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Creative Works

The Cooking Show


Combine your culinary passion with your desire to write about them. A special program for chefs, cooks and food enthusiasts & writers. know the magic recipe for food writing and learn how a cooking show is develop. Find out about its sub-genres: educational/informative, celebrity-talk, kiddie and reality cooking show. Learn why cooking and food are essential parts of Travel & Leisure and Home & Lifestyle shows. Register Now!!! Contact 09208793237 For registration arrangement and more information


EMOTION and FOOD WRITING

 


There's a wide range of topic to tackle about food than just the usual dining and recipes.  Food writing is not merely about food, but about how we experience it. Take, for instance, when novelist Pat Conroy wrote how his emotions and food often play against each other in an article about his high school experience when a friend died and they were served with macaroni & cheese after the service.


 


You don't have to be a culinary expert to write about food.  Two of the best food writers - Alan Richman and Jeffrey Steingarten - bring a larger worldview to their work, partly because of their unconventional backgrounds. Richman, a food columnist for GQ, was a sportswriter and Steingarten, Vogue's food critic, was a lawyer.


 


Even chefs don't limit themselves to the corners of their kitchen. Somewhere, in places we've never imagined, are recipes people enjoyed for generations which culinary schools don't have knowledge of.  That's a story worth telling; an experience worth sharing.  Something about food worth writing, and something worth reading and/or watching.


 


 


Read an article about how balut has been a painful part of a man’s journey from falling in love to mending his broken heart.



Read the full ARTICLE...




COURSE OUTLINE


Day 1 : FOOD WRITING


1.  Creative Writing Applied To Food


2.  Food Subjects


    - Food & Dining


    - Science & Technology


    - Diet & Fitness


    - Health & Nutrition


    - Agriculture


    - Food Trends & Traditions


    - Spirituality & Food


3.  Experiencing Food/Feelings & Food


4.  Food & Cooking Terms/Lingo


5.  Choosing/Developing Your Subject


 


Day 2: FOOD AUDIO-VISUAL PRESENTATION


1. Food Idea Development


2. Concept Development & Management


   - Types


   - Categories


   - Orientation


3.  Food AVP Formats & Dynamics


 


Day 3: COOKING SHOW DEVELOPMENT


1. Cooking Show Formats/Sub- categories


2. Conceptual Design


3. Host


4. Gappings in a cooking show


5. Segments

A Cooking Show Is Not Just A Show About Cooking

Food Writing by melchor df. escarcha

 

Fundamentally, a cooking show is not just a show about cooking. Sounds redundant but this is a common mistake. There is more to it besides cooking. Thus, the first step in understanding the dynamics of a cooking show is to explore its point of view.

 

There a four major point of views within a cooking show format namely 1) the dish, 2) the kitchen, 3) the cook or the chef and 4) the audience. Discussing all four points of view will take a lot of time, so let us just discuss one.  In particular the point of view of the chef or the cook.

 

The chef as an orientation regarding the point of view is a cooking show that revolves around the culinary skills of the persona. Wherein, all the actions and activities within the show defines the level of knowledge and skills of the chef as well as his or her philosophy in cooking as a science and as an art.   Thus, this cooking show emphasizes on the form of cooking rather than the function.

 

The cook operates in a different way. He or she is more concerned with the function of cooking rather than its form. Wherein, all actions and activities within the show defines the level of experience and practical knowledge of the cook as well as his or her common sense in cooking as a craft in the spirit of culinary alchemy.    

 

A cook or chef, given the differences, may approach a cooking show in two ways.  First, the cook or the chef aims to satisfy the want of the audience.  This approach entails that cooking is a culinary action or activity that defines socio-economic status.  Meaning, eating well translates to having a comfortable life and not necessarily a healthy one. Thus, the chef or the cook deliberately satisfies this want by carefully classifying dishes in terms of socio-economic measures.

 

Second, we eat to live or live to eat?  The cook or the chef must answer this question before arriving at a visible approach.  When we eat to live, eating is a need that pertains to activity.  And when we live to eat, eating is a need that pertains to an action.  Thus, when a cook or a chef satisfies hunger as a needed action, cooking serves the emotional need of the audience. On the other hand, when a cook or a chef satisfies hunger as an activity, cooking serves the biological need of the audience.

