Screenwriting techniques Books
University Press of America Film Stories
Book SynopsisThis volume contains three new screenplays by the writer-director of the prize-winning films Nothing But a Man, The Plot Against Harry, Vengeance is Mine and Pilgrim, Farewell.Table of ContentsPart 1 Sneaking Into Eden Part 2 Been Here and Gone Part 3 Home Body
£43.20
Running Press,U.S. The Annotated Godfather 50th Anniversary Edition
Book Synopsis Celebrating the 50th anniversary of The Godfather, this authorized, annotated and illustrated edition of the complete, unedited screenplay includes all the little-known facts, behind-the-scenes intrigue, and first-person reflections from cast and crew members on the making of this landmark film. From its ingenious cinematic innovations and memorable, oft-quoted script to its iconic cast, including Marlon Brando, Al Pacino, Robert Duvall, James Caan, The Godfather is considered by many to be the greatest movie ever made. And yet, the history of its making is so colorful, so chaotic, that one cannot help but marvel at the seemingly insurmountable odds it overcame to become a true cinematic masterpiece, and a film that continues to captivate its audience decades after its release. In this annotated and illustrated edition of the complete original screenplay, nearly every scene is examined and dissected, including: Fascinating commentary on technical details about the filming and shooting locations Tales from the set, including arguments, accidents, and anecdotes Profiles of the actors and stories of how they were cast Deleted scenes that never made the final cut, and the goofs and gaffes that did And much more Interviews with former Paramount executives, cast and crew members, and and all-new foreword by Francis Ford Coppola, round out the commentary and shed new light on everything you thought you knew about this most influential film. With more than 200 photographs, this a truly unique, collectable keepsake for every Godfather fan.
£23.75
McFarland & Company The Screenwriters Toolbox Fundamentals Methods
Book SynopsisA guide for screenwriters and those interested in the screenwriting process, with information on various facets of the screenwriter's trade. It discusses skills useful for screenwriters, including an eye for the camera, the ability to juggle pieces of a story, knowledge of acting, and unique vision.
£20.89
Hyperion Aristotles Poetics For Screenwriters
Book Synopsis
£18.74
Cornell University Press Story and Discourse
Book SynopsisFor the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story—whatever the medium.Trade ReviewAn important American contribution to the study of narrative theory. * Choice *What I appreciate most in Chatman's study are the problem-solving activities and ambitions: again and again, he proves capable of defining areas to investigate (the borders between narrative and other temporal genres, for example, the typography of plots, the distinctive features of foregrounding and backgrounding) and of discussing narrative in terms of problems and solutions. When I opened the Chatman volume, I read the blurb first: 'A judicious and well-informed book, Story and Discourse should become the standard guide to narrative and to modern thinking about narrative.' The blurb is right. -- Gerald Prince * MLN *Table of ContentsPreface1. Introduction Narrative and Poetics Elements of a Narrative Theory Is Narrative a Semiotic Structure? Manifestation and Physical Object Narrative Inference, Selection, and Coherence A Sketch of Narrative Structure A Comic Strip Example "Reading" and "Reading Out"2. Story: Events Sequence, Contingency, Causality Verisimilitude and Motivation Kernels and Satellites Stories and Antistories Suspense and Surprise Time and Plot Order, Duration, and Frequency How Time Distinctions Are Manifested Narrative Macrostructure and the Typology of Plot3. Story: Existents Story-Space and Discourse-Space Story-Space in Cinematic Narrative Story-Space in Verbal Narrative Story-Existents: Character Aristotle's Theory of Character Formalist and Structuralist Conceptions of Character Todorov and Barthes on Character Are Characters Open or Closed Constructs? Toward an Open Theory of Character Character: A Paradigm of Traits Kinds of Character A. C. Bradley and the Analysis of Character Setting4. Discourse: Nonnarrated Stories Real Author, Implied Author, Narrator, Real Reader, Implied Reader, Naratee Point of View and Its Relation to Narrative Voice Point of View in Film Narrators' and Characters' Speech Acts "Nonnarrated" Representation in General Nonnarrated Types: Written Records Pure Speech Records Soliloquy Records of Thought: Direct Free Style = Interior Monologue Stream of Consciousness = Free Association Interior Monologue in the Cinema5. Discourse: Covert versus Overt Narrators Covert Narrators Presupposition Indirect Tagged and Free Style The Manipulation of Sentences for Narrative Purposes: Presupposition as an Example Limitation of Authority in Narrative Transmission Shifting Limited versus Omniscient Mental Access Overt Narration: Set Descriptions Overt Narration: Temporal Summaries Reports of What Characters Did Not Think or Say Ethos and Commentary Commentary Implicit Commentary: Ironic Narrator and Unreliable Narrator Commentary and the Story: Interpretation Commentary and the Story: Judgment Commentary and the Story: Generalization Commentary on the Discourse The NarrateeConclusionAppendix: Diagram of Narrative StructureIndexes: Author and Title, Subject
£19.99
Scarecrow Press A Guide to Critical Reviews Part IV Supplement 1
Book SynopsisDetailed history and understanding of the screenplay from 1963-1980.
£119.00
Scarecrow Press Saved from Oblivion An Autobiography The
Book SynopsisBefore being black-listed in the McCarthy era, Bernard Vorhaus was one of Hollywood''s most respected silent film writers, working for studios such as Paramount and Metro-Goldwyn-Mayer. Not only did he cross paths with some of the brightest lights in early HollywoodGreta Garbo, Norma Shearer, D.W. Griffith, John Wayne, Laurence Olivier are some examplesbut he was a principal influence upon British filmmaker David Lean. Now in his nineties, Vorhaus recounts some of his pioneering work in film in Saved from Oblivion; he was the first director to incorporate subjective flash-backs and to use a sequence before the main titles. Recently, retrospectives of his films, such as Dusty Ermine and The Last Journey, were shown at the Museum of Modern Art in New York City, as well as at the National Film Theatre and the Edinburgh Festival in England. This autobiography, replete with insight into the techniques and personas of early cinema, is an important as well as entertaining look at the early history of the medium that shaped the twentieth century. Although Vorhaus did not return to directing after he was prematurely cut from the industry in the wake of McCarthyism, he remembers his years there with nostalgia. Making films is much more exciting than anything else you can do, he says, and this book proves it.Trade ReviewVorhaus tells his life story in a novel-like fashion, peppering the narrative with moments of romance, intrigue, and high adventure...Packed with page-turning anecdotes, this is a story that truly was worth saving from oblivion. * Film Review *
£60.30
Scarecrow Press Film Stories
Book SynopsisFrom the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, Film Stories is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume One contains the screenplays for Nothing But a Man, The Plot Against Harry, Stone My Heart, and Pilgrim, Farewell. Volume One also features a comprehensive introduction entitled Beginnings, in which Roemer discusses the creation of his screenplays and includes anecdotes on the making and distribution of his films that any screenwriter or filmmaker will find invaluable. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.Trade ReviewFor filmmakers and screenwriters, the writer and director Michael Roemer (Yale U.) discusses his highly personal approach to screenwriting. Early on, Roemer realized that the rules and conventions most frequently espoused in film schools and texts taught not how to tell a story but how to tell a story that would sell-by meeting audience expectations and avoiding any challenge to deeply held convictions. Roemer instead chose a path that didn't ensure commercial success, but that allowed his stories to unfold as an integral part of his life. Vol. 1 included a comprehensive introduction and the screenplays of Roemer's films Nothing but a man, The plot against Harry, Stone my heart, Pilgrim, farewell, and Losing Emily. * Reference and Research Book News *
£83.70
Scarecrow Press Film Stories
Book SynopsisFrom the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, Film Stories is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume One contains the screenplays for Nothing But a Man, The Plot Against Harry, Stone My Heart, and Pilgrim, Farewell. Volume One also features a comprehensive introduction entitled ''Beginnings,'' in which Roemer discusses the creation of his screenplays and includes anecdotes on the making and distribution of his films that any screenwriter or filmmaker will find invaluable. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.Trade ReviewFor filmmakers and screenwriters, the writer and director Michael Roemer (Yale U.) discusses his highly personal approach to screenwriting. Early on, Roemer realized that the rules and conventions most frequently espoused in film schools and texts taught not how to tell a story but how to tell a story that would sell-by meeting audience expectations and avoiding any challenge to deeply held convictions. Roemer instead chose a path that didn't ensure commercial success, but that allowed his stories to unfold as an integral part of his life. Vol. 1 included a comprehensive introduction and the screenplays of Roemer's films Nothing but a man, The plot against Harry, Stone my heart, Pilgrim, farewell, and Losing Emily. * Reference and Research Book News *
£51.30
Scarecrow Press Film Stories
