ABSTRACT
A writer of big-budget Hollywood action blockbusters who suddenly found himself working on a weekly TV crime drama would soon find that the expensive, specialeffects-laden action scenes he previously relied on to punch up his scripts were not within the scope of his new assignment. He’d also encounter and have to adapt to some important structural conventions of writing for TV; for example, the need to design your story to work effectively around the commercial breaks, always teasing the audience enough so that they’ll return after the ads have played.