  

The tone provides the content of the approach. A chef or a cook may go about in satisfying a need or a want by utilizing sentiments or sentimentality.   Sentiments refer to actions and activities that are uniquely created by the persona of the chef or the cook.  On the other, sentimentality requires the cook or the chef to identify the common activities and actions of the audience in order to facilitate his or her projection as a persona Thus, there are cooks who rely heavily on childhood comfort foods as common sentimental memories of the audience.  While there are chefs who employ sentiment through avant-garde dishes that are totally detached to the audience's immediate experience yet the said dishes provoke the spirit of curiosity and adventure as the audience explores a unique culinary experience.

 

Delivery is the last factor that affects the point of view of the chef or the cook.  Delivery has two modes namely 1) personal and 2) collective.  A personal mode of delivery requires a cook or a chef to adjust to the need or want of the audience. On the other hand, the collective mode of delivery requires the audience to adjust to the chef or the cook. How do we then evaluate if the delivery is efficient or not?

 

Ratings and audience feed back are two of the major devices of evaluation. Ratings tend to be a reliable measure when the delivery is collective.  It is pure statistics, general and with no human touches whatsoever. Thus, ratings become the cook's or the chef's indicator and basis with regards to implementing changes or adjustments that will improve the show as well as retaining or reinforcing existing features that are popular to the collective. These changes, adjustment and reinforcements are carefully subjected to the sense and sensibility of the chef or the cook as he or she tries to prescribe the changes, adjustments and reinforcements which he or she thinks the audience need or want.

 

Audience Feedback is far more personal than ratings.  Letters, e-mails, awards or recognition and mobile sms messages are types of feedback that retain a human component.  Often, these feedbacks are more specific and personal. Thus, feedbacks become the cook's or the chef's indicator and basis with regards to implementing changes or adjustments that will improve the show as well as retaining or reinforcing existing features that are popular to the collective. These changes, adjustment and reinforcements subscribe directly to the sense and sensibility of the audience.

 

In summary, the chef or the cook as the core value that pertains to the point of view of a cooking show is affected by several factors namely orientation, approach and delivery.  These factors help define the cooking show as well as the market it seeks to satisfy. As stated before, A Cooking Show is not just a show about cooking. Rather, it is about actions and activities that are contained in a format that seeks to deploy a specific core value or point of view in cooking. In the process, the form and function are defined within the parameters of science, art, and business, medium of communication and visual documentation. 


BALUT and LOVE 

By JL Caiņa

 


Balut is authentically Pinoy.  Yet most Pinoys need a lot of guts to eat this certified energy food.  Some close their eyes or turn off the light as they draw the egg toward their lips.  Some loves the taste no matter how disgusting they think it is.  Afterwards is the guilty pleasure.  An uncomfortable feeling as they savor a veiny unborn duckling which tiny feathers and claws now stuck between their teeth.  Yuck!


 


Guilt!  Oh, yes!  The guilt.  I heard someone say that the reason he doesn't eat balut is because these are aborted ducks.  Well, yeah, true.  Quite factual for an excuse to refuse a dare, huh! 


 


I probably know the person who eats balut the best way, my girlfriend Toni.  After slowly sipping the soupy water like hot coffee from Starbucks, she then takes the yellow flesh out and hands me the rest: the duckling and the hard white attached to the shell.  I eat them while watching her take small bites on the yolk clipped between her thumb and index finger.  We usually eat five nightly.  I often joke about its aphrodisiac effect.  She would smile.  And sometimes, if lucky, the starry night sky is witness to the rest of history.  I guess it's the best way to eat balut: with a little salt and she beside me.


 


It was a nightly leisure interest during our younger years.  But I haven't eaten balut the same way for so long now.  My apologies for wrong information given earlier.  Toni is actually my ex-girlfriend.  She outgrew the activity.  And there are aspects of me that, as with the rest of balut, she can't sink her teeth into.  It's been eight years since we ate balut together, but the nights on the veranda still feels like every night I hear sellers sing to entice buyers.  Now I eat alone and sometimes find myself unconsciously imitating how she used to hold the yellow part.


 


If she was with me, I'd probably hear her say, "it tastes like a big chunk of cream cheese, only richer," and she would ask me, "how about that fetus (as she calls it, from the friend who called it aborted ducklings)?"