Book SynopsisFrom the critically-acclaimed independent filmmaker, Michael Roemer, comes Film Stories: Screenplays as Story, a highly-anticipated first collection of screenplays. Beyond film scripts, this volume (the second of two) is designed to help film students master concepts like three-act structure, conflict, surprise, rising action, and crisis, while crafting not only a story, but a story that tells. Volume Two contains the screenplays for Losing Emily, Famous Long Ago, Mortal Longings, Act of God, and Sad but Funny.Trade ReviewThis second volume in the series includes scripts for Michael Roemer's Famous long ago, Mortal longing, Act of God, and Sad but funny. Writer and director Roemer (Yale U.) provides a brief preface to each screenplay that describes his state of mid and intentions for each script as well as notes on structure. In a postscript, he reflects in the storytelling process. (The first volume in the series includes a comprehensive introduction detailing his own life story as well as the stories behind the nine collected screenplays.) * Reference and Research Book News *
£51.30
Scarecrow Press Worms in the Winecup A Memoir The Scarecrow
Book SynopsisWorms in the Winecup is the extraordinarily hard-hitting autobiography of John Bright, a screenplay writer who gained a major reputation with his first Hollywood script, Public Enemy, the classic gangster drama starring James Cagney. The book provides a vivid, often savage, commentary on Hollywood and the motion picture industry, with uncompromising portraits of Darryl F. Zanuck, Mae West, Errol Flynn, John Barrymore, B. P. Schulberg, Walter Wanger, John Howard Lawson, Elia Kazan, and countless others, including his writing partners, Kubec Glasmon and Robert Tasker. Bright writes of the Communist Party in Hollywood, the Hollywood Anti-Nazi League, and the House Committee on Un-American activities. At times bitter, at times tragic, this book is refreshingly frank and open, so much so that it could never have been published while John Bright was still alive. Bright is honest as he discusses his wartime experiences and his exile in Mexico. Complete with a filmography and an introduction by distinguished film historian Patric McGilligan, Worms in the Winecup is both entertaining and thought-provoking. An emotional and insightful read for students of political history, film scholars, screenwriters, and film enthusiasts.Trade ReviewI thoroughly enjoyed Bright's book. It jumps off the page. -- Clancy Sigal, Novelist (Going Away) and Screenwriter (Frida and In Love and War)Entertaining and revealing...A fascinating glimpse at the underbelly of Golden Age Hollywood. * Film Review *Table of ContentsChapter 1 Introduction by Patrick McGilligan Chapter 2 A Foreword Written Afterward Chapter 3 The Public Enemy: Dirt and Pay Dirt Chapter 4 Farewell Stag for a Hollywood Tycoon Chapter 5 Errol Flynn: Caliph of Bagdad Chapter 6 The Great Profile Eroded Chapter 7 Dollars and Sentiment and Pinkerton Chapter 8 The Fixed Wheel Chapter 9 The Horse of Honor Chapter 10 Liberal Producer Chapter 11 The Sad Boomerang of Good Intention Chapter 12 An Alcoholic Not Anonymous Chapter 13 Mystery Story en Passant Chapter 14 Up with the Flag Chapter 15 Hollywood Goes to War Chapter 16 Winding Down Chapter 17 The Road Back to a Different Kind of War Chapter 18 Two Who Stood Up...Two Who Fell Down Chapter 19 An End and a New Beginning Chapter 20 Unhappy Farewell to Mexico Chapter 21 Coda Chapter 22 John Bright's Last Will and Testament Chapter 23 John Bright—Storyteller by Casey Bright Chapter 24 The Films of John Bright Chapter 25 Index
£71.10
Scarecrow Press Redefining Adaptation Studies
Book SynopsisTranscending the literature/film paradigm of typical film adaptation courses, these essays focus on the idea of 'adaptation' and what it means in different socio-political contexts. This volume not only suggests how 'adaptation' might be used in different disciplines but how it might improve the learning experience for teachers and students alike.Trade ReviewA superb resource for teachers....Practical and theoretically aware; will be of service to those who teach courses that involve screen adaptation. Recommended. * CHOICE *
£56.70
The University Press of Kentucky Hitchcocks Partner in Suspense
Book Synopsis
£30.40
MW - Rutgers University Press Body Double The Author Incarnate in the Cinema
Book SynopsisExplores the myriad ways that artists and the creative process have been represented on screen. Through the exploration of many distinct forms of cinema, Lucy Fischer examines such topics as the gender, age, and mental or physical health of fictionalized artists; the dramatized interaction between artists, audiences, and critics; and the formal play of written words and nonverbal images.Trade Review"Fischer’s original, wide-ranging book shows that filmmakers have said as much or more than theorists about the complex figure of the author in modern culture." -- James Naremore * Indiana University *"Richly detailed, carefully researched, and elegantly written, Lucy Fischer’s Body Double signficantly reshapes our understanding of authorship in the cinema while exploring related issues regarding gender, style, writing, and embodiment." -- Patrice Petro * Past President, Society for Cinema and Media Studies *"Where is the author in film? In this book, Fischer offers a wide ranging, deeply informed view of the concept of authorship in cinema in all its manifestations. This brief review cannot begin to address the multitude of films, scenarists, directors, and films given detailed examination, but the manner in which Fischer discusses the films and their makers, both literary and cinematic, is authoritative and never less than richly detailed. This is a bold and adventurous book that repays multiple readings. Highly recommended." * Choice *Table of ContentsAcknowledgmentsIntroduction: The Screen Author--Wanted: Dead or Alive1. Typecasting the Author2. Beyond Adaptation: The Writer as Filmmaker3. The Author at the Dream Factory: The Screenwriter and the Movies4. The Authoress: Textuality as Sexuality5. Writing Pain: The Infirm Author6. Cinecriture: Word and Image7. Corpus and Oeuvre: Authorship and the Body8. Stealing Beauty: The Reader, the Critic, and the Appropriation of the Authorial VoiceAfterword: Signs and Meaning in the CinemaNotesFilmographyBibliographyIndex
£31.00
New York University Press Complex TV
Book SynopsisTrade ReviewComplex TVis one of the most exciting books I have ever read.Each chapter contains useful and well-defined terms to put to work in formal analysis, and every argument is backed up with lively, detailed, and entertaining readings of familiar TV texts.The result is a rich and thorough piece of scholarship that will do for television studies what David Bordwells historical poetics has famously done for film. -- Robyn Warhol,co-editor of Narrative Theory Unbound: Queer and Feminist InterventionsA lucid and provocative exploration of modern television, from the inside out. -- Emily Nussbaum,television critic at the New YorkerMittell cleverly explores Complex TV on its own terms, favouring a formal analysis investigating the poetics of television series over discussing their cultural impact or interpretation of content. Looking at how television tells stories Mittell shows the contribution of technology, reception, and industry in changing television into a & lived cultural experience where different forms of & cultural engagement, are key to understanding the textuality of Complex TV. * European Journal of Media Studies *[]Mittels compelling arguments about topics such as anti-heroes and melodrama help us see the bigger picture when it comes to the small screen. * Seven Days *Table of ContentsContents Acknowledgments vii Introduction 1 1. Complexity in Context 17 2. Beginnings 55 3. Authorship 86 4. Characters 118 5. Comprehension 164 6. Evaluation 206 7. Serial Melodrama 233 8. Orienting Paratexts 261 9. Transmedia Storytelling 292 10. Ends 319 Notes 355 Index 381 About the Author 391
£19.94
New York University Press Complex TV The Poetics of Contemporary
Book SynopsisTrade ReviewComplex TVis one of the most exciting books I have ever read.Each chapter contains useful and well-defined terms to put to work in formal analysis, and every argument is backed up with lively, detailed, and entertaining readings of familiar TV texts.The result is a rich and thorough piece of scholarship that will do for television studies what David Bordwells historical poetics has famously done for film. -- Robyn Warhol,co-editor of Narrative Theory Unbound: Queer and Feminist InterventionsA lucid and provocative exploration of modern television, from the inside out. -- Emily Nussbaum,television critic at the New YorkerMittell cleverly explores Complex TV on its own terms, favouring a formal analysis investigating the poetics of television series over discussing their cultural impact or interpretation of content. Looking at how television tells stories Mittell shows the contribution of technology, reception, and industry in changing television into a & lived cultural experience where different forms of & cultural engagement, are key to understanding the textuality of Complex TV. * European Journal of Media Studies *[]Mittels compelling arguments about topics such as anti-heroes and melodrama help us see the bigger picture when it comes to the small screen. * Seven Days *Table of ContentsContents Acknowledgments vii Introduction 1 1. Complexity in Context 17 2. Beginnings 55 3. Authorship 86 4. Characters 118 5. Comprehension 164 6. Evaluation 206 7. Serial Melodrama 233 8. Orienting Paratexts 261 9. Transmedia Storytelling 292 10. Ends 319 Notes 355 Index 381 About the Author 391
£66.60
Oldcastle Books Ltd Writing Diverse Characters for Fiction TV or Film
Book SynopsisWe're living in a time of unprecedented diversity in produced media content, with more characters appearing who are Black, Asian and Minority Ethnic (BAME), Lesbian, Gay, Bisexual and Transgender (LGBT), disabled, or from other religions or classes. What's more, these characters are appearing more and more in genre pieces, accessible to...Trade ReviewA timely guide to creating original characters and reinvigorating tired storylines. -- Debbie Moon, creator and showrunner, Wolfblood (BBC)Lucy V. Hay nails it -- Stephen Volk, BAFTA-winning screenwriter: Ghostwatch, Afterlife, The AwakeningPacked with practical and inspirational insights -- Karol Griffiths, development consultant and script editor, clients include ITV, BBC, Warner BrothersIt's definitely a book to have if you want to improve your characters -- Sophie Gardiner * Waterstones *
£16.99
Oldcastle Books Ltd From Creation to Pitch
Book SynopsisFrom the initial spark of inspiration to the delivery of a creative, but essentially commercial, series, From Creation to Pitch sets out to demystify the process of Television Series Drama Development for writers keen to get their voices heard and their stories read, discussed and viewed....
