Director Park Sung-soo's "Do as You Like"
A drama writing guide filled with 30 years of experience and know-how

“I dare say that whoever reads this book will be the winner!”
Highly recommended by author Song Jae-jeong!

With the rise of OTT, several new dramas are being released every week.
There are more places for new writers to stand, and there are more and more people who dream of becoming drama writers.
But what is the reality?
It is difficult to find a proper domestic writing guide to help drama writers get started.
Most aspiring writers are lost, reading abstract writing books or foreign film script-writing books that are out of touch with today's reality.
In the midst of the golden age when K-dramas captivated the world, they are going down the wrong path.
The author of this book took up his pen at this very point.


"Steel" is a drama writing guide compiled by director Park Sung-soo, who has served as a drama director, MBC drama director, and co-CEO of a production company, and has accumulated 30 years of field experience and expertise.
It's packed with useful information that will instantly transform even the most inexperienced writers into skilled writers, including how to create compelling characters, how to structure an episode with nine key scenes, how to write dialogue that captivates viewers, and 23 ways to objectively revise a script.
Because it covers how to create compositions, characters, and dialogue that will captivate the audience, it is a must-read for anyone who works on story-centered content, not just dramas, but also web novels, webtoons, and movie scripts.
It is very useful not only for writers, but also for directors, planners, and producers.
Song Jae-jung, the author of 『Yumi's Cells』, 『Memories of the Alhambra』, and 『W』, said of this book, "It is no exaggeration to say that the author knows almost everything about the Korean drama market, and all of his experience and know-how are contained in this one book.
I dare say that anyone who reads ‘Steel’ will be a winner,” he said, strongly recommending it.

This book aims not simply to write a good script, but to create a script that can be broadcast.
A drama writer's goal is to have his or her script produced and broadcast.
How can a writer determine whether his or her script is competitive and complete enough to be broadcast? Furthermore, how can he or she revise his or her draft into a broadcast-ready script? And even before submitting it to a channel, through your own efforts and methods! Without relying on luck, fortune, or connections! This book aims to answer these questions.
---From the "Prologue"

The author must clearly show the psychological, personality, situational, and relational reasons for the protagonist's judgments and decisions.
Only by knowing the protagonist's reasons for his actions can the viewer accompany him on his journey.
This journey begins by clearly revealing what the protagonist's 'desired purpose' is.
It's not easy to empathize with a protagonist who doesn't have a clear goal.

---「Chapter 4.
From "Creating a Main Character"

Villains never see themselves as villains.
Furthermore, 'a truly great actor never judges his characters.' Therefore, when creating a villain, a writer must pour in as much affection and sincerity as he does the protagonist.
The reason a villain adds tension to a drama isn't because he's evil.
Because he is competent.
Add some human charm to this and the villain becomes much more dangerous.
The conflict between the weak protagonist and the capable villain increases the tension.
---「Chapter 4.
From "Creating a Main Character"

Another one is a synopsis for submission, which is essentially a promotional pamphlet and business proposal.
The series plan must be written from this perspective.
A synopsis to be shown to judges, directors, directors, actors, and advertisers, containing the work's strengths, characteristics, and selling points.
---「Chapter 5.
From “Creating a Synopsis”

I propose a framework called '9 Key Scenes and Ending Lighthouse' as a way to help structure drama today.
This framework can be used to structure a single short story or a single episode of a series.
The crucial difference between the Hollywood film theory, which has six key scenes in 120 minutes, and the new framework is that nine key scenes are set in a drama running time of 60 to 70 minutes.

---「Chapter 6.
From "Composing a Script: 9 Key Scenes and the Ending Lighthouse"

The extreme line is said to be the importance of the play, and the emotional line is said to represent the sadness and joy of the main character.
Of these two, the emotional line is far more important.
No matter how big an event occurs or how much of a crisis awaits, if the protagonist's inner self and emotions do not respond, all dramatic devices are in vain.
Viewers pay more attention to the characters' emotional reactions than to the events themselves.

---「Chapter 6.
From "Composing a Script: 9 Key Scenes and the Ending Lighthouse"

What are the most important scenes in your drama, from opening to ending? Connect those scenes to create a story outline.
Even then, use the '9 Key Scenes and Ending Lighthouse' framework.
It is a story outline in itself and a method of story composition, and if expanded upon, it is a scene composition table.

---「Chapter 10.
From "Writing a First Draft"

The most time- and energy-consuming part of the entire script writing process is editing.
Revision is the essence of a writer's life.
You must allocate sufficient time for the revision work.
Revision doesn't end with two or three times.
Since we presented 23 different ways to fix it, let's try a total of 23 fixes from different perspectives.
Some sessions will take just an hour or two, while others will take three or four days.
Applying these 23 revision methods and working on your own draft is one way to improve a 50-point script into an 80-point one.

---「Chapter 11.
Among the "Edit"

Collaborating through meetings is a completely different kind of work with others.
Because other people's worldviews, dramas, intellect, and skills are intruding into your script and mind, you will expend a lot of emotion and energy.
Often, the revision process is very slow or at a standstill.
Their point seems right, so when I try to reflect it in the script, it feels a bit out of place.
Sometimes emotions like confusion, disappointment, frustration, and anger come to mind.
The best thing to do in this situation is not to react.
Let's create a gap between stimulus and response.
It's time to unleash your astral projection abilities.

---「Chapter 12.
From “Collaboration with Channels and Directors”