Amazon.com
How Not to Write a Screenplay is an invaluable addition to any aspiring screenwriter's shelf--and you'd best make the shelf within arm's reach of the computer. Author Dean Martin Flinn, an experienced script reader, details the common rookie mistakes that drive script readers crazy. Flinn makes no pretense of being able to teach anyone how to write the next Great American Film--or for that matter the next Stupid Summer Blockbuster. Instead he offers information that will help keep the novice screenwriter's opus from being immediately tossed on the trash pile (arguably a more valuable service). As Flinn says in his introduction, if you follow the advice in this book, "you may not write a particularly good screenplay, but you won't write a bad one." Flinn offers practical advice on formatting, such as the proper form for a slugline and where to set your margins, and more general rules of thumb on giving the actors room to interpret their roles and avoiding dictating camera angles to the director (who will ignore them anyway). The second half of the book deals with content, also in a remarkably pragmatic way--structure, pacing, plot resolution, and dialogue that really stink are all handily dealt with. Flinn illustrates almost all his points with excerpts from screenplays both good and bad (names have been changed to protect the guilty), giving the reader concrete examples of the difference between poorly and well-structured scenes. Not sucking is an unusual goal for a screenwriting manual, but any script reader will agree it is a noble one. --Ali Davis
Book Description
Finally, what may be the last screenwriting book a writer will ever need to buy!
Customer Reviews:
Almost Worthless.......2007-05-13
There are at least two valuable books on screenplay writing - this is not one of them. Once a writer has read David Trottier's "Screenwriter's Bible" and Robert McKee's "Story", it is obvious that "How Not to Write a Screenplay" is full of obvious points and platitudes that are almost worthless. Most of this book is excerpts from screenplays that blatenly seem to be there so the book has more pages. Don't waste money your money on Flinn's book.
Read this one - but not first........2007-03-12
I have several "How to" books on screenplay writing. If you do too, then you need this one. It tells you what you are doing wrong. I promise many more than one "Oop!" moment from this entertaining and easy to read work.
Entertaining overview of the things most new screenwriters do wrong.......2006-08-29
Flinn has a sense of humor. That is the first thing one notices while reading his book, and that's the one thing that makes it stand out.
"How NOT to Write a Screenplay" is a witty and entertaining tool for learning the DOs and DON'Ts of the screenwriting craft. Packed full of examples drawn from real and make-believe scripts, it can be a definite help to a writer new to the industry. Anyone who has ever read another of the many available books on script formatting will find his commentary amusing. For example:
"Don't use (CONTINUED) at the top and bottom of each page. You're wasting four lines. Anyone reading your screenplay who doesn't know he's supposed to turn the page is a numskull."
Or his comments regarding music suggestions:
"Leave the music track alone: 'THIS SHOULD BE AN UPBEAT SCENE WITH A GOOD MUSIC TRACK.' (Darn. The studio really wanted to use a bad music track.)"
The second half of the book, covering content and story development, provides similar information to that of books by more well-known authors such as Linda Seger or Syd Field, but offers that information encapsulated in smaller sections that make everything quite easy to relate to...sections such as "Suspense", "Believability", "Twists" and "Whammies".
While the book doesn't teach you how to write the perfect screenplay, it does cover many of the practical details. Its strength isn't in storycraft but rather in addressing all the little details screenwriters tend to forget or abuse. Though some of the information is repetitive, there are plenty of examples and excerpts from screenplays -- some good, most bad, and some you may even recognize. Flinn's advice coupled with the many examples can help you avoid the pitfalls so many screenwriters encounter.
Excellent workbook.......2006-08-07
So happy I purchased this before starting my screenplay so I didn't have to do endless edits.
As a reader of many bad screenplays Mr. Flinn certainly knows the pitfalls that will keep a screenplay from even being finished. excellent workbook.
Barbara Gilmer
Okay, Okay.......2006-08-05
This is a book that could have been a long article, or two. But those article would have been interesting. I found the book getting very repetitive in the last half, when we started getting the same material over and over again. But the notions is good: that you need short scenes, with a whammy.