 


I would answer, on different occasions, always in an unsure tone, contemplating on its poignant taste while concocting a plan to charm her into eating it, "chicken pie?  Potted meat spread?  Kikiam?  Caviar?  Only sinful…"


But I never forced her into eating it.  She said she did but just doesn't like it.  Not for how it looks like or for what it is, but because the taste is not good for her palate.  I believed it.  I always believe what she says.  Though, I've realized when she was gone that the yellow part tastes more like a chunk of un-dissolved creamer settled beneath the mug when you finished your coffee.


 


Recently, I met Toni again at the mall.  Like we used to every now and then for reason we both don’t know.  So much has changed, she observed.  Now, there are balut sold inside the mall.  I bought for each of us before we went to eat in an Italian restaurant.  “How many can you take now?”  She teased.  “Just one?”


 


That’s a far cry from the five we used to eat together.  “It’s too early,” I said, checking out the time on my mobile phone.  It was one o’clock.  But the truth is I seldom ate balut since she left.  Eating it feels like chewing all the daunting things she said about me being a regular guy.


 


She looked at me with a blank emotion for a moment, probably thinking that I was monitoring the time I was spending with her.  I returned the phone to my pocket to avoid discussion about whether I wanted to see her or not.  Toni is like balut with the shell intact, you’d never know which among the duckling, or the yellow part, or the hard white reigns in size.  The emotion I see on her face is something I can’t decode, so I desperately tried to avoid her little brown eyes.


 


We both grabbed the balut resting on the table like two spectators.  I let her choose.  She pointed out that it’s a good appetizer while we wait for the pasta we ordered.  I held mine like a baseball I wanted to pitch towards her, or perhaps towards my own head.  She was trying to pinch open the shell with her French manicured nails, so I took it and knocked it gently on the table.  I removed the broken shell and hand it back to her.  We both stare at the egg for a moment.  A memory suddenly flashed before us.  That task was mine when we were together.  It was a relief that she took it quickly because my hand was shaking.  So were my knees.  “Now,” I said to myself, “this balut could be of use.”


 


"I should eat the duckling," she said half-smiling.  I peeled mine instead of commenting.  My heart and mind were wrestling against each other with concern and suspicion.  Then I caught on my peripheral vision tiny stars that suddenly appear on the corner of the person who used to be my star.  “It's not so warm,” she said, almost whispering, and put the egg down on the table.


 


"It must be the air conditioner," I said.  I lied the same way she did.  The egg I was eating could burn my tongue.


 


I noticed the tiny loops of entrails of the half-bitten duckling Toni didn’t finish.  Exposed like her real emotion she's trying to mask with dismay about the balut.  I put mine next to it and covered them with a table napkin, "we don't have to finish it," I said, then put them at the corner end of the table as the pasta arrives.


 


The truth is revealed as she follows the eggs with a forlorn gaze, and then at me.  No matter how hard she tries, she cannot love balut wholly like she cannot love me completely.

newcookopen.jpg

Situations of  Place

 In terms of environment and ambiance, situation of place pertains to space where particular kinds of relationship between sitcom characters exist and will exist nowhere else but in that space. Sitcoms like "MASH" and "Just Shoot Me" are good examples of situations of place.  MASH featured doctors in the Mobile Army Surgical Hospital in the harsh backdrop of the Korean War while "Just Shoot Me" featured Fashion Magazine Personnel in the vicious backdrop of New York City.

 

Coming up with sitcoms that center on situations of place is a bit tricky. Writers or groups of writers focus their writings on the specific culture of the immediate environment and ambiance. Thus, when you are writing about the people in a police station, you are basically writing about the culture inside the police station and how it affects the characters within it.

 

The common mistake of comedy writers is the inability to identify cultures from relationships.  Culture provides the rules and guidelines of human actions and activities in a given set of parameters that occupy space.  The culture inside an urban hospital is different from the culture inside a rural hospital. Thus, culture is relative and its effects to human behavior are also relative.

 

At present, sitcoms produced in the Philippines severely suffer from a wide case of identity crisis.  In the level of approach, cultures and relationships are generally lumped into one monstrous creation.  As a result, the sitcom does not work and retreats to a more domestically safe creation, the gag show.

