The difference between writing a novel and a small TV script, please give an example, thank you!

What is the biggest difference between a novel and a TV script? The difference lies in the picture and the scene.

What is a "picture"? China's traditional novels are good at telling stories. The most popular ones are Elvis Presley, Tang Dynasty, Yang Jiajiang and Yue Jia Jiang, among which the characterization is really thin, which is called "Facebook" by academic circles. Water Margin, Three Kingdoms and Journey to the West become famous works because they can make the characters grow up in the story development and get closer to real life, which is naturally more valuable in literary creation achievements. Even so, it is not the exclusive duty of the novel to create a sense of picture. Giving the novel a sense of picture should be a change after the spread of western novels to the east. Indeed, just listening to the stories in the novel is really monotonous. Which do you think is more enjoyable, reading a magazine called Story Club or a novella? Of course, it is the latter, because since the latter claims to be a literary creation, it will inevitably point the brush strokes directly to the depths of people's souls, instead of parents Zhang and Li simply telling stories.

The story told in Laoshan Street is how the Red Army climbed the first mountain on the way to the Long March. This process can be summarized. However, Laoshan Street is a famous novel because it doesn't stop there, but looks at the story from a person's perspective. The two plots of burning the mountain in the middle and sleeping on the mountainside in the middle of the night are two infectious and imagery. If the plot is skeleton, the picture is flesh and blood. Without these two pictures, novels are no different from work and reports.

What are the elements of "picture sense"? Answer: It is the opening of the vivid image of the five senses, the combination of motion and static, and the combination of reality and reality. The creation of a novel's sense of picture can start with five senses: sight, hearing, taste, smell and touch. In Laoshan Street, visual hearing is the main creative means, especially from the perspective of touch; When writing sound, write from the perspective of imagination.

"Scene" is the basic element in film and television shooting. As far as the characteristics of film and television are concerned, the elements of the scene can be expressed by the following formula: scene = environment+people; Character = lines+actions; Script = the organic superposition of n scenes. As a script, the biggest feature of the Long March is the selection and switching of scenes. Personalized lines and actions; Use the objective lens correctly. Using these points to guide reading should be able to grasp the key points of the full text.

It's a good idea to conceive a narrative in the form of writing a script. And each paragraph only needs one or two sentences, which gives people a relaxed feeling to write. Perhaps, there is a more relaxed mentality to ponder words and sentences.

Novel: Narration is the main method of expression.

Script: The expression is mainly dialogue.

The way of expression is completely different, which is the biggest and most fundamental difference between novel and TV literary script writing.

Writing a novel is naturally inseparable from portraying characters, telling stories, describing portraits and psychology of characters, describing social and natural environment, and explaining relevant characters and historical background. The expression method is mainly narrative; Writing TV literary scripts should also portray characters, tell stories and analyze the psychology of characters, but the expression method is that narration cannot be used, and dialogue between characters is the main method.

For the narrative of the novel, Mr. Lao She once said something similar, which is the most difficult to master among all the expressive techniques of the novel. It takes a lot of training and thinking to learn. Otherwise, it will be boring, dry and unintelligible. How to make the narrative authentic? Mr. Lao She pointed out a clear path for us and prescribed a prescription. He said that in the narrative, emotional color, common sense and life details should be added.

As a narrative style, novels should naturally be narrative. Writing TV literary scripts, except for a small amount of narration, novel narration is almost useless. If the novel is adapted into a TV literary script for shooting, we must find ways to turn the story and psychological activities of the characters into dialogues through narration. Take the novel "Half Moon Falling" and the script "The Mystery of the Hidden House" as an example, and you will know it at a glance.

Narration of the novel: For decades, Wang Yidou had the same dream over and over again, sometimes clear, sometimes hazy, the content was similar, almost unchanged, and the ending was all awakened by gold bars. Every time he wakes up, his palm feels burning pain. Wang Yidou invited many fortune tellers with eyes open and eyes closed, but they couldn't interpret the dream and couldn't tell why they always had the same dream all these years. I have to agree with Mamam: "It's all your fault that your grandfather named you a bucket. Your life is at most a bucket of food. If you are crazy, you will dream of making a fortune. "

Script character dialogue:

Wang Yidou woke up with a loud cry: Ah-

Mom Manton: Are you dreaming of making money again?

Wang Yidou held out his hand: That gold bar looks like it was just cast, and it burned my hand.

Mom Manton: The same dream, after decades, didn't you wake up the gold bars? If you dare, get back a real gold bar, even if I have an eye addiction ... I see through it. You are poor in a bucket of grain all your life! Want to get rich? Dream on!

Wang Yidou: Talking about this dream is really amazing! I have lived in this yard for decades. Why do I always have the same dream? Don't go out of shape every time, sometimes it's clear, sometimes it's vague, sometimes it's like a dream, sometimes it's true.

Because the expression of TV literary scripts is mainly based on dialogue between characters, the more vivid and colloquial the dialogue between characters, the better. The spoken dialogue of characters is not the vernacular of daily life, but it can only come to the fore after careful refining, repeated thinking, word for word and hard thinking. Liu Heng said that the script is very strict with the dialogue of the characters, and the lines should be vivid, which can describe the characters and promote the development of the story.