Book Description
With the average payment for a screenplay over $100,000, every writer knows that screenwriting is where the money is. In this guide, successful screenwriter and teacher Cynthia Whitcomb shares her extensive knowledge on writing for the screen. This book will teach you her proven techniques, including how to:
• test an idea for its commercial potential
• plan a compelling script
• write great openings and endings
• create characters that grow and evolve
• revise and hone your script to attract Hollywood agents and producers
Includes lists of the best movies to study—and why!
Cynthia Whitcomb has sold more than 70 feature-length screenplays, 25 of which have been filmed. She has made millions of dollars for her work, and her scripts have won and been nominated for many awards, including the Emmy Award, Cable Ace Award, Edgar Allan Poe Award, Humanitas Award, and Writers Guild of America Awards. Her students have also gone on to write successful box-office hits. She has taught screenwriting for many years, including seven at the acclaimed UCLA Film School.
Whitcomb's commercial success and teaching experience make this an essential resource for anyone who wants to write winning scripts for Hollywood.
Customer Reviews:
A Great Book!.......2007-04-04
I'm writing my first screenplay and found this book to be invaluable. Worth its weight in gold.
The best!.......2007-03-14
I've read other screenplay books, watched videos and this book is the best! Not just telling you what to do but with real world suggestions. She rewrites movie endings for you so you can see how a good movie could have been a great movie. She shows you mediocre dialogue and rewrites it so it's great movie dialogue.
It's a great book for novelists too. Creating crisp believable dialogue, creating conflicted characters, pacing. It's all here.
She is direct and like a great movie, gets to the real issues fast.
Read it Thrice.......2006-10-08
"A Brief History of Time" for scriptwriters.
Compressing novel-length stories into an interesting 90-120 minutes, is a big part of the art.
Whitcomb puts a huge quantity of important information into very few pages.
She writes with simple words in short sentences, yet the content is astonishingly information rich.
And spot on.
A rare talent seen only in the very gifted.
There are books on scriptwriting that run to 500+ pages that are quite good. J. Michael Straczynski's works come immediately to mind.
However you can re-read this book 5 times in fewer minutes than it takes to read any of those longer books once. With repetition, you'll surely retain much more of what you read.
Recommended. Highly.
Finally, somebody who knows what they're talking about!.......2006-07-04
Whenever I am about to buy a 'how to write' book, I first look at the bio to see what the writer has actually done. Just about every 'how-to' is written by a 'haven't-done-much.' Cynthia Whitcomb's professional experience is far and away the most.
Not to say other books don't have sound advice, but I sensed a depth here that was lacking elsewhere. I attribute that to her experience.
BTW, I'm a published prose writer, and I recommend this book for prose writers, since a lot of what she says translates over to the written page. It wouldn't hurt novelists to structure plots and develop scenes with as much craft and skill as screenwriters do.
Writer's Guide to Writing Your Screenplay.......2006-03-06
As an old writer who is new to the field of screemwriting, I have found the industry full of mystery when attempting to write a screenplay. Cynthia's book takes away a lot of the confusion and worry by succinctly explaining terms, giving multiple clear-cut examples, and laying out the entire process so that rookies can learn the basics, and experienced writers can get a quick review from an entertaining source. I am sincerely hoping Cynthia plans to write a similar book in the future with regards to publishing hints!
Book Description
At last. A how-to book by someone who actually knows how to. -- Larry Gelbart
Customer Reviews:
An Excellent Learning Tool.......2007-06-02
This book is a bit of a contradiction, insofar as it is very entertaining reading, yet you learn a great deal almost by accident. I also intuitively feel I'd like the author; whether as an instructor or just a nice guy to share a cold beer with. If you are interested in how to make humor "click," this is the place to look. Highly recommended.
Who, me?!.......2005-08-23
So someone once asked me, "Pamela, do you write comedy?". "Not on purpose", I replied.
But now, with the help of a really funny guy who wrote a really helpful book, I can make a good go at it.