 

If you look around, there are a lot of interesting situations of place.  One can set a sitcom in a Chinese restaurant, in a police station, in a local government unit, in a funeral parlor, in a beauty parlor, in a wet market or in an office of a senator. What is important is that the writers are able to accurately survey the prevailing culture of the said space. And when I say culture, it pretty much covers actions, activities, events, situations, characters and dialogue.

 

Whenever I go to the Land Transportation Office in Makati, the type of culture that it has as a space always amazes me. Basically, it is a rich source of characters, events, situations, actions, activities, dialogues and relationships that operate within a unique culture that caters to both the rich and the poor.  This visually distinct feature is a good premise for a situational comedy as it tries to understand, in a funny way, this unique and fascinating culture in the midst of socio-political class relations and tensions.

 

Because the culture is the main target of the sitcom, it serves as a character as well.  If the culture changes, then the sitcom ends.  For example, a police station that moves from a culture of corruption to a culture of professionalism exhibits a change in culture.  Thus, the elements within this culture will also change.

 

Situation of place is an interesting approach that requires extensive understanding. This article is just exploring the tip of this approach.  There are heap loads of requirements and techniques that we need to explore as we try to construct a sitcom in this manner.   Hopefully, this will enlighten you in terms of understanding situational comedies.  Because sitcoms are not gag shows.

PUNCH IN FICTION WRITING

 

Fans were dismayed when Fil-Am boxer Brian Villoria lacked follow-up on punches thrown against his opponent.  His fist undoubtedly has strength, but what could have been the problem?

 

He was waiting for an opportunity to knock Niņo down.  That was his plan, his climax.  Boxing analysts believe that it was a bad strategy.  Even the guys who were on his corner were pressing him to keep on pulling punches.  He should’ve kept on punching rather than wait for an opportunity for a “big blow” to finish the Argentinean.

 

The same way applies on fiction writing.  You need to keep on throwing punches (events, plotpoints) to build on to the climax, rather than wait for an opportunity to do it.  An ending that was not established is weak and unconvincing.  Furthermore, weak plot attacks can make you lose readers before they even reach the near-climax point.  What’s the point of watching the whole Villoria match if you’ve already lose interest on his performance?  If you don’t like what’s happening, or if there’s nothing really happening, in a story, would you turn the page to continue reading?

 

Boxers have a game plan laid-out with his couching team.  Fiction writers on the other hand plan their story in advance through outlining.  Whether it’s on an index card or on a spreadsheet, it would guide you on the whole writing process from “once upon a time…” to “…and they live happily ever after.”  It may change a bit, or key events may switch positions as you write, but that’s the foundation from which the whole piece will be worked on. 

 

The next time you write, don’t expect the climax to come like God’s grace.  You don’t even pray for it; you build it through careful plotting.

 

MAINSTREAM FICTION WRITING WORKSHOP

Facilitator:
JL Caiņa
Published Mainstream Fiction Writer/Scriptwriter/TV Analyst

Application:
- Genre Fictions/Novellas (Tagalog Pop Novellas, Harlequin/Mills&Boons proto-type Romances, Young Adult Novels)
- Mainstream Short & Long Story

DAY 1 - Elements Of Fiction
1. Measuring Cup of Fiction - Aristotle's The Poetics
2. The Pitch: Idea Generation
3. Premise Construction
4. Short Story vs. Novel
5. Story Types That Sell
7. Getting to know the Big P - Plot
8. Building Chains - Plot Outline
9. Plot vs. Story
10. Rearrangement & Design: The Story Outline
11. The Era Of Movies: Fast Pace Plot
12. Exposition, Conflict, Struggle, Resolution
13. Pop The Bubble: Misconceptions And Mistakes in Fiction Writing

DAY 2- Ready, Set, Go!
1. Mainstream/genre vs. Literary Writing
2. Chapter & Scene Breakdown
3. Viewpoint
4. Keys to Killer Beginning
5. Show vs. Tell
6. Leitmotifs In Fiction
7. Subplots, Multiple plots
8. Character & Plot
9. Character Development
10. The 3-Acts Structure

DAY 3 - Scene Sculpture
1. When is a scene a scene?
2. Do/Don't Begin at the Beginning
3. Setting
4. Length: A Little Boy's Attention Span
5. When it Ends
6. Scene Focus
7. Plant-Payoff
8. Keys To Effective Dialogue
9. Era Of TV: Cliffhanging
10. Sex Scenes
11. Action Scenes
12. Comic Scenes
13. Ending
14. Revising
15. The Markets

GOAL OUTPUT OF THE WORKSHOP:
An initial draft of a mainstream short story or/and an initial chapter and outline of a mainstream/genre novel.

