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
Drawing on her years of training in theater and decades of teaching, Van Bergen unveils the secret of using your own archetypes to find and develop already-existing characters. This approach has little to do with how to "create" characters or plot stories. Rather, is is more about how to find your characters and story archetypes, or even how to have them find you - using specific skills taught in the book.
Customer Reviews:
Using our subconscious to create more consciously.......2007-08-28
One of last year's films, Pan's Labyrinth, was acclaimed for its powerful story and images. Writer and director Guillermo del Toro has commented, "When you have the intuition that there is something which is there, but out of the reach of your physical world, art and religion are the only means to get to it."
He acknowledged using two levels of thought in his work as an artist: "One is conscious and the other unconscious or subconscious..."
Jennifer Van Bergen affirms that writing "takes place in the subconscious, which actually operates as an independent mind."
In her book, she provides information on how our subconscious works, and details strategies and specific exercises on "doing archetypes" to make more of that "independent mind" available to enrich our writing or other forms of creative expression, and better understand the wealth of our hidden depths.
A journey worth taking.......2007-07-07
It has now been about six years since I first signed up to take Jennifer Van Bergen's class 'Act to Write' - an earlier incarnation of Archetypes for Writers. The class was online and so I went into it without being able to meet Jennifer in person. At the time there was no book and I had no idea what I was getting myself into. I certainly had no idea of the impact that this work would have on my writing and in fact, my life.
Immediately I found the material and the class to be riveting. We started with Character Facts and it became clear very quickly that I was not used to separating out what was observable in someone from my own subjective impressions. I was used to describing a person in terms that assumed everyone sees and thinks the way I do. Along with the humbling quality of this discovery, it was also a relief to realize that there was a truth to see when observing people - and that I was being given tools and a framework with which to find that truth.
After that class I went on to do advanced work with Jennifer, both in a small group and individually. I am so glad that there is now a book that encapsulates this work and makes it accessible in a way it was not before. The book is set up to guide the reader through the steps of acquiring the necessary tools and then learning how to use them. What also comes across loud and clear in the book is the generosity and excitement that is always a part of Jennifer Van Bergen's teaching method. You can almost hear her talking to you, explaining things and encouraging you.
Archetype work not only informs my writing - I read differently, I see people differently on the subway and in the grocery store. It is impossible to forget for one moment that everyone has a story. For me, that's where the life-changing part of this work comes in.
Examples of monologues, dialogues, and effective scripts throughout.......2007-06-17
Years of training in theatre and decades of teaching lends to the author's unique approach of how to utilize personal archetypes to fuel stories - and how to find such archetypes. Screenwriters and any library catering to them will find ARCHETYPES FOR WRITERS: USING THE POWER OF YOUR SUBCONSCIOUS packed with exercises and keys to utilizing them successfully, from understanding character facts and dialogue to underlying psychology. Examples of monologues, dialogues, and effective scripts throughout lend body and insight to an excellent survey essential for screenwriters who want to get the most from their efforts.
Diane C. Donovan
California Bookwatch
Very deep character work.......2007-05-19
You might think that this book is just another retread of the Campbellian ideas popularized by The Hero's Journey, but you'd be very much mistaken. Jennifer Van Bergen resurrects the ancient skill of arkhelogy or `doing archetypes': discovering an imprint of a pattern of human behaviour (=an archetype) in a person we observe.
Arkhelogy is a global skill, with a number of component skills, all of which must be mastered. Doing this will lead you to your deepest places in your being and potentially stretch your writing abilities. The skills are Character Facts (impartially observing facts about someone), Universal Drives (discerning universal drives in people), Discrepancies (noticing differences in a person between words and deeds), Analogues (focussing on similarities between two people or events), Being In The Moment, Universes of Discourse (identifying two different worlds within a film, their laws and points of contact), Emotional Access Work, Ectyping (taking a particular thing and generalizing it) and Isotyping (looking for something similar to the ectype but with a different origin).
Make no mistake, this is a difficult book. Van Bergen invents a lot of new words, and the New Age concepts she uses are hard to understand correctly. They do teach you to observe in a new and profound way, however. Still, to get the most out of them, taking a course or workshop with Ms. Van Bergen or someone who's mastered her theory will probably be most effective. Nevertheless, several of the exercises here will be very valuable to any writer.