Like Brad Schreiber himself, this book is intelligent, witty, accessible, inspiring, and fun.
It offers overviews of various forms of humor, theories of humor, examples of humor, excerpts from humorists, practical advice on writing funny, and even provocative exercises that guarantee at least a giggle, most often a guffaw.
As a story consultant myself, I recommend Brad's book to my writing clients.
As a reader, I recommend Brad's book to anyone -- writer, speaker, performer -- who wants to lighten their life and the presentation of their message with humor.
Over 70 excerpts from top screenwriters .......2005-02-10
Produce winning comedic screenplays using fiction and nonfiction alike with Brad Schreiber's What Are You Laughing At?: How To Write Funny Screenplays, Stories, & More. Included are over 70 excerpts from top screenwriters and pairing them with writing exercises and details on the differences between writing comedy for TV versus stage. There are eleven modes of comedic dialogue, 13 common problems screenwriters encounter and valuable insights into the rhythm and sound of words in What Are You Laughing At? Brad is himself a L.A. screenwriter, so his tips come from an insider's hand.
an example of what it teaches.......2004-06-11
This book is funny -- even if you don't feel like learning anything from it, you'll laugh. Writers will recognize themselves in the examples for sure. I like that the book is about *writing funny* as opposed to writing screenplays or columns or novels or [insert genre here]. Schreiber breaks down the principles of humor writing and gives you guidance on applying them to any type of project.
Brad Schreiber: WHAT ARE YOU LAUGHING AT?.......2004-04-09
This is a wry, dry, witty and comprehensive piece of work which is excellent reading in itself as well as being essential for the aspiring writer. Schreiber draws on his experience as TV development executive, teacher, script consultant and actor to hand on a wealth of useful information on everything from Aphorisms to Yiddish Sound Theory and from the Author's Voice to Vulgarity - and for the really keen student there are 'Do This Now' exercises at the end of every section. This is a high quality publication by Michael Wise Productions. It has a useful index and an excellent introduction by Christopher Vogler. I enoyed it hugely.
Book Description
Christopher Keane has spent 20 years in the business, learning the truths--and the tricks--of writing a selling screenplay. In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.
Customer Reviews:
The Brokeback Passion of Harry Potter Kong.......2006-01-08
As Chance the Gardener says in BEING THERE, "I like to watch." As one who also likes to watch, this 'blockbuster release' time of year always makes me wonder....Could I do 'that'? Just how hard is it to do 'that.? 'That' being writing a screenplay and whatever comes after. A mystery to most of us watchers. This time I decided to seek answers to these questions. I naturally sought a book, which, for this quest, is Christopher Keane's HOW TO WRITE A SELLING SCREENPLAY.
CASABLANCA screenwriter Julius Epstein's foreword to this book closes with, 'Good luck and welcome to the terrible, wonderful world of screenwriting.' Why terrible/wonderful? By the time I finished this book, that was crystal clear. I learned that this pursuit isn't for the faint of heart or the thin-skinned. Screenwriting is demanding. It's daunting. It requires utter focus. It's frustrating. It's exciting. It's lonely. It's rewarding. There are lots of rules....There are no rules...
In this informative, engaging primer one can learn these rules and gain valuable insights into the wild and crazy film business itself. You might learn from this book that your idea is better suited for a play. Or a novel. Or a TV series. It's just as important to know what isn't a good screenplay idea as what is. Saves time! Throughout, I found that this book teaches about writing in the larger sense as well as screenwriting in particular. Chris Keane walks us through the many facets of this discipline that comprise the whole; the all-important story, character, plot, structure, dialogue, format, collaboration and re-write among them. He illuminates all of these aspects with references to specific films. And the book is peppered with personal anecdotes from the author's career. I found these to be invaluable insights. And one learns that once the screenplay is finished, the real work begins. This book will be helpful in the vital hunt for an agent, a key piece of the process puzzle.
I particularly like that this isn't an 'Ivory Tower Theory' book. Though Mr. Keane teaches this art, he also does it. And he has written novels and written for TV. As it's said today, he's been there-done that. I trust and respect this experience above all.