 
OUR WORKSHOPS:
Us and our affiliates offer workshops from Mainstream Fiction Writing to Drama and Comedy Writing to Alternative Scriptwriting.
 
Our apporach is non-academic with immediate learning results applied to solid output.
 

CREATIVE WORKS

How To Create A Cooking Show 

 

 

Tuition Fee:

n       The tuition fee  P4,000 per head

n       Group Discount: 3 members : 3,000 per head

 

 

Cooking Show Genres

n       Kid Show

n       Educational/ Informative

n       Livelihood

n       Game Show

n       Celebrity Talk

n       Reality

 

----------------------------------

Subjects

3rd Body : Cooking Demonstrations

4th Body :Chow Out

 

Instructor

JL Caina

Television Analyst

Television Food Writer/ Program Creator

n       Program Creator/ Makuha Ka Sa Tikim (abs-cbn)

n       Television Food Writer/ Sarap TV (abs cbn)

Freelance Online/ Print Media Food Writer

n       Natives Wish

n       MOD Magazine

----------------------------------

Subjects

1st Body : Starter/ The Subject Matter

2nd Body: Authority on the Subject Matter

 

Instructor :

Mel df. Escarcha

Concept Development and Management Specialist (Television)

Writer (Television)

---------------------------------

 

 

How To Create A Cooking Show

CHIPS Creative Enhancement Special Program

Television Format : Cooking Show

Workshop Outline

 

1st Body : Starter/ The Subject Matter

n       History of the Subject Matter  (AVP/Live Talk)

n       The Ingredients of the Subject Matter (AVP/ Live Talk)

n       Spiels : Prelude to the Next Body

 

2nd Body: Authority on the Subject Matter

n       Background of the Authority

n       Studio Introduction of the Authority

n       Inspection of the Ingredients

n       Preparation of the Ingredients/ Start Cooking

n       Spiels : Prelude to the Next Body

 

3rd Body : Cooking Demonstration

n       Actual Cooking

n       Commentary

n       Plating

n       Spiel : Prelude to the Next Body

n       Recipe Rundown

 

4th Body : Chow Out

n       Tasting

n       Discussion ( Panel or Forum)

n       Prelude to the next episode (AVP/ Spiel)

 ----------------------------------------------------

 

Questions : Send E-mail or Click  Any of the Following Links

e-mail address

irish_patatas_entertainment@yahoo.com

 

related links

 

 

Tuition Fee:

n       The tuition fee  P4,000 per head

n       Group Discount: 3 members : 3,000 per head

 

Registration:

For registration arrangements, please text or contact this mobile "phone number" 0920-8793237/ JL Caina.  The venue of the registration is @ Future Prospect, Marikina Shoe Expo, Araneta Center Complex, Cubao, Quezon City.You can register anytime, just let us know through the provided contact number.

 

 

 

SCHOOL OF ARTS AND ANIMATION @ MINDTAP STUDIOS
 


* In ANIMA: Creating 3D Animated Shorts

(Special Program)


This intense one-year training program on 3D animation focuses on technical skills vis-a-vis the conceptual component of creating a 3D animated flick. It also tackles areas of specialization and a walk-through in standard studio procedures for the production of 3D animated shorts. 

The 3D Animation Process


Pre-production

  • Scriptwriting for Animation
  • Advanced Techniques in Character Animation
  • Character Development and Design
  • Art and Composition in Background Design
  • Animatic
  • Sound Design and Engineering

    Production
  • Story and Dialogue Treatment
  • 3D Modeling and Texturing
  • Rigging your Characters
  • 3D Animation Basics
  • Advanced Techniques in 3D Animation
  • Art of Lighting and Rendering

    Post-production
  • Motion Graphics and Special Effects
  • Sound Editing
  • Compositing and Digital Editing
  • Elective:Mel Scripting for MAYA
  • Elective:3D Animation using Freewares
  • Elective:Intellectual Property Rights
  • Elective:Web Design and Development

    Schedule of Meetings: Saturdays and night classes only
    Duration: 12 months
    Enrollment Fee: Php 120,000.00

  • Contact Number : 7295951 (Maila / Bong)

    (http://www.mindtap-ph.com/MODULE.htm#scriptcom

  •  
    =====================================================
    DRAMA WRITERS’ CABLE TELEVISION WORKSHOP :
    LEVEL 1: Drama Anthology Single Drama Writing

    ======================================================
    MELODRAMA and KOREAN DRAMAS

    One of television's most diverse program types is the melodrama.