When writing a novel, I feel as if I am communicating with my heart, and the author is like a party; When writing a TV literary script, it feels like the characters are talking face to face, and the author seems to be a bystander.

Novel: All means can be mobilized to create characters.

Script: Only lines and actions can shape characters.

Writing novels, shaping characters and portraying characters can mobilize all literary means such as narration, line drawing, dialogue, action, psychological description and portrait description. Do whatever you want, do whatever you want, and the 18 kinds of martial arts show their magical powers; While writing a script, shaping characters and portraying characters, there are only two basic externalization means, namely lines and actions, and at the same time, they have to shoulder the heavy responsibility of promoting the plot, telling stories and even building structures.

The characters created in the novel are ultimately rooted in the hearts of readers. A hundred people may have a hundred Lin Daiyu and a thousand Jia Baoyu in their hearts. The TV series is different. The characters created by the script, after the actor's second creation, finally appeared vividly in front of the audience. There is often only one Lin Daiyu in the eyes of a hundred people, and there is often only one Jia Baoyu in the eyes of a thousand people.

How does the novel shape the characters and portray their personalities? Don't stop your story, make a still portrait (and still portraits can be seen everywhere in the novels we see). In this regard, Mr. Lao She has long taught. Write a girl's appearance, don't rush to introduce her "with a big braid, a pair of shallow dimples and two long eyelashes", but let her speak first, act first, and inadvertently convey, infiltrate and edify her portrait to readers through her words and deeds. For example, she was angry and "threw big braid back"; She cried, "tears wet her long eyelashes"; She smiled again, "revealing a pair of shallow dimples."

The novel completes the portrait description in words and deeds, and plays the role of depicting characters, similar to TV literature scripts. Zou Jingzhi said that all characters should bring something when they appear in TV series. If you must give him something, this person will suddenly come out and his face (personality) will come out. Whether the characters in the script are "tied with big braid, with a pair of shallow dimples and two long eyelashes" doesn't need your screenwriter to worry about at all. The screenwriter should use good steel on the blade. This "blade" is the character's lines and actions (events). What lines the characters say and what actions they do are ultimately determined by the characters.

A person's experience, life experience, depth of knowledge, good or bad mentality, occupation, health status, hobbies and family environment all determine the formation of personality, code of conduct and moral orientation. For a TV series, the protagonist's personality determines the script's style, story trend, plot conflict, coherence and integration … everything in the script! Zou Jingzhi said that to write a TV series, my heart must be to make an outline and diversity, and to make a particularly detailed outline of the characters (biographies).

When you plan to create an original novel or adapt it into a TV literary script, you might as well write a short biography of the characters identified in the play first. The main characters can write one or two thousand words, and the minor characters can write seven or eight hundred words. Don't think it will waste time. Sharpening a knife is not a mistake for a woodcutter. When you later enter the script creation, even in the whole writing process, you will feel how important it is to write a biography!

After the characters in the play are determined accurately, we should consider how lively and interesting the plot and story are. At the same time, it is not excluded to set up one or more characters with distinctive personalities in order to make the story lively and interesting. In a script, the characters should have as much contrast as possible. Only when the characters are different and have great contrast can there be dramatic conflicts. Whether there is drama conflict or not, and whether the characters are distinctive or not is precisely the key to whether a play is good or not and whether it can catch people!

Novel: the relationship between characters can be less particular.

Script: the relationship between characters follows the triangle iron law

The novel has a great degree of freedom in the construction of the relationship between characters, which can be refined or not. This is by no means to denigrate the novel and belittle the unimportant relationship between the characters in the novel, but to say that building the relationship between the characters and organizing the drama conflict is not the first goal of the novel, nor is it the ultimate goal. The aesthetic value of novels, in the final analysis, is the pleasure and pleasure of reading. There are many ways to satisfy readers' pleasure, such as novel narrative sentences, beautiful story lines, unique language charm, distinctive characters, emotional charm of creation, thinking and understanding of life, display of unfamiliar knowledge and life level, and so on. On the contrary, dramatic conflict is the only value orientation of this style. The script of TV literature should belong to drama, and drama is bound to have dramatic conflicts, and the soil that produces dramatic conflicts and the fuse that ignites explosives depend on, depend on and depend on the relationship between characters to a great extent. Unique, fresh, full of contradictions, unexpected but reasonable relationship between characters determines the success or failure of a TV drama script!

A script, a script book; Character relationship, character relationship, the soul of a play.

Zou Jingzhi said, TV series is drama, what is drama? It is the change of the relationship between characters, and the relationship between characters has become a drama. For example, a person and I are brothers, and suddenly a woman appears. We all love her, my brother becomes a rival in love, and the relationship between characters changes. As soon as the relationship between the characters changed, the play came out immediately. If you don't consider the relationship between people, you won't play. The screenwriter of Hong Kong and Taiwan said that as long as the stepmother hits the child, she will sell the money, which shows that the relationship between the characters is different, not a simple mother-child relationship. The relationship between people should be well established, detailed and carefully written.