£17.09
Oldcastle Books Ltd Writing and Selling Thriller Screenplays
Book SynopsisWriting and Selling Thriller Screenplays has the lowdown on how to get your thriller feature script on to the page, and how to get it in front of producers and investors....Trade ReviewTrust Lucy Hay on the film and TV business. In her trademark cut-to-the-chase style, she meticulously sets out what the public likes and the industry wants and crucially, concludes with invaluable in-depth career strategies for getting your scripts read and you into the industry. The go-to book on thrillers. Keep one on your desk -- Linda Aronson
£16.99
House of Anansi Press Ltd ,Canada The Way of the Screenwriter
Book SynopsisA story is a living thing. And you don''t work on a living thing, you work with it. This is the way of the screenwriter, and it is something that writer and director Amnon Buchbinder believes all masterful screenwriters understand intuitively: learning how to work with story through a painstaking process of trial, error, and self exploration.Amnon Buchbinder draws on his knowledge as a teacher and his experience as a script doctor and a story editor to explore this creative process. Along the way he illustrates principles often inspired by the philosophy of Laozi (Lao Tze) with examples drawn from major motion pictures such as Memento and The Piano. For the beginning or seasoned screenwriter who aspires to more than mere competence, Buchbinder illuminates a path towards mastery of the craft. For the lover of the cinematic experience, he opens a curtain to reveal a rarely seen world behind the big screen.
£16.19
Legacy Books Press The Secret History of Star Wars
£24.65
Save the Cat! Press Save the Cat Goes to the Indies
Book Synopsis
£19.50
Save the Cat! Press Save the Catr Writes for TV
Book SynopsisBlake Snyder’s Save the Cat!®, the world’s top-selling story method for filmmakers and novelists, introduces The Last Book on Creating Binge-Worthy Content You’ll Ever Need. Screenwriter Jamie Nash takes up Snyder’s torch to lay out a step-by-step approach using Blake’s principles.
£20.48
Taylor & Francis Ltd MediaWriting
Book SynopsisAccessible and engaging, this book is an invaluable resource for students planning to enter the dynamic and changing world of media writing.Drawing on a wealth of real-world examples and featuring helpful How To boxes throughout, MediaWriting explains the various styles of writing for print, broadcast, online, social media, public relations, and multimedia outlets.Expanded and updated throughout, this sixth edition features: A look at how journalists and PR practitioners use and write for social media platforms such as X and Facebook; Tips for better web writing, research, interviewing, and headline writing across multiple media platforms, including covering breaking news in the digital world; Coverage of public relations writing for digital media, publications, and other organizational media; Updates on current ethical issues faced by communicators; Information on spotting fake news and deep fakes; Strategies f
£66.49
Pan Macmillan Lifes Work
Book SynopsisThe creator of Deadwood and NYPD Blue reflects on his tumultuous life, driven by a nearly insatiable creative energy and a matching penchant for self-destruction.Trade ReviewThought-provoking reflections on existence * Independent *A book full of riches [..] to fuel the reader’s creativity, full of insight into the way real art can be made, even in the most trying circumstances * New Statesman *A brilliant, emotional memoir and hymn to television screenwriting * Mail on Sunday *Life’s Work is one of the best books about television I’ve read. It’s funny, discursive, literate, druggy, self-absorbed, fidgety, replete with intense perceptions… You finish feeling you’ve really met someone. Milch was his own best creation -- Dwight Garner * The New York Times *The most gorgeously humane voice I've encountered in a work of nonfiction in a long while. I can think of few recent books that have pulsed with life this transparently, this powerfully. * Rick Moody, author of The Ice Storm *Like the best memoirs, Life's Work is intimate, exquisitely observed, and intense. But unlike most - and what sets it apart - is the heartbreak it embodies, the finality it signals. This is David Milch's farewell, and it will rock you * Susan Orlean, author of The Orchid Thief *A wise, sly, hilarious, and poignant account of a life's work in hard drugs and hard television. * Joshua Cohen, Pulitzer Prize-winning author of The Netanyahus *
£18.00
John Wiley & Sons Inc Screenwriting For Dummies
Book SynopsisTable of ContentsIntroduction 1 About This Book 1 Foolish Assumptions 3 Icons Used in This Book 3 Beyond the Book 4 Where to Go from Here 4 Part 1: So you want to write for Pictures 5 Chapter 1: Introducing the Art of Screenwriting 7 In The Mind’s Eye 7 Developing the Writer’s Mind 8 Approaching Screenwriting as a Craft 9 Finding Your Screenplay’s Story 9 Working through the Writing Process 10 Formatting Your Screenplay 11 Constructing Your First Draft 11 Rewriting Your Script 12 Adapting Your Screenplay from an Outside Source 13 Selling Your Screenplay to Show Business 13 Chapter 2: Preparing to Think Visually 15 Is It Cinema? Considering Other Mediums 15 Is it a screenplay or a novel? 16 Is it film or theater? 17 Is it a movie, visual art, or poetry? 17 It’s probably a screenplay if 18 What You See Is What You Get: The Visual Life of a Screenplay 20 Crafting images from the outside in 21 Crafting images from the inside out 22 Chapter 3: Diving Into the Screenwriter’s Mind 25 Finding Your Feet: How to Learn From Other Writers 26 Reading for dramatic intent 27 Recognizing a screenplay’s genre 28 Art and Life: What’s the Difference? 30 Developing an Artistic Sensibility 31 What a writer sees 32 What a writer hears 33 What a writer remembers and what a writer forgets 34 Recognizing a Story When You See One 36 Identifying the call to write 36 The four important P’s of story 37 Finding an opening image 37 Chapter 4: Approaching Screenwriting as a Craft 39 Invoking the Muse: Examining the Creative Process 40 Imagination: Your Creative Arsenal 41 Flexing the imagination 42 Putting the imagination to work 43 Identifying your writing voice 47 Craft: A Vehicle for Your Imagination 49 Form 50 Technique 50 Discipline 54 Part 2: Breaking down the elements of a story 57 Chapter 5: Unpacking Your Idea 59 I Have This Great Idea Now What? 59 Identifying your interest in the idea 60 Documenting your interest in the idea 61 Getting to Know Your Audience 63 Matching the story to the audience 63 Connecting with your audience 66 Knowing What Happened Before Your Story Began: Creating the Backstory 68 Identifying the elements of a backstory 68 Developing a screenplay through backstory 70 Identifying the Tone of Your Piece 71 Establishing Your Story’s Time Clock 72 Deciding When to Start Your Story 74 Getting to Know Aristotle: A Dramatist’s Best Friend 76 What’s It All About?: Writing an Effective Synopsis 77 Chapter 6: Plot Part I: Beginnings 81 Crafting an Eye-Opening Opener 82 What to show first: person, place, or thing? 82 Conflict: What’s wrong with this picture? 85 Possible ways to begin your story 86 Three Compelling (and Contrasting) Movie Beginnings 87 Jaws 88 Lady Bird 88 Moonlight 89 Chapter 7: Plot Part II: Middles 91 Muddling through the Middle 92 From Lights to Camera to . . . ACTION! 