Whether you want to be a Chance the Gardener and 'just watch,' or you want to try actually writing a screenplay, I suggest you have Christopher Keane's book by your side. It's a helpful tool, seems to me. The more we know about the film process the better the 'watching' or 'doing' will be. This book will enhance the watching experience and make the 'doing' more manageable.
I've been trying to come up with a logline for this book....So far? 'The Hitchhikers Guide to the make believe.' Logline? Very important. See HOW TO WRITE A SELLING SCREENPLAY, Chapter 5.....
The tools you need to get started!.......2005-12-13
Chris Keane's book is absolutely powerful for the screenwriting novice, such as me. His instructional approach is easy to understand and encouraging. He explains how to begin -- how to keep motivated -- and how to pursue. His simple exercises show how to develop your story, character and structure -- then, he lets you know what to do next. Mr. Keane is a gifted writer and an excellent instructor. I highly recommend this publication for anyone wishing to achieve a screenwriting career.
Best Screenwriting book ever.......2005-12-12
As a beginning screenwriter the advice in this book can not be ignored. This book will give you the confidence to write that first draft, the most important step. Addressing everything from structure and formatting to agents and Hollywood business, this book is a must have for anyone who dreams of seeing their work made into a feature film.
Not just for screenwriters.......2005-02-14
While this book does have a lot of insight on writing a screenplay (especially the first screenplay), there are a lot of thoughtful points about aspects of writing like story, character, and structure that are useful for writers in any genre. This was the book my playwriting professor required us to read, not as playwrights but as writers. Definitely recommended.
Great on Structure and exercises.......2004-05-25
I got so much out of this book. What is also great is he gives you tons of insite on how to work on getting an agent. Plenty of examples.This and Mckee's Story are must haves!
Book Description
Originally published in 1989, this revised and expanded edition focuses on the art and craft of writing effective dialogue in fiction, cinema, television, drama, radio, and poetry.
Turco's unique technique teaches by showing: he creates a Socratic dialogue as the form of the book itself. Says the author, "Plato wrote lies in order to tell the truth. That's what a fiction writer does and has always done."
The book covers how to:
* Write dialogue that is believable as conversation--carefully selected, paced, and
organized.
* Break up dialogue at strategic places with action, replies, scene-setting and
other elements vital to telling your story.
* Balance dialogue and other story elements
* Dramatize conflict through dialogue.
* Use dialogue to lay the groundwork for upcoming events in the story.
Customer Reviews:
Near 100% Copy of His Earlier Book on Dialogue, and Still Bad !.......2007-04-30
* This is a rip-off if you already have the previous version.
* Still uses the same useless, and poorly done, 'Socratic' conversation method.
* You will spend more time trying to figure out what the heck he is trying to put across than you will actualy learning about Dialogue.
* You will go crazy trying to find the actual examples of the concepts that are mixed in with dialogue that does NOT relate to the topic.
I would not recommend this book to *anybody* that is trying to learn about the forms of Dialogue or the usage of those forms. Just about any other book would be better.
Who is this book for?.......2006-12-27
As a screenwriter, I borrowed this book from the library and returned it quickly. The author demonstrates his own lack of skill in creating dramatic and purposeful dialogue by creating a fictional character for him to banter with througout the book. Their discussions are terribly unfunny, unclever and quickly become tedious and annoying. I kept asking myself as I read, "who is this book for?" as the "insights" and topics presented are of no value to any adult. And so, I can only imagine this book is for grade school students to increase their awareness of different elements that go into a dramatic text.
Don't be fooled - SAME book as "Dialogue".......2004-06-13
This is the SAME book titled "Dialogue" that was published by Writers Digest Books. Read the reviews for "Dialogue" (ASN 0898793491) if you want to know more about THIS book, because the content and approach are the same.
Although he's added longer examples than in the previous book, he insists on using the same self-consciously unfunny, unhelpful and even confusing "Socratic dialogue" between himself and a fictional "student" character.