Liu Heng said that the story conflict of a drama often includes the conflict between men and women, the conflict of characters' fate, the conflict of characters' thoughts and so on. These conflicts are bound to be distorted in the conflicts between characters. The relationship between characters in TV series is actually the same as that in drama. The closer you get, the more likely it is that there will be a conflict. When the relationship between characters is very close, small things as big as sesame seeds will also spark dazzling sparks. If the relationship between the characters is not good, even if you try harder, the plays will not come together.

Zou Jingzhi said that the biggest problem in changing the current novel into a TV series is the incomplete relationship between the characters of Wang Yidou's family. Novels can do this, but TV plays can't. Wang Yidou's wife, son and daughter-in-law did not form a contradictory relationship, but the family relationship should be contradictory. Now that's not enough. There is only one clue, and it is not complete. In Wang Yidou's family, there can be a detached person who is opposite to their desire to dig for treasures, or their relatives. No matter who it is, it is good to have such a person, and they will not all rush to dig for treasures together.

(listen to people, eat enough. I added the role of Zhi Zi to the script. This relationship is the daughter-in-law of Wang. The contradictory relationship is that Jiuku's children are going to school soon. Because Zhi Zi's mother is firmly opposed to her marrying Manton, she has been holding the household registration book, and so far she has not formally obtained a marriage certificate. )

In the novel, Wang Yidou and the Ma family have a simple neighborhood relationship; In the script, the relationship between the two families becomes "in-laws are enemies, and the opposite is right."

In the novel, Wang Mandun's daughter-in-law, with a juryman face, did not make a positive appearance in the countryside; In the script, Zhi Zhi, who is honest and kind, becomes Wang Mantun's daughter-in-law. According to her mother, they live together illegally.

In the novel, horses, (that is, leaves in the script), and hoard well water to avoid the river; In the script, the powerful supporting mother was promoted to the kind mother-in-law Wang Mantun, while Ye Zi became the sister-in-law who often got bored with Wang Mantun. Wu Fei and Wang Mantun were in the same boat.

In the novel, King Wu of Xia and the big colander died of old age without any confrontation; In the script, they became irrelevant grandchildren, and the old man became a cultural relic dealer, planning how to get the golden jade cover hidden by Master Wu Xia all day.

In the novel, Zhizima and Zheng archaeology are the relationship between sister-in-law and brother-in-law; In the script, two people talk about romantic love romantically, which is no less than inviting the wolf into the room for Wang Yidou who is bent on digging for treasure.

In the novel, the Lao Zhang family, who lives in Dabeifang, is purely a symbol of filling the yard with four families. The name of "Lao Zhang's family" in the script is Li Zhen, and Wang Man and Zhi Zi are children, who have been secretly in love with Wang Mantun.

If the relationship between characters is well established, dramatic conflicts will break out one after another, interesting stories will fly around like snowflakes, and the dialogue between characters will be used by heroes.

It can be said that the script is half successful by establishing the relationship between the characters and determining the character of the prospective characters.

To construct the relationship between people, the triangle relationship is an iron law. The so-called people's triangle is not only the blood relationship, family relationship, husband-wife relationship, lover relationship, lover relationship, but also all the relationships among friends, colleagues, neighbors and superiors and subordinates. These relationships should be contradictory, unusual, interrelated and affect the whole body, which can trigger and promote drama conflicts.

To conceive a TV series, we must first establish the most basic triangular relationship, that is, build a triangular relationship around the protagonist. Then, according to this triangular relationship, other triangular relationships are extended, and finally all the main characters in the play are woven into a personal network. With this "big net", you can spread out "fishing" (making up stories). Famous screenwriters such as Liu Heng and Zou Jingzhi often draw an equilateral triangle first, draw a circle at each corner, and write the names of the three most important characters in the play, which is the most basic triangular relationship mentioned above. Next, draw a circle outside the two circles and connect them with lines to form a new equilateral triangle. This triangle will continue to expand outward and slightly mark the main events between the characters, and finally form a map of character relations and stories composed of many triangles. This is reminiscent of a football with a net structure sewn from each piece of leather. There are still many differences between novel writing and TV literary script writing.

For example, the novel A Dream of Red Mansions has written hundreds of characters; The script should use as few characters and plots as possible and weave as many stories as possible.

For example, novels can have pens that seem idle but not idle; The script is the enemy of idle pen, and every scene should be written as brilliantly as possible.

For example, novels can be eloquent and rarely emphasize action; The script should carefully arrange the sequence of actions, and the actions are "dramatic actions" rather than "real life" actions.

For example, the structure of the novel can be loose and scattered; The script should grasp the structure of the whole play. Within the specified time and space, the structure must be stable and not chaotic. According to the development of the story, several episodes are a point, and the whole drama forms several parts.

For example, the story told by the novel can be started now and recalled anywhere; The script needs to be taken care of before and after, and a solid story chain should be built.

For example, a novel can be written with dots, faces and lines, as long as the density is proper and the words are relaxed, and the words should not stay in the same density; The script can only be written a little, not a single line, otherwise the plot will slow down.