93 Action versus activity 94 Revisiting the story’s time clock 95 Status: Where’s the Upper Hand? 96 What’s Your Problem? Introducing Conflicts and Obstacles 99 Exposition: From Clunky to Creative 101 Sharing info the characters know 101 Sharing info the characters may not know 103 Determining What to Write from What You’ve Written 104 Three Compelling (and Contrasting) Movie Middles 106 Jaws 106 Lady Bird 107 Moonlight 108 Chapter 8: Plot Part III: Endings 111 Are We There Yet? How to Know When You’re Done 112 Tracking the change: What’s different now? 113 Crafting your story’s conclusion 117 Danger Will Robinson: Threats to an Otherwise Healthy Plot 120 Would that really happen? The probable versus the possible 120 Scenes where nothing happens: Two final threats to watch for 123 Ultimate Success: Tracking Three Movies through Their Triumphant Conclusions 125 Jaws 125 Lady Bird 125 Moonlight 126 Chapter 9: Character Building 127 Portrait of a Person: Constructing a Physical World 128 Your character’s physical being 128 Your character’s physical environment 131 The Good, the Bad, and the Ugly: Constructing an Internal World 135 Dreams, desires, and passions 136 Your character’s engine: Needs versus wants 137 Talents and expertise 138 Internal obstacles 139 Your character’s argument 140 From the Inside Out: Making the Inner World Visible 142 Balancing character dialogue with character action 142 Crafting concrete character goals 143 Providing character opportunities 143 Establishing routines that change 144 Forcing your characters to choose 144 Using a mentor 145 Using a narrator 146 Crafting secondary characters 146 Chapter 10: Delivering Dynamic Dialogue 147 Diction: What’s in a Word? 148 Isn’t versus ain’t: Diction’s determining factors 149 The highs and the lows of language 153 Name That Tune: Crafting Your Character’s Music 156 Sound 101: Using poetry as a guide 157 Fascinating rhythm: Crafting your script’s pulse 158 Letting the Listener Lead 161 Putting It Together: Characters in Conversation 163 Setting the scene 163 Dialogue do’s and don’ts 165 Chapter 11: The Nontraditional Film 173 Breaking with Tradition: Other Ways to Get the Job Done 174 Tinkering with Time 175 Song and Dance: The Movie Musical 177 How much music is too much music? 178 Original musicals 179 Musical adaptations 181 One Click Away: Writing a Web Series 183 Show me the money! 185 Tackling the pre-production work for a web series 186 Getting involved in web series production 189 Successfully steering the web series post-production process 190 Scripting the Short (Film) 192 Finding the Festival for You 193 Chapter 12: Maintaining an Audience’s Trust 195 Screenwriting and Ethics 196 Screenwriting and Responsibility 197 What are you willing to put your name on? 197 The immunity factor 198 Is this story for you? Appropriation and authenticity 200 A Gift for Gab: How to Conduct a Meaningful Interview 203 Preparing for an interview 203 Setting up an interview 204 Conducting an interview 205 Part 3: Turning your story into a script 207 Chapter 13: Mapping Out Your Screenplay 209 Conceptualizing Your Concept 210 How to Treat Your Treatment 212 Before you begin 213 Putting it on the page 214 Exploring the Ins and Outs of an Outline 217 One beat at a time 218 Filling in the gaps 220 Crafting the conclusion 221 What to Do When the Outline’s Through 222 Chapter 14: Surviving Writer’s Block 225 Moving from Panic to Peace 226 The top reasons for writer’s block 227 A survival guide 230 Reevaluating Your Routine 231 Seeking Outside Help 233 Chapter 15: Formatting Your Screenplay 235 How the Screenplay Looks on the Page 236 Formatting a title page 236 Setting up the seven components of a page 237 Setting your typeface and margins 238 Spacing your script correctly 239 Making your computer work for you 243 Creating a PDF 244 Making Your Format Flow 246 Cinematic description 246 Character introductions 248 Transitional directions 252 Camera concerns 255 Sample Scenes 260 Chapter 16: Putting It Together: Structuring Your First Draft 261 Traversing the Three-Act Structure 262 Act I: Introductions 263 Your opening moments 263 The first fifteen pages 264 The inciting incident 265 Plot point one 266 Act II: Salting the Wound 266 Know where the action is 268 The about-face 270 The midpoint 270 Plot point two 270 Act III: The Final Frontier 271 The climax 272 The resolution 273 A Note on Subplots 273 Variations on the Routine 276 The five-act structure 276 The eight-sequence structure 277 Chapter 17: Take Two: Rewriting Your Script 279 Downshifting between Drafts 279 How to work when you’re not working 280 Your first time back: Read-through #1 282 A second glance: Read-through #2 284 Back in the Saddle Again: Rewrites 291 Recruiting a Reader 293 Capitalizing on Your Critique 294 Chapter 18: Adaptation and Collaboration: Two Alternate Ways to Work 297 Procuring Primary Material 298 Knowing when you need a copyright 298 Comprehending copyrights 298 Procuring permission 299 Assessing how much to adapt 301 Navigating between Forms 302 From fiction to film 302 From stage to screen 305 From meter to movies 307 Mastering the Process of Adaptation 308 How to approach an original work 308 What to do when you’re stuck 310 Studying the Art of Collaboration 311 What to look for in a writing Partner 311 How to approach collaboration 312 Learning collaboration from the pros 313 Part 4: Selling your script to show business 317 Chapter 19: Before You Send It: Pre-Marketing Considerations 319 Understanding the “Biz” in Showbiz 320 Getting to know the players: The Hollywood hierarchy 320 Getting to know the buyers: The studio hierarchy 322 Getting a “grip”: Hollywood jargon 324 Preparing Yourself for the Biz 327 Putting on a happy face: The art of attitude 327 Organizing your records 328 Reaching out to the right resources 331 Setting personal goals 333 Polishing the Copy You Send 334 Checking last-minute details 334 Finessing your front page 336 Protecting Your Work 336 Registering with the Writers Guild of America 336 Pursuing the “poor-man’s copyright” 337 Chapter 20: Getting Your Screenplay Noticed 339 Designing Your Own Package 340 Highlighting the universal 341 Gaining the competitive edge 342 Considering the reader 343 Preparing to Pitch 344 Perfecting the teaser pitch 345 Selling the story pitch 346 Finding a Manager or Agent 348 Approaching an Agent or Manager 349 Sending a query 351 Pitching Your Script without an Agent 354 What to Do When They Say Yes 356 Meeting with an agent 357 Meeting with executives 358 Looking Ahead: Upon Achieving Success 359 A Final Note 360 Part 5: The Part of Tens 361 Chapter 21: Ten Screenwriters You Should Know 363 Sofia Coppola 364 Nora Ephron 365 William Goldman 366 Charlie Kaufman 367 Spike Lee 368 John Logan 370 Jordan Peele 372 Issa Rae 373 Taika Waititi 374 Phoebe Waller-Bridge 376 Chapter 22: Ten Screenwriting Myths 379 I Have to Live in Los Angeles to Write Screenplays 379 I Have to Go to Grad School to Learn How to Write 380 If I Can Write for Film, I Can Write for TV 381 I Haven’t Written Before and It’s Too Late to Start 382 Writing Is a Lonely Profession 383 Hollywood Has No Ethics; It’ll Ruin the Integrity of My Script 383 It’s Not What I Know; It’s Who I Know That Matters 384 I Have Too Many Obligations to Be a Writer 385 I’m Only as Successful as the Last Screenplay I Sold 386 I’m Not Talented Enough to Be a Writer 386 Appendix A: Sample scenes and online Resources 387 Index 405
£17.84
Bloomsbury Publishing PLC The Bloomsbury Introduction to Creative Writing
Covering all of the major genres, The Bloomsbury Introduction to Creative Writing is a complete introductory manual for students of creative writing. Now in its second edition, the book features an updated and expanded chapter on writing for digital media, and new exercises for reading across the genres and writing hybrid forms. Through a structured series of practical writing exercises – perfect for the classroom, the writer’s workshop or as a starting point for a portfolio of work – the book builds the student writer from the first explorations of voice and the relationship between writing and knowledge, through to mastery of a wide range of genres and forms. The Bloomsbury Introduction to Creative Writing covers such genres as: · Autobiographical writing · Short fiction · Poetry · Screenwriting and writing for performance · Writing for digital media, including video games and social media With practical guidance on writing scholarly critiques of your own work and a glossary of terms for ease of reference, The Bloomsbury Introduction to Creative Writing is an essential manual for any introductory creative writing course and a practical companion for more advanced writers.
£21.84
Bloomsbury Academic The Calling Card Script
Book Synopsis
£19.99
Hyperion How Not To Make A Short Film
Book SynopsisExcellent and entertaining advice for aspiring directors from a veteran Sundance programmer.