    It encompasses an extensive variety of aesthetic formats, settings, and character types. Melodramatic formats include the series, consisting of self-contained episodes, each with a classic dramatic structure of conflict/complication/resolution in which central and supporting characters return week after week; the serial, which features a continuing story line, carried forward from program to program (this is typical of soap operas -- The Teleseryes); the anthology--a non-episodic program series constituting an omnibus of different self-contained programs, related only by sub-genre, and featuring different actors and characters each week.

    Yet, Korean Dramas somehow can separate and define melodrama drom the usual soap opera, Teleseryes.

    Find out why...

    Get To The Heart Of Dramatic Writing.

    DRAMA WRITERS’ TELEVISION WORKSHOP
    Now offers ...
    LEVEL 1: Drama Anthology Single Drama Writing

    Registration On-Going…

    Workshops : This Summer 2008
    Workshop Fee: P 5,000
    For Registration & Inquiries  email us

    For more details click: http://the-chips1.tripod.com
    Email: irish_patatas_entertainment@yahoo.com
     



    APPLICATION OF REFRAMING METHOD IN SERIES DECONSTRUCTION
    A process of creating a new series through deconstruction

    Case Study:

    The network gives a team the task to deconstruct Will and Grace and from the deconstructed series the team must come-up with a new series.

    ======================================================================================

     

    <!--[if !supportLists]-->1.      <!--[endif]-->STEP ONE

    Identify the target or the subject of Deconstruction.  The target has three types namely; a) story matrix, b) character matrix, c) plot and d) the core formula.  If the target is the story matrix, deconstruction is localized.  Meaning, deconstruction is directed towards a specified area of the core formula. The team identifies the story matrix as the target.

     

    Will and Grace is a situation of relationship (comedy duo) in terms of Ambiance. The Environment has three main locations namely, a) the Kitchen of Will and Grace (apartment), b) the Living Room of Will and Grace (apartment), b) the Workplaces of Will and Grace ( Law Firm & Design Studio)

    <!--[if !supportLists]-->2.      <!--[endif]-->STEP TWO

    Set-up the problem statement with regards to the target.  For example, retaining the characters in "Will & Grace, will it work under a situation of place as ambiance. With a unique environment that has three main locations namely; a) Embalming Area of the Funeral Service Establishment, b) Personnel Lounge Area of the Funeral Service Establishment and c) the Client Receiving Area of the Funeral Service Establishment. 

     

    <!--[if !supportLists]-->3.      <!--[endif]-->STEP THREE

    Evaluate the problem statement by determining its; 1. potential, 2.planning, 3. people and 4. product.

     

    <!--[if !supportLists]-->n      <!--[endif]-->PRODUCT

    The parameters of the new product are the following;

    <!--[if !supportLists]-->a)     <!--[endif]-->Retain the characters of "Will and Grace"

    <!--[if !supportLists]-->b)     <!--[endif]-->Change the Story Matrix only

    <!--[if !supportLists]-->c)      <!--[endif]-->Target Market : General Patronage :  Class C and D

    <!--[if !supportLists]-->d)     <!--[endif]-->Advertisers : Detergent Powders and Canned Goods

     

    <!--[if !supportLists]-->n      <!--[endif]-->PEOPLE

    People refers to the audience. In the case of Will and Grace, it caters to a progressive audience dominated by single/career women that are mostly coming from middle to upper-middle corporate management strata. .  Mostly, the specified group of the general population resides in metropolitan areas in the United States.

     

    The new series targets an audience within the range of Class C and D with advertisers that belongs to the Detergent Powders and Canned Goods Industries.  The Network wants the series under General Patronage.

     

    Given the target Social Classes and Advertisers, naturally the audience belongs to the working class that are earning within or below the minimum wage with borderline or below housing standards that may or may not depend on underground economies.

