Weaving Storylines: A/B/C Stories (PT53)

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Update: PT53 transcript now available

Alex and Nick discuss the importance of weaving A, B and C stories in TV writing, and interesting ways of doing it in TV scripts.

Why is it important to cut between storylines in TV? When should you start and end each storyline? Which storylines should you spend more time on in your TV script? When should you only do a single A story? What are some noteworthy and unique formats for A/B/C plotlines?

Plus, we talk about where to read TV scripts.

The Paper Team become master-weavers...

SHOWNOTES

Content
Paper Scraps (FKA Odds-and-ends): Finding TV scripts (00:55)
1 - Why does TV have A/B/C stories? (03:51)
2 - Nuts and bolts of using A/B/C stories (10:27)
3 - Interesting and non-traditional uses of weaving A/B/C stories in TV (18:22)
Takeaways and Resources (32:22)

Links
Writers Guild Foundation Library
TV Calling Script Library
Zen134237
Lee Thomson Script Library
Simply Scripts
Daily Script
IMSDb
"What are A, B, and C stories in screenwriting?" - TV Calling
Team America Montage (Video)
"Marge vs. the Monorail" (4x12 - The Simpsons)
"Ozymandias" (5x14 - Breaking Bad)
"That's My Dog" (4x05 - Six Feet Under)
"Eleven Angry Men and One Dick" (3x07 - 3rd Rock from the Sun)
Boomtown
Graham Yost
24 (TV Series)
"Kim vs. the Cougar: The Oral History of 24’s Most Infamous Scene" - Vulture
"My Bad" (1x06 - Scrubs)
Awake (TV Series)
Kyle Killen
"How Lost revolutionized storytelling" - TV Calling
"Walkabout" (1x04 - Lost)
"The Constant" (4x05 - Lost)
Watchmen
Slaughterhouse-Five
This Is Us
Oz (TV Series)
Carnivàle
"Bowling" (2x20 - Malcom in the M...