£12.59
Bloomsbury Publishing PLC The Creative Screenwriter
Book SynopsisCreativity is becoming increasingly important in an age of advanced audience sophistication. It's no longer enough to follow standard writing techniques - becoming a first-class screenwriter demands not only a command of craft, but an understanding of how to unleash and harness creativity. The Creative Screenwriter offers a wealth of inspiring writing exercises designed to help you produce better, more exciting scripts. Each essential area of screenwriting is covered in its own chapter, from learning how to build stories and finding good ideas, to deepening characters and experimenting with structure, to enhancing scene writing and improving pitching. Finally, a range of innovative DIY Script Surgeries encourage you to find solutions to common screenwriting problems, such as overcoming writer's block, managing the rewrite and selling your work. This is a book to return to again and again. It is a guide for aspiring screenwriters who want to develop a powerful writing practice; a manualTrade ReviewA manual for teachers and students seeking inspiring exercises to encourage discussion, and a handbook for professionals wanting to hone their craft. * Writers Forum *
£17.09
Bloomsbury Publishing PLC Writing Screenplays That Sell
Book SynopsisNo one is better than Michael Hauge at finding what is most authentic in every moment of a story.... Will Smith, actorIn the field of teaching screenwriting, Michael Hauge is indeed a master. The Freelance Screenwriter''s ForumA bestseller for 20 years, Hauge''s unique six step'' approach to screenwriting cuts through nonsense, striking the perfect balance between commercial advice, artistic encouragement and lucid examples from hundreds of great films. Never losing sight of the fundamental purpose of a script: emotional impact, Hauge''s engaging and inspiring book takes you on a journey through story concept, character development, theme, structure and scenes. Screenwriting is an art, but Hague''s book is unashamedly commercial with advice on how to submit a manuscript, select an agent and market yourself.Updates to this edition include a new, masterful analysis of Avatar''s script, n
£22.99
Fireside Books How To Write For Television
£15.16
Rowman & Littlefield The Walking Dead Live
Book SynopsisIn 2010, The Walking Dead premiered on AMC and has since become the most watched scripted program in the history of basic cable. Based on the graphic novel series by Robert Kirkman, The Walking Dead provides a stark, metaphoric preview of what the end of civilization might look like: the collapse of infrastructure and central government, savage tribal anarchy, and purposeless hordes of the wandering wounded. While the representation of zombies has been a staple of the horror genre for more than half a century, the unprecedented popularity of The Walking Dead reflects an increased identification with uncertain times.In The Walking Dead Live! Essays on the Television Show, Philip L. Simpson and Marcus Mallard have compiled essays that examine the show as a cultural text. Contributors to this volume consider how the show engages with our own social practicesfrom theology and leadership to gender, race, and politicsas well as how the show reflects matters of masculinity, memory, and survivTrade ReviewThe Walking Dead Live!: Essays on the Television Show, edited by Philip L. Simpson and Marcus Mallard, illustrates the depth and breadth in which critical analysis has also evolved to parallel the zombie’s stature in American culture.... With America’s fascination and fear of Others/others, readers will find this anthology a useful research and teaching tool. * Journal of American Culture *
£76.50
Rowman & Littlefield Breaking Bad
Book SynopsisAs one of the most critically acclaimed shows of all time, Breaking Bad explored the life and crimes of a high school chemistry teacher turned meth kingpin of the American Southwest. As Walter White and his former student Jesse Pinkman become deeply entwined in the drug world, their narrative leaves a trail of bodies strewn across the show's five seasonsa story that resulted in more than 15 Emmy awards.In Breaking Bad: A Cultural History, Lara C. Stache offers an engaging analysis of the program, focusing on the show's fascinating characters and complex story lines. Stache gives the show its due reverence, but also suggests new ways of understanding and critiquing the series as a part of the larger culture in which it exists. The author looks at how the program challenges viewers to think about the choices made in the narrative, analyzes what did and did not work, and determines the program's cultural significance, particularly its place in twenty-first century America.The author also Trade ReviewThis entry in the 'Cultural History of Television' series is a stunning dissection of Breaking Bad, the critically acclaimed AMC TV series following Walter White's (Bryan Cranston) path from schoolteacher to drug lord. Stache's debut is both a close reading of the series and a delight for fans as she analyzes the market and fandom while also highlighting intense Internet speculation over promotional posters as one example of audience engagement. Stache delves into whether Walter is an antihero or outright villain, illustrates how binge watching on Netflix increased the viewer numbers, and takes a close look at the supporting cast in relation to the main character. Finally, the author concludes with a self-proclaimed 'opinionated compendium' of episode synopses. Never losing her witty voice, she guides readers through a well-researched discussion of what made this a landmark series. VERDICT Stache manages a scholarly take on a television show about the meth trade and turns it into a fast, fun read , making this a essential for fans of the show. * Library Journal *Although its last episode aired in 2013, enthusiasm continues unabated for Breaking Bad, the TV show about a dying high-school chemistry teacher who begins to cook meth. Stache’s book has three parts, the first on Walter White and his alter ego Heisenberg; the next, on the show’s cultural significance; and the last on the role each character plays in Walter White’s life. Stache posits that Walt is neither antihero or villain but a wholly new kind of character. He’s deeply flawed and ultimately evil, but he earns viewers’ loyalty and admiration. Walt’s bad choices are distinct from those of his partner, Jesse, whom viewers also love, but who has more redeeming qualities. Stache offers a plausible explanation of why most viewers hate Walt’s wife, Skyler, suggesting that the writing did not do her character justice in early episodes. With its notes and bibliography and an ‘opinionated compendium’ on each episode, the book should make any fan appreciate its exploration of the much-loved series ‘as part of the larger culture in which it exists.’ * Booklist *A recent addition to the new "Cultural History of Television" series centers on the award-winning television series Breaking Bad, which ran on the American Movie Channel from 2008 to 2013, and continues to find new viewers on Netflix. Stache (Governors State Univ.), who states that she has been a loyal fan of the show since its inception, has written a detailed analysis of the series, which revolves around the character of an American high school chemistry teacher in the Southwest, Walter White. Upon learning he has a terminal illness, White enters the methylamine drug world to make money to support his wife and children after his death. His personal transition from teacher to drug lord and his role as the protagonist are examined through five seasons. In nine chapters, Stache describes how the writers scripted the series, evaluates in detail the main characters, discusses the role of culture in an evaluation of the success of the show, and concludes with a chapter of the episodes with a compendium. This is a readable book for general fans of the show and is also an academic look at culture and television. * CHOICE *
£35.10
Twelve Dialogue The Art of Verbal Action for Page Stage
Book SynopsisThe long-awaited follow-up to the perennially bestselling writers'' guide Story, from the most sought-after expert in the art of storytelling. Robert McKee''s popular writing workshops have earned him an international reputation. The list of alumni with Oscars runs off the page. The cornerstone of his program is his singular book, Story, which has defined how we talk about the art of story creation. Now, in Dialogue, McKee offers the same in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways. From Macbeth to Breaking Bad, McKee deconstructs key scenes to illustrate the strategies and techniques of dialogue. Dialogue applies a framework of incisive thinking to instruct the prospective writer on how to craft artful, impactful speech. Famous McKee alumni include Peter Jackson, Jane Campion, Geoffrey Rush, Paul Haggis, the writing team for Pixar, and many others.
£26.25
Little, Brown Book Group How To Write For Television 7th Edition
Book SynopsisThis book provides professional tips and techniques for those wishing to break into writing for TV whether it''s a soap, series drama, or situation comedy. It covers all aspects of script writing such as structure, plotting, characterization and dialogue and is packed with advice on presenting and selling scripts. It also includes a chapter specifically on writing for radio.
£11.39
Edinburgh University Press Superhero Blockbusters
Book SynopsisExplores the huge commercial success of contemporary superhero blockbusters and develops a critical theory of digital-era popular seriality
£81.00
McFarland & Co Inc The Rules of Screenwriting and Why You Should
Book Synopsis A couple of generations ago, the movie industry ran on gut instinct--film schools, audience research departments and seminars on screenwriting were not yet de rigueur. Today the standard is the analytical approach, intended to demystify filmmaking and guarantee success (or at least minimize failure). The trouble with this method is that nobody knows how to do it--they just think they do--and films are made based on models of predictability rather than the merits of the script. This insider''s look at the craft and business of screenwriting explodes some of the popular myths, demonstrating how little relevance the rules have to actual filmmaking. With long experience in film and television, the author provides insightful how-not-to analyses, with commentary by such veterans as Josh Sapan (CEO of AMC Networks), bestselling author Adriana Trigiani and Oscar-nominated screenwriter Nicholas Pileggi (Goodfellas).