He's also added a 4-page introduction defending this choice and bragging about the original book's reprints and translations. (So I suspect he's seen the reviews at Amazon. You'd think he'd learn something from that.) Repackaging alone does not improve this book one bit.
This book sucks.......2004-06-04
It is diificult to express how disappointed I was in this book. The author's fiction and poetry, which he quotes from ad nauseum, is mediocre, his prose turgid. The concept of this book, a book that discusses dialogue through dialogue is annoying and rambling. I read half-way through and gave up. The book imparted absolutely no practical advice and its theory was mere horse-sense, banal beyond belief. Why this book has gone through a re-release is beyond me. It should perish among remainders. See Sol Stein, who in a single chapter does more than Turco could dream of, or see the excellent "Writing Dialogue for Scripts" by Rib Davis for a real book on dialogue. This book is a waste of time and money.
Book Description
There are hundreds of books on the market, all trying to teach you how to write a screenplay. Several of them are excellent and useful books. But never - until now - has there been a screenwriting manual written in the form of a screenplay. Our hero, the aspiring screenwriter Danny, is hopelessly in love with Bebe, a hot young starlet. But Bebe won't go out with Danny until he proves that he can write a brilliant screenplay for her. Helped along the way by a mysterious guide (Virgil) with seemingly magical powers, Danny travels to Screenwriting Hell to see what happens to writers who never make the grade. Virgil teaches him the tricks of the trade, the fundamental techniques that all screenwriters have to master, no matter how great their ideas. But there's something a little strange about Virgil, and Danny is never sure whether to trust him or not... As well as the screenplay itself, the book includes an introduction explaining how to get the most out of the screenplay, the log line, the synopsis, character bios, the treatment, and "The Pitch" - a short scene that shows the author pitching his screenplay to a big-shot producer.
Customer Reviews:
Incredibly insightful.......2007-09-13
In summary, like a good movie, this is highly entertaining and educational!
There, now that that is out of the way, let me say I was initially skeptical about this book and its overwhelmingly good reviews. The reason is a character flaw (I think): I don't trust positivity.
However, it wasn't too expensive and Amazon would ship it to me in record time so I thought, what the heck and ordered it. It's a small book, and I was expecting it to be. After all, it's in the format of a screenplay and those shouldn't be more than 120 pages or so, right?
On starting to read, straightaway, I was hooked. The story used is a bit corny, but--I couldn't believe it!--I wanted to know more: what did Virgil want? Who was the stranger in Bebe's apartment? Does Danny finish the screenplay? And right along with all that, I was actually learning about structure, character, theme, dialog and exposition; all in a way I never would have thought possible.
And at a speed I never thought possible either! I was learning how to write a screenplay and how to make it interesting and watchable, without the impediment of translating jargon and quasi-indecipherable jibber jabber. I blew through it in less than two hours and I thoroughly enjoyed every minute. One of my highest recommendations and kudos to the author for finding a pleasant, funny, and incredibly insightful way of transferring knowledge.
Revised, expanded edition.......2007-07-27
The latest edition of HOW TO WRITE: A SCREENPLAY appears in its revised, expanded edition to add a chapter on 'The Pitch' and features a screenplay-like format which sets it apart from others on the market. Danny, the hero in this story, is hopelessly in love with a star who won't date him until he proves he can write an outstanding screenplay for her. Learn the basics of writing and marketing a screenplay through a format that lends to lively insights: perfect for any public library or school collection catering to aspiring screenwriters.
Diane C. Donovan
California Bookwatch
A Useful Tool for Writing and Selling Screenplays.......2007-05-03
The addition of a section on "pitching" in Mr. Schwartz' Second Edition is the icing on the cake of his excellent guide to screenwriting. Having worked inside the studio system for several decades as a story analyst, development executive, and producer, I've seen many cases where a screenwriter had a good story and/or script but failed to sell it because he/she blew the "pitch." As he did with screenwriting in the First Edition, Mr. Schwartz provides the keys to successful "pitching" in his user-friendly format: keep it simple, clear and entertaining. I will continue to recommend Mr. Schwartz' book to writers, producers and development execs as a very useful tool in developing, and NOW in selling screenplays.