     

    <!--[if !supportLists]-->n      <!--[endif]-->POTENTIAL

    The potential of the new series refers to a) the visual value and the b) the relevance of the statement being communicated to the audience.   The visual value is a concern of production staff and technical crew and casting. Quality in terms of production design, performances of talents, wardrobe and up to the technical requirements of clear broadcast are all essential in delivering quality visual value.

     

    Relevance of the statement /message being communicated is a concern of the creative team and programming group.  The statement must reach the right target market in a clear, concise and complete manner.  This is only possible if the creative team knows its audience and able to communicate with them through a feedback mechanism as translated by programming.

     

    Relevance of the message/statement when combined with quality visual value produces PUVE or the Potential Unique Viewing Experience". PUVE is measured through surveys as conducted by programming.  

     

    <!--[if !supportLists]-->n      <!--[endif]-->PLANNING

    Planning begins soon after the results of initial survey that covers the specified target market.  There three steps in terms of planning.

     

    <!--[if !supportLists]-->1.      <!--[endif]-->Evaluate the Results of the Survey

    <!--[if !supportLists]-->2.      <!--[endif]-->Execute Adjustments Based on the Results of the Survey

    <!--[if !supportLists]-->3.      <!--[endif]-->Construct the Core Formula

     

    <!--[if !supportLists]-->4.      <!--[endif]-->STEP FOUR : THE CORE FORMULA

    <!--[if !supportLists]-->n      <!--[endif]-->Case Study Title : "I LUV U TO DEATH'

    ==========================================================

    <!--[if !supportLists]-->n      <!--[endif]-->Charater Matrix : Retain Character Matrix of "Will & Grace"

    <!--[if !supportLists]-->1.      <!--[endif]-->Primary Characters

    <!--[if !supportLists]-->2.      <!--[endif]-->Secondary Characters

    <!--[if !supportLists]-->n      <!--[endif]-->Story Matrix

     

    <!--[if !supportMisalignedRows]--> <!--[if !supportMisalignedRows]--> <!--[if !supportMisalignedRows]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]--> <!--[if !supportMisalignedRows]--> <!--[endif]-->

    THE FUNERAL SERVICE ESTABLISHMENT

     

    AMBIANCE

    ENVIRONMENT

    ARENAS

     

    Situation of Place

    This refers to the culture or sub-culture that is uniquely found in a particular space. It may tackle the traditions, norms and taboos in the funeral service industry.

    Funeral Service Establishment

    ==========================

    The establishment caters to the Class C and D clients. 

    =========================

    Located in Tondo, Manila

    Embalming Area



    Personnel Lounge



    Client Reception Area



    Exterior (optional)

     

     

     

     

    <!--[if !supportLists]-->n      <!--[endif]-->Mode : Comedy Series

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    <!--[if !supportLists]-->n      <!--[endif]-->Type : Episodic

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    <!--[if !supportLists]-->n      <!--[endif]-->Genre: Comedy

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    <!--[if !supportLists]-->n      <!--[endif]-->Pattern: Slice of Life / A Day In the Life Of

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    Translating Short Stories into Horror "pocket stories" is real.  You can find several series of ghost stories that are actually short stories with sometimes "cheesy" ghost pictures.  Usually, a pocket story will range from 10 to 15 pages.  Given that a collection is made up of 5 to 6 short horror stories. 

    Coming up with new materials is often difficult. But if you know the structure and components, it is generally less difficult.  But I must admit, scaring people is not a walk in the park. But if you are able to create a winning formula,  chances are, you will be able to capitalize on the business of death.

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    Short Story Development and Management Workshop

    ampalaya08 ( multiply id)
    (Terror Genre : Horror)/ 4 Sessions/
    saturdays 2-4pm
    Slated For  October 2008


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    1. Genre : Horror
    a. Components
    b. Structure

    2. Short Story
    a. Rules
    b. Elements
    c. Point of Views

    3. Short Story Components
    a. Premise
    b. Character
    c. Story

    4. Short Story Structure
    a. Invitation
    b. Explanation
    c. Shift of Focus
    d. Discovery
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    For Registration: Please indicate full name and contact number
    mobile phone : 09215081060
    Fee ( 4,500)