£17.59
University of Texas Press On StoryScreenwriters and Filmmakers on Their
Book SynopsisAward-winning screenwriters and filmmakers, including Ron Howard, Callie Khouri, Jonathan Demme, Ted Tally, Jenny Lumet, and Harold Ramis, discuss their careers and iconic films in these lively conversations transcribed from the acclaimed PBS series On StTrade Review"[L]ively and star-studded. . . . the collection will have you adding flicks to your ever-growing Netflix queue." * Austin Monthly *Table of Contents Foreword: Tips by James Franco Acknowledgments Biographies Introduction by Maya Perez 1. Creating Classic Characters A Conversation with Shane Black, David Milch, and Sydney Pollack, Moderated by Barry Josephson 2. Heroes and Antiheroes A Conversation with Paul Feig, Jenny Lumet, and Aline Brosh McKenna 3. ”In the name of my father and of the truth!” Up Close with Terry George Terry George on In the Name of the Father 4. ”Can it be done, father? Can a man change the stars?” A Conversation with Brian Helgeland, Moderated by Barbara Morgan 5. ”Attica! Attica!” Brian Helgeland Presents Frank Pierson with the Distinguished Screenwriter Award at the 2003 Austin Film Festival Robin Swicord on Dog Day Afternoon Up Close with Frank Pierson 6. ”Houston, we have a problem.” A Conversation with Ron Howard, Moderated by William Broyles Jr. A Conversation with Ron Howard, Jim Lovell, Sy Liebergot, John Aaron, Jerry Bostick, Michael Corenblith, Al Reinert, and William Broyles Jr., Moderated by Jane Sumner 7. ”If nobody loses their head, nobody will lose their head.” Up Close with Callie Khouri Callie Khouri on Thelma & Louise 8. ”It's Groundhog Day!” A Conversation with Harold Ramis, Moderated by Judd Apatow Danny Rubin on Groundhog Day 9. ”Have the lambs stopped screaming?” A Conversation with Jonathan Demme, Moderated by Paul Thomas Anderson Ron Nyswaner on Philadelphia A Conversation with Ted Tally, Moderated by Álvaro Rodríguez 10. ”I love the smell of napalm in the morning.” A Conversation with John Milius and Oliver Stone 11. ”I am Groot.” A Conversation with Michael Green, Ashley Miller, and Nicole Perlman, Moderated by Álvaro Rodríguez 12. ”Which story do you prefer?” Up Close with David Magee Afterword: Some Things I've Learned by Bill Wittliff
£15.19
University of Texas Press On StoryThe Golden Ages of Television
Book SynopsisAward-winning television creators and writers discuss the evolution of TV storytelling in these lively conversations from the acclaimed PBS series On Story.Trade ReviewThis book features something for everyone. Pop culture fans will enjoy the inside stories about their favorite programs; details about casting, relationships, and story development are often as entertaining as the shows themselves. Writers will draw inspiration from the creative processes used and challenges faced by the biggest names in the business. Scholars will appreciate the contribution the interviews make to our study of television. * Popular Culture Studies Journal *Table of Contents Foreword by Noah Hawley Acknowledgments Biographies Introduction by Maya Perez 1. COMEDIES Up Close with Garry Shandling (2004) Up Close with Greg Daniels (2008) Arrested Development: A Conversation with Mitchell Hurwitz, Moderated by Paul Feig (2009) A Conversation with Alec Berg, Moderated by Pat Hazell (2011) Orange Is the New Black: Up Close with Jenji Kohan (2013) Web Series to HBO: Up Close with Issa Rae (2015) A Conversation with Carl Reiner, Moderated by Barry Josephson (2015) A Conversation with Marta Kauffman, Moderated by Barbara Morgan (2016) New Girl: A Conversation with Elizabeth Meriwether, Moderated by Beau Willimon (2016) Up Close with Paula Pell (2016) Up Close with Alan Yang (2017) 2. DRAMAS Oz: Up Close with Tom Fontana (2003) The X-Files: A Conversation with Chris Carter, Moderated by Damon Lindelof (2012) A Conversation with David Chase, Moderated by Barry Josephson (2012) Lost: Up Close with Damon Lindelof (2012) Up Close with Marti Noxon (2012) Breaking Bad: A Conversation with Vince Gilligan, Moderated by Barry Josephson (2013) A Conversation with Vince Gilligan, Moderated by Álvaro Rodríguez (2013) Rectify: A Conversation with Ray McKinnon, Moderated by Barbara Morgan (2013) House: Up Close with David Shore (2013) Justified: Up Close with Wendy Calhoun (2014) The 10-Hour Movie: A Conversation with Cary Fukunaga and Noah Hawley (2014) Mad Men: A Conversation with Matthew Weiner, Moderated by Robert Draper (2014) Better Call Saul: A Conversation with Peter Gould, Moderated by Barbara Morgan (2015)
£15.19
Hal Leonard Corporation The Only Woman in the Room Episodes in My Life
Book SynopsisTHE ONLY WOMAN IN THE ROOM: EPISODES IN MY LIFE AND CAREER AS A TELEVISION WRITER
£22.50
Lexington Books Screenplay and Narrative Theory
Book SynopsisScreenplay and Narrative Theory draws attention to the notion that in order to comprehend complex narrative dynamics, which are encountered in a great variety of narrative genres, forms, and formats, a more comprehensive theory of narrative is required. George Varotsis explains how a work of narrative functions synergistically and systemically, as well as elucidates the heuristic problem-solving mechanisms that are employed in various structural levels of thought processes, which allow the coherent accumulative derivative we call a story to emerge. The transition from an empirical to theoretical perspective is achieved by introducing characteristics of complex narrative systems: a network of narrative components, i.e. characters, structure, goals, motivations, theme, plot and subplots, narrative action, etc., which are arranged hierarchically over three fundamental levels of structure, i.e. deep, intermediate, and surface structure, that interact parallel to one another in non-linearTrade ReviewVarotsis is himself a screenwriter, and he addresses some of narratology’s traditional questions from that perspective—problem solving through the process of writing and analyzing complex narratives. One of his concerns is moving beyond a 'story grammar' perspective toward a 'plot-algorithm' perspective. Plot algorithms allow the screenwriter, or creators of narrative, to analyze and account for more complex narratives. The volume includes numerous figures, story sequences, and graphs that map out visually—and elucidate—the aspects of narrative or plot algorithms the author describes. Varotsis's focus on character as a key element of narrative study is useful. . . .[T]he author engage[s] productively with the works of a number of important narrative and film theorists, placing the work here in clear dialogue with others. Summing Up: Recommended. Graduate students, researchers, faculty, practitioners. * CHOICE *Why do some films soar to new creative heights and others spiral vertiginously downward? It’s all in the screenplay, as film practitioner George Varotsis so expertly and exquisitely explains. In this premier and pioneering study, Varotsis deftly weaves through the great thinkers of film and narrative theory—while grabbing insights from cognitive science—to unzip screenplay writing and examine the brains of those masterful homo fabers that take us into new transformative spaces. Take a leap with this one—you’ll take flight! -- Frederick Aldama, Ohio State University, author of Mex-Cine and The Cinema of Robert RodriguezTable of ContentsChapter One: The Narrative Landscape of Screenplectics Chapter Two: Universality of Structure and the Three-Act Paradigm Chapter Three: A Holistic and Systemic Approach Chapter Four: Internal Narrative Complexity Chapter Five: Story-world Configuration and Architectural Differentiation Chapter Six: Goal-orientation: A Key Component of Narrative Parameterization Chapter Seven: The Three Levels of Structure
£73.80
Lexington Books Screenplay and Narrative Theory
Book SynopsisScreenplay and Narrative Theory draws attention to the notion that in order to comprehend complex narrative dynamics, which are encountered in a great variety of narrative genres, forms, and formats, a more comprehensive theory of narrative is required. George Varotsis explains how a work of narrative functions synergistically and systemically, as well as elucidates the heuristic problem-solving mechanisms that are employed in various structural levels of thought processes, which allow the coherent accumulative derivative we call a story to emerge. The transition from an empirical to theoretical perspective is achieved by introducing characteristics of complex narrative systems: a network of narrative components, i.e. characters, structure, goals, motivations, theme, plot and subplots, narrative action, etc., which are arranged hierarchically over three fundamental levels of structure, i.e. deep, intermediate, and surface structure, that interact parallel to one another in non-linearTrade ReviewWhy do some films soar to new creative heights and others spiral vertiginously downward? It’s all in the screenplay, as film practitioner George Varotsis so expertly and exquisitely explains. In this premier and pioneering study, Varotsis deftly weaves through the great thinkers of film and narrative theory—while grabbing insights from cognitive science—to unzip screenplay writing and examine the brains of those masterful homo fabers that take us into new transformative spaces. Take a leap with this one—you’ll take flight! -- Frederick Aldama, Ohio State University, author of Mex-Cine and The Cinema of Robert RodriguezVarotsis is himself a screenwriter, and he addresses some of narratology’s traditional questions from that perspective—problem solving through the process of writing and analyzing complex narratives. One of his concerns is moving beyond a 'story grammar' perspective toward a 'plot-algorithm' perspective. Plot algorithms allow the screenwriter, or creators of narrative, to analyze and account for more complex narratives. The volume includes numerous figures, story sequences, and graphs that map out visually—and elucidate—the aspects of narrative or plot algorithms the author describes. Varotsis's focus on character as a key element of narrative study is useful. . . .[T]he author engage[s] productively with the works of a number of important narrative and film theorists, placing the work here in clear dialogue with others. Summing Up: Recommended. Graduate students, researchers, faculty, practitioners. * CHOICE *Table of ContentsChapter One: The Narrative Landscape of Screenplectics Chapter Two: Universality of Structure and the Three-Act Paradigm Chapter Three: A Holistic and Systemic Approach Chapter Four: Internal Narrative Complexity Chapter Five: Story-world Configuration and Architectural Differentiation Chapter Six: Goal-orientation: A Key Component of Narrative Parameterization Chapter Seven: The Three Levels of Structure
£36.90
Bloomsbury Publishing Plc SceneWriting
