Although you do not now have a client, you must practice script writing as if you had a clientto satisfy.Your creative ideas must work for a client.One of the constraints of this kind of writing isthat the client fixes the length.Because the resulting product is transmitted in commercial breaks, itslength must be exact to the second, as that is how airtime is bought and sold.THE 20-, 30-, AND 60-SECOND MINISCRIPTSAds in the form of 20- or 30-second miniscripts are almost a new art form.They are a popular art formborn of the television age and the need to compress visual messages into very short, very expensive 82 CHAPTER 5: Ads and PSAs: Copywriting for Visual Mediatime slots.The style and tempo of these ads continues to evolve at a furious rate.The style of camerawork, directing, and editing is quite specialized.Some companies produce nothing but TV commer-cials, just as some directors spend their whole careers making these minimovies.From their ranks havecome a number of feature film directors such as Ridley Scott, Hugh Hudson, and Alan Parker.Some TV commercials for national campaigns of major brands, based on millions of dollars worthof airtime, have very high budgets.With bigger budgets than half-hour documentaries and budgetsas big as a half-hour television episode, these productions are made on 35-mm film with productioncrews that sometimes rival those for a small feature film.The local market spot for a car dealer or fur-niture store, however, is often low budget.Clearly the national campaigns are developed by advertis-ing agencies whose copywriters develop the ads in collaboration with creative directors, art directors,and account executives.The copywriter is not a full range scriptwriter and also usually has to writeprint media ads.Although this book primarily serves the interests of scriptwriters, the visual thinkingthat underlies billboards and transport ads relates to both copywriting and scriptwriting.VISUAL WRITINGWe think of writing as words forming an exposition, but media writing, particularly television adver-tising, needs a visual idea.This is another layer of writing.The visual idea is what we refer to as meta-writing in earlier chapters.There is a difference between visual meta-writing and the writing foundon a page of script for a visual medium, whether in the minidrama of an ad or a full-length featurefilm.The scene descriptions contribute to a visual idea that transcends the screen moment and restson many of those moments, hence meta-writing.It is an idea that informs and governs the writtendetail of the script.The dialogue, which is an integral part of the writing and exposition, is not itselfvisual writing but a necessary component of it.Radio ads need dialogue writing but not a visualidea.So visual writing is the idea as well as the description of specific images or shots.It needs whatwe will call a visual metaphor.Let s look at an example.A few years ago, an ad by AOL tried to explain spam by comparing two sandwiches, one protectedfrom spam and the other one ruined by ketchup, mayonnaise, and relish smothering it
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