Welcome back to your television serial making guidelines. If you will need a recap we had already seen the fixed kinds of necessities like storyline, characters or sets. Now let's move ahead to moving ones.
The Story and Dialogue Writers: Having only one writer is really a risky proposition. You should ideally have a table of writers, if one doesn't blow out of his/her mind others deliver. Teri Meri Dooriyan The endless storyline needs an equally endless method of getting dialogues to keep on the show episode by episode. In a specific scene you will need to create the maximum possible dialogues and because of this the board of writers would come as a bonus. If they quarrel over it, that's only natural, maybe you receive a new twist-wish idea to include new angles-triangles or you will want to a hyperbola in the story that will again generate new streams of dialogues. You will need to keep a watch on viewers too; boring them now and then is okay, but you need to never drive them mad. The channel producers, remember?
The Director: When you would be the director you ought to be the toughest nut to break. Okay it's your child and naturally you prefer to be the leader and friend-philosopher-guide. However in actual practice you need to be a ruthless dictator taking decisions unilaterally and respecting no one nevertheless the channel producers. If your particular character actor is creating problems s/he must get killed in the serial; on the demand of the producers a dead character might have to be brought alive; others might have to be replaced; ushering in a period transition or injecting one and more absurd characters to the serial; and, so on. Katha Ankahee Each one of these situations demand your decisions only. We advise you to keep 1 or 2 episode directors too as may be the case in many soaps. We've good reasons. First, one director is directly identifiable and is really a sitting duck for irate viewers, if any. Second, the endless monotony may be an excessive amount of for you personally and you may lose your sanity. Third, when it comes to channel producers the buck will always stop exclusively at your end only.
The Time Pass: This time around pass is from the viewpoint of serial makers, not viewers. Making an endless serial is generally not very easy. So you need to continue creating rooms for frequent time pass tactics. You take action with merry go rounds of dramatic reaction shots parading your entire characters in the hall that will get you over more than one episodes; with dialogues that never cease; giving extreme shock treatment to more than one characters who lose their ability to speak and communicate only through loud music that will last around more than one episodes; by bringing in absurd characters and making their stories count; and, by the like.
Conclusion (?): Since each one of these guidelines are enforced relentlessly some normal doctrines like good wins over evil get neutralized. Yeh Rishta Kya Kehlata Hai serial Evildoers in serials continue doing evil that will include even murder as law enforcement authorities are never called in, because entry of police may veer the serial to a logical end. You just compensate by creating temporary relief measures now and then. Thus, the antagonist becomes the important thing to the success of endless serials. At the receiving end we are able to only try become accustomed to it.
So, make your serial in India and have endless fun!
Chinmay Chakravarty is really a professional specialized in the creative field with over two decades of experience in journalistic writing, media co-ordination, film script writing, film dubbing, film & video making, management of international film festivals and editing of books & journals. Proficient in providing professional services in these related fields. Presently in Mumbai Doordarshan as a News Editor.