Book SynopsisYou've got an idea for the next great screenplay. Maybe you're just getting started or perhaps you've spent time with other screenwriting books, and you have your hero's journey, plot twists, reversals, and cat-saving scenes all worked out. Either way, what stands between you and an outstanding finished screenplay are the blank pages that you must fill with cinematic life, energy, conflict, and emotion. So how on Earth do you do that?The secret is scenewriting.This thorough and effective guide will help the beginner and the professional master the most critical and overlooked part of the screenwriting process: the art and craft of writing scenes. With step-by-step instruction, and numerous exercises, you will learn how to transform an outline into a fully-developed script. Learn how to prepare scenes for writing, construct sparkling, naturalistic dialogue, utilize scene description and the unique structure of the screenplay format to maximum advantage, and polTrade ReviewScene Writing: The Missing Manual for Screenwriters delivers on its promise to be an invaluable asset for beginning and intermediate writers of film and TV content and to teachers and students. The more advanced screenwriter would be well advised to sharpen their scene skills with this book. The casual reader will find the book diverting and entertaining. And in the academic setting the book can be useful as a part of a class on screenplay structure. * Journal of Screenwriting *Buy this book. Read this book. Then when you inevitably hit that moment in your screenplay where you're certain what you've written is garbage, read the book again. Chris and Eric break down the elements of screenwriting with deft humor and loads of insight, using spot-on examples from virtually every genre and subgenre you can imagine. Whether you've never written a screenplay or written dozens, SceneWriting is an invaluable resource. * David Walpert, Executive Producer (House of Lies, Veronica Mars, New Girl) *A multitude of books are focused on helping writers gain skills and solve problems relating to plot and story, but the audience ultimately judges their work one scene at a time, one scene after another. Perry and Sanders focus on these fundamental and often overlooked building blocks from which all scripts are built in an energetic and thorough style. * Jeremy Sheldon, Head of Development, Omeira Studio Partners, UK *SceneWriting is perfect for anyone wanting to turn their idea into a polished script. It brings logic to a craft that is often wildly illogical, and goes deeper than any book out there. * Jessika Borsiczky, Writer, Showrunner, Director (House of Lies, UnREAL, Lucifer) *The book is well laid out so you can pinpoint where your weak spot is as a scene writer and then dive into those chapters ... Some polishing and description reduction and my scenes are actually amazing. * Phoenix Screenwriters Association *SceneWriting stands out among screenplay manuals for its unique and valuable approach in focusing on the style and structure of the scene rather than the screenplay. The helpful attention to the writing process and its accessible style make it a useful component of any aspiring screenwriter’s library. * Julian Hoxter, Screenwriting Coordinator for Cinema at San Francisco State University, USA *SceneWriting is a must read for screenwriters of all levels and backgrounds, regardless if you’re an established writer or just starting out… the key to a great script all comes down to writing great scenes, which is why Perry and Sanders have put together a highly instructive and invaluable manual for success. * Will Reiser, USA, Writer/Producer of the film 50/50 *SceneWriting: The Missing Manual for Screenwriters is such a welcome addition to the world of books on screenwriting. Most books have a chapter or a section on writing scenes, but there are precious few titles that focus on this important topic. The authors present the material in an incredibly engaging, user-friendly style that is not just clear and easy to understand, it is is inspiring. The book kind of flips the model of most screenwriting books, because it centers its attention on constructing rich, active scenes but also gives ample time to other topics like dialogue, structure, and character development. The examples provided from contemporary films are effective in illustrating points and the authors' comments on them are enlightening. I am so glad that this book exists and have already started to implement some of the material into my classes. * David J. Greenberg, University of the Arts, Philadelphia, USA and author of Screenwriting For Micro-Budget Films *Chris and Eric are story-tellers who know there is no formula for screenwriting, only the joy, delight, and hard work of making things happen and creating the people things happen to. * Susan Shilliday, Writer (Legends of the Fall, thirtysomething), Sundance Advisor *An essential primer on the important foundational structure and elements that make a scene – and by extrapolation, a story – work. ... [D]eserves a place at the head of the table thanks to its crystal-clear explanation of the components needed to tell a well-crafted story and the roadmap it lays out to help every writer do just that. * Historical Journal of Film, Radio and Television *Table of ContentsWhy a Book About Scenes? Planning, Drafting, Perfecting What is a Great Scene, Anyway? PART I: Planning CHAPTER 1: What Do They Want And Why? What’s It All About? EXERCISE: Overarching Goal One Does Not Simply Walk Into Mordor Kinds of Scene Goals Objects Words from Others Getting Somewhere Completing A Task Qualities of Scene Goals Relatability Specificity Achievability EXERCISE: And… Scene. CHAPTER 2: Why Can’t They Have It? The Universe Is Out To Get You You Can’t Share A Parking Space But I Thought We Were Friends Lions and Tigers and Bears, Oh My! Things In Absentia It’s Not You, It’s Me EXERCISE: Exploring the Possibilities The Just Right Obstacle Resonance with World and Tone Resonance with Theme EXERCISE: What Story Does This Obstacle Tell? Time Isn’t On Your Side EXERCISE: Limit the Resources, And Pick CHAPTER 3: What Are They Gonna Do About It? Don’t Just Stand There, Do Something! You Talkin’ To Me? (Characters versus Others) You Can’t Argue With a River (Characters versus Things) I’m My Own Worst Enemy (Character versus Self) Getting By With A Little Help With My Friends EXERCISE: Exploring Approaches It’s Only a Mistake if You Don’t Learn From It Themes Like a Good Idea EXERCISE: So THAT Didn’t Work... Where’re You Going With This? EXERCISE: So How Does Your Scene End? Not All Actions Are Created Equal Cooking Up Stakes It Takes Two To Tango Matching World and Tone EXERCISE: One Full Approach CHAPTER 4: Where And When Is It Gonna Happen? Changing Settings Does Not Necessarily Mean Changing Scenes It’s About Freakin’ Time EXERCISE: Identify Your Moment in Time Location, Location, Location! EXERCISE: Zooming in on the Precise Location Research and Destroy EXERCISE: Research and Character Preoccupations PART II: Drafting Chapter 5: The Fundamental Tools of Scenewriting Show ‘Em What You Got Pacing EXERCISE: Basic Practice With Scene Description EXERCISE: Basic Practice With Dialogue Chapter 6: The Art of Reader Engagement Make ‘Em Work For It EXERCISE: Mapping out a Treasure Hunt Nobody Expects The Spanish Inquisition! Shock EXERCISE: Leverage The Unusual In Your Scene Make ‘Em Wait EXERCISE: Setting Up Anticipation Feast Your Eyes On This! EXERCISE: Add a Little Wonder Chapter 7: The Unformatted Draft Let’s Get This Party Started When and Where Knock Knock... Better Late Than Boring EXERCISE: Writing the Beginning Scenis Morghulis: All Scenes Must End Reveals The Natural Ending The Cyclical Ending The Reversal Ending The Unexplained Mystery Ending Inviting The Reader Into The Next Scene We’re Closing Early EXERCISE: Writing the End In the Middle With You One Thing Leads To Another (But and Therefore) What’s at Stake EXERCISE: Filling Out The Middle Chapter 8: Formatting for Fun and Profit Courier? I Don’t Even Know Her! A Minute Per Page EXERCISE: Pick Your Software and Import Your Unformatted Draft A Slugline Says What? EXERCISE: Writing Sluglines You Lookin’ at Me? CALLOUTS Transition Callouts EXERCISE: Format That Scene Description You Got Something to Say? Wrylies Pauses and Interruptions MORE and CONT’D Trailing Off, Interrupting, and Talking Over Other Ways Characters Can Talk: O.S. and V.O. EXERCISE: Format Your Dialogue PART III: Perfecting CHAPTER 9: Check Your Length The Bare Necessities EXERCISE: Throwin’ Strikeouts Whoa, I Think I Missed Something EXERCISE: Did You Throw Out The Baby With The Bathwater? Chapter 10: Managing Scene Information In Dialogue As You Know, I’m Your Son I’m So Conflicted Do You Know Why I Pulled You Over? Thank You, Captain Obvious EXERCISE: Un-obviousing Your Exposition Yeah, You Already Said That Here We Are In Prison That’s My Name, Don’t Wear It Out EXERCISE: Removing Redundant Exposition Chapter 11: Bringing Authenticity Into Your Dialogue Keepin’ It Real I’m Listening Speaking of Questions... EXERCISE: Going Off-Topic and Ignoring Read Between The Lines Using Subtext To Avoid Hurt Feelings Off-Topic Subtext Using Subtext To Communicate Emotions EXERCISE: What I Mean Is... You Sound Just Like My Mom EXERCISE: Finding Your Voice The Rhythm Is Gonna Get You EXERCISE: Music in Dialogue Chapter 12: Final Polish Once More With Feeling Scene POV Spotlight It Writer’s Commentary Poetic Impression EXERCISE: Write In The Feels Smooth It Out Eschew Impenetrability Avoid Ambiguity SProoffrreading Are Important EXERCISE: Line By Line, For Clarity Last Looks White Space For The Win Compressing EXERCISE: Expand And Compress Okay, Now What? Bonus Chapter: Expanding Your Development Circle Not All Readers Are Created Equal EXERCISE: Build Your Reading Roster Readings Are Fundamental First-Time Readers Slings And Arrows Prepping Questions Receiving Critique EXERCISE: Preparing For A Reading Found In Translation Collecting Waiting Translating Revising EXERCISE: Lather, Rinse, Repeat Appendix A: References Appendix B: Course Adoption Guide A Scenewriting-Only Course Custom Modular Adoption Example Adoption Into a Pilot- or Feature-writing Course Example Adoption Into a Short Film Writing Course Acknowledgements Index
£18.99
Bloomsbury Publishing Plc The Science of Writing Characters