Why This is a Must Have for Screenwriters.......2006-03-15
It's not often that you read a book on a plane, finish it, and believe it's a great value. I really, really enjoyed it, and here's why. It offers concrete, in-the-moment information and feedback. All too often a screenwriting book, written in the narrative form, will talk about theme, mission, objective, dialogue, character arc, misdirect, subplots, etc., but they do so by citing examples of movies, or showing a page of the script from some movie. That's dry, and in truth, it's not a 'story' but a lesson. This is a story about lessons told as a story. The lessons arc throughout the story, to the point where it all makes wonderful sense.
Another thing in the book that is very valuable, and that's the short, almost brusque narrative that needs to be written. It's a struggle as to how to tell the story using just a minimal amount of words. This book does that wonderfully.
Yes, there are a number of important screenwriting books out there and this is one that any screenwriter -- novice or advanced -- would do well to have.
Outstanding Book.......2005-07-13
"How to Write: A Screenplay" is a dynamo, converting the generally tiresome discussions about screenwriting
into a concise demonstration manual.
The first part of the book sets forth useful creative development tools, such as the Log Line, the Synopsis, Character Profiles, etc. Quickly, author informs the new writer of the work required to build an infrastructure for a cinematic story. No formulas, no magic tricks. The foundation work simply must be done. A range example and advice supports the writer in his/her fledgling efforts.
The larger, second half of the book is devoted to a "demo" screenplay, as it were, called "Screenwriting for the Hell of It," which demonstrates many of the current tools, principles, and devices of good screenwriting. Writing technologies are conveyed by lively character dialog, exposition, and story momentum (like a script should have).
The script's story, based liberally and comically on Dante's "Inferno," concocts a modern "Virgil" who befriends and mentors a frustrated, helpless writer "Danny," the protagonist. As his guide, Virgil takes him through the different levels of screenwriting hell, explaining the writing faults that condemned the victims. When they first arrive, "thousands of people" scream on a "Nether Beach" and hop around on toe-scorching sand. Danny asks, "Sinners?" No, Virgil's acid reply, "Bad screenwriters." So with great fun, the author charms new writers into internalizing the notions of good screenplay writing.
No small feat! As an UCLA Extension Instructor, I am excited and relieved to have the resource of such an incisive teaching aide for my film & TV courses.
Elaine Chekich
Product Description
The Screenwriter's Initial Draft Pad is a workbook and a powerful screenwriting tool. Eighty pages of templates guide and teach you as you handwrite a screenplay. Perfect for the beginner as well as the professional. Specially designed paper shows you how to place the action, dialogue, and characters on the page.
The covers of the pad illustrate all the screenwriting formatting rules of the industry that you'll need to write your screenplay. The perfect gift for all the screenwriter's in your life -- those writing their first screenplay and those writing their next one.
Never lose another brainstorm! Write as you travel, lie on a beach, ride the subway, hike, and sip lattes in coffee shops. An excellent editing tool for the novice or the professional during the rewriting process. Dustin Paddock, screenwriter for Fox Network's popular TV program, "House", calles the Screenwriter's Initial Draft Pad the "Lexus of legal pads for screenwriters".
The Screenwriter's Initial Draft Paper was used for this year's CS Open Screenwriting Contest at the
Screenwriter's EXPO5 in Los Angeles.
Book Description
The Bare Bones Book of Screenwriting uses a 'let's-get-down-to-brass-tacks' approach to screenwriting concentrating on the foundation of essential creative, technical and business principles in the market. Written in a simple, straight-forward witty style by a professional in the field, The Bare Bones Book of Screenwriting is a treasure chest for anyone interested in the screenwriting trade. "The perfect guide for new writers. Sharp prose and practical advice in simple English with all the nuts, bolts, and screws you'll need." -Ravi Malhotra (Academy Award winning producer, West Bank Story)
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How to Write a Screenplay: The Basic Format
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How to Write and Market Your Screenplay
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