Book SynopsisThe Science of Writing Characters is a comprehensive handbook to help writers create compelling and psychologically-credible characters that come to life on the page. Drawing on the latest psychological theory and research, ranging from personality theory to evolutionary science, the book equips screenwriters and novelists with all the techniques they need to build complex, dimensional characters from the bottom up. Writers learn how to create rounded characters using the ''Big Five'' dimensions of personality and then are shown how these personality traits shape action, relationships and dialogue. Throughout The Science of Writing Characters, psychological theories and research are translated into handy practical tips, which are illustrated through examples of characters in action in well-known films, television series and novels, ranging from Three Billboards Outside Ebbing Missouri and Game of Thrones to The Bonfire of the Vanities and The GolTrade ReviewFor every film-goer or TV viewer who has thought, "I could write a better script than this", Dr. Pelican shows them how to make their ideas real, attention-grabbing and above all truthful. The Science of Writing Characters is exactly the book we need now. * Paul Brett, Executive Producer of The King's Speech (2010) *Kira-Anne Pelican’s The Science of Writing Characters is a valuable tool to help screenwriter’s think consciously, objectively, and methodically about aspects of character that for most of us are unconscious, intuitive, and automatic. It provides a structured psychological approach to developing film characters, using engaging examples from both classic and contemporary films and TV shows, such as Gone With the Wind and Game of Thrones. Dr. Pelican explains complex psychological ideas very clearly, and her book would be useful for screenwriting students and screenwriters at every level, as well as for faculty who are specifically interested in applying psychological theory to the process of character development in screenwriting. * William Indick, Associate Professor of Psychology, William Paterson University, USA *Dr. Kira-Anne Pelican expands the scope and arena of the art and craft of screenwriting by delving more deeply into the psychology of characters. She is knowledgeable, insightful, clear, supportive of the writer, and welcomes the writer to embrace this method of deepening the craft. * Dr. Linda Seger, author of 10 books on screenwriting including Making a Good Script Great (3rd ed. 2010) *No one I know has blended science with creativity like Kira-Anne Pelican. Any writer who ignores her research and fails to heed her advice risks being left in the distribution wilderness. * Elliot Grove, Founder of Raindance and British Independent Film Awards *Good writing, as Kira-Anne Pelican notes, is the result of imagination, observation and instinct, an understanding of human behavior. Yet most writers fail. Early drafts are too often underdeveloped, as writing fast trumps writing deep. Pelican’s book is a salutary reminder to those for whom it does not come naturally: that complex characters are more engaging, that if successfully drawn they take the reader or viewer on a compelling and emotional journey. The Science of Writing Characters is not prescriptive but is an excellent guide to what you can do to help your imagination create powerful, memorable and emotionally engaging characters. * Julian Friedmann *The Science of Writing Characters is a godsend for those who wish to write cogent, exciting and distinctive screenplays. Most discussions of the craft focus on “plot points” and other such structural elements; comparatively few discuss character in any depth. Yet drama is at its essence an instrument with which a writer investigates the inner life of human beings, so this new book fills an important gap. Kira-Anne Pelican draws on extensive scientific research available and presents dimensions of personality (extroversion, agreeableness, neuroticism, conscientiousness, openness to experience), providing their historical origins and examples of them in fictional characters — and providing insight that goes way beyond the standard Myers-Briggs diagram. She then breaks these down further into their various subtleties, belief systems, capacity for transformation, emotional arcs, mental illness, and the intriguing “dark” and “light” triads of personality. Ms. Pelican does not present any kind of formula for creating character; instead, her book is a mind-opening tool chest for further investigation into the nature of humanity, a process that for a good writer never ends. * Paul Gulino, author of Screenwriting (2013) and The Science of Screenwriting (2018) *The Science of Writing Characters is an artful bridge between science and craft, thorough in both areas, and imaginative and insightful in connecting the two. The book’s introduction invites you to use it as you need: as a guide, as a toolbox, or as an academic core text. But however you will end up using it, you will feel supported every step of the way. * Raindance *There is much here that is interesting and helpful, and all of it is thoroughly grounded in research. The book is essential for any writer ... It is a remarkably thorough tool kit for a writer aiming to explore the mysteries that lie within all of us, and explore those mysteries through the medium of drama. * The Journal of Screenwriting *Table of Contents1. Introduction 2. The Dimensions of Character 3. How Personality Shapes Dialogue 4. Motivating Character 5. When, Why and How Characters Transform 6. The Emotional Journey 7. Secondary Characters 8. A Character Workshop Footnotes Glossary Filmography Bibliography Index
£22.79
Bloomsbury Publishing Plc Writing for Animation
Book SynopsisAnimation is one of the fastest growing mediums in the film and television world whether it's Frozen or Paw Patrol, Family Guy or Rick and Morty. This book is the definitive guide to storytelling for writers, directors, storyboard artists and animators. Suitable for both the student and the professional, it provides indispensable knowledge on the entire process of writing for animated movies, TV series and short films. The reader will be provided with all the tools necessary to produce professional quality scripts that will start, or further, their career in animation. Beginning with the fundamentals of why animation?' this book will lead the reader through a series of principles that will raise the level of their storytelling. These principles are tried and tested on a daily basis by the authors who have a twenty-year track record in the animation industry.Many people are trying to break into the world of writing for animation and a lot of the people who aTrade ReviewProvides indispensable knowledge on the entire process of writing for animated movies or TV series. * Writers' Forum *A thought-provoking insight into the nuances of animation script writing. Paul and Laura lay out the tools you’ll need to create a robust three act story with rich, engaging characters in an immersive world. Through case studies and exercises, stories are deconstructed, characters interrogated and the production and feedback processes demystified. * Chris Rose, Vice President for Animation Production and Development at Nickelodeon International *Table of Contents1. Let's Get Going! 2. All about Goals 3. The Three Act Structure 4. Emotion 5. Jeopardy 6. Creating Characters 7. Finding the Funny 8. Dialogue Workshop 9. Understanding your Technology 10. Directing on the Page 11. Specifics of Writing for Children 12. Writing for an Existing Show 13. Writing the Movie 14. Creating a Show that Works 15. Collaboration 16. The Pitch 17. Four Top Tips Bibliography Index
£29.21
Bloomsbury Publishing Plc Writing for Animation
Book SynopsisAnimation is one of the fastest growing mediums in the film and television world whether it's Frozen or Paw Patrol, Family Guy or Rick and Morty. This book is the definitive guide to storytelling for writers, directors, storyboard artists and animators. Suitable for both the student and the professional, it provides indispensable knowledge on the entire process of writing for animated movies, TV series and short films. The reader will be provided with all the tools necessary to produce professional quality scripts that will start, or further, their career in animation. Beginning with the fundamentals of why animation?' this book will lead the reader through a series of principles that will raise the level of their storytelling. These principles are tried and tested on a daily basis by the authors who have a twenty-year track record in the animation industry.Many people are trying to break into the world of writing for animation and a lot of the people who aTrade ReviewProvides indispensable knowledge on the entire process of writing for animated movies or TV series. * Writers' Forum *A thought-provoking insight into the nuances of animation script writing. Paul and Laura lay out the tools you’ll need to create a robust three act story with rich, engaging characters in an immersive world. Through case studies and exercises, stories are deconstructed, characters interrogated and the production and feedback processes demystified. * Chris Rose, Vice President for Animation Production and Development at Nickelodeon International *Table of Contents1. Let's Get Going! 2. All about Goals 3. The Three Act Structure 4. Emotion 5. Jeopardy 6. Creating Characters 7. Finding the Funny 8. Dialogue Workshop 9. Understanding your Technology 10. Directing on the Page 11. Specifics of Writing for Children 12. Writing for an Existing Show 13. Writing the Movie 14. Creating a Show that Works 15. Collaboration 16. The Pitch 17. Four Top Tips Bibliography Index
£52.50
Bloomsbury Publishing Plc Being There and the Evolution of a Screenplay
Book SynopsisBeing There and the Evolution of a Screenplay provides an insightful look at the drafting of one of Hollywood history's greatest scripts. Being There (1979) is generally considered the final film in Hal Ashby's triumphant 1970s career, which included the likes of Harold and Maude (1971) and Shampoo (1975). The film also showcases Peter Sellers's last great performance. In 2005, the Writers Guild of America included Being There on its list of 101 Best Scripts.Being There and the Evolution of a Screenplay features three versions of the script: an early draft by Jerzy Kosinski, based on his 1970 novel; a second by long-time Ashby collaborator and Oscar-winner Robert C. Jones, which makes substantial changes to Kosinki's; and a final draft written by Jones with Ashby's assistance, which makes further structural and narrative changes. Additionally, the book features facsimile pages from one of Kosinski''s copy of the scripts that include handwrittenTrade ReviewIn this bold and ambitious work, Hunter demonstrates with great clarity the collaborative nature of the screenwriting process through an examination of one of the most celebrated screenplays of the 20th Century, Being There. Meticulously dissecting its scenes, analyzing its dialogue and showing how and why they evolved through the contribution of key creative agents over the course of several years, Being There and the Evolution of a Screenplay provides the reader with a rare opportunity to understand the creative process at the heart of Hollywood cinema. A must-read for screenwriting students! * Yannis Tzioumakis, co-editor of The Hollywood Renaissance (2018) *Table of Contents1. Introduction 2. Screenplay Introduction Being There draft by Jerzy Kosinski 3. Screenplay Introduction Being There first draft by Robert C. Jones 4. Screenplay Introduction Being There final draft by Robert C. Jones, with Hal Ashby 5. Appendix I: 'Walking on Water' Sequence Bibliography Index
£34.88