Great for improving your craft.......2007-05-17
My brother and I are doing the exercises in each chapter and e-mailing them to each other for feedback. (He's a playwright and I'm a screenwriter.) We've found the process to be insightful - both in deepening our craft and as a forum for us to better understand each other's writing styles and shared history.
Book Description
A film's ending is crucial. It is the last thing an audience sees and often the last thing it remembers upon leaving the theater. Indeed, it's no stretch to suggest that, more than any other part of the film, the ending determines whether the audience likes a film or not.
By extension, the ending of a script is probably the last thing the reader will remember when they put it down. An otherwise great script will likely be passed on if it does not end well. As director Stephen Frears once said: "Often I read something and it's wonderful and then it stops halfway through and I say to myself: `I wonder if this will ever be finished.' Somebody writes a good first act or a good first two acts and you think: `I wonder whether he can get the third act right.'"
The Third Act is the first screenwriting instructional book to focus entirely on that most important part of a script - the ending.
The book features detailed examinations of the endings of many memorable films, including Rocky, Rain Man, Good Will Hunting, Saving Private Ryan, Casablanca, Million Dollar Baby, Se7en, Lost in Translation, and Gladiator. Through this analysis, Drew Yanno highlights the structural elements you'll need to make your screenplay's ending as compelling and satisfying as possible.
In each chapter, the author also provides the reader with suggestions that they might consider when writing their own ending, based upon the structural element being explored in that chapter. In addition, a comprehensive list of questions the reader should ask themselves about their script and its ending appears in the book's appendix.
If you want to understand the fine art of writing a great ending to your screenplay, The Third Act is a truly useful resource and inspiration.
Customer Reviews:
hollywood endings.......2007-10-02
By the time we reach the third act we expect a lot to happen. The final battle, the denouement and wrap up. This book is one of the few that give this part of storytelling (for screenplays) the attention it deserves.
Did you see 'road to perdition'? Did the ending leave you flat too? Drew Yanno explores several films and discusses why their endings worked (or not).
It's not an expensive book but deserves a place in any script writer's bookshelf. I know i'll be referring to it again and again.
excellent overview of the basics.......2007-08-23
The book is on the third act, and it does a good job of setting up the set up for that act. In other words, it tells you what you need to think of when you're writing early acts in order to have a successful final act, which is, as the author notes, very important. But I was very taken with the no nonsense rendition of the bones of a screenplay. Everything you need to know about structure, without the bells and whistles, is in a short, concise and extremely helpful chapter.
Keeping It Simple.......2006-10-17
Problem solved! Drew Yanno's book arrived just in time as I was about to give up on a spec script that I had wrestled with for the past six months.
After reading his book, my problem became quite clear. I had conflict, I had resolution, but I had neglected to answer the question raised in the first act.
I use the word "simple" purposefully as this is the style of Mr. Yanno's writing. He lays out guidlines for great endings in clear, plain English. No math degree needed, no plot points, no concentric circles, no diagrams.
The book is rife with specific examples of how great endings were fashioned in a wide range of great movies from Casablanca to Gladiator. His dissection of the third act of the latter was particularly instructive to me as it always struck me as contrived. Walking through the construction of the act, the author explained how and why it was the best way to resolve the ultimate conflict while answering the first act question.
So, if you think your script needs a geometric fix, read McKee. If you want to satisfy your audience with a great ending, read Yanno.
A must-have for your screenwriting library!.......2006-10-01
While many screenwriting books attempt to instruct you on how to write an entire screenplay, Drew Yanno has wisely chosen to provide readers with an in-depth dissection of arguably the most memorable portion of a screenplay--the third act. Instead of lecturing you on abstract concepts ad infinitum, Yanno clearly presents easy to grasp structural guidelines while providing succinct examples of those guidelines from popular films such as Rocky, Casablanca, Chinatown, Gladiator, and more. The book is not only an examination of endings, but of the entire third act and how it relates to everything you have built up to that point. Even experienced screenwriters should give this a read to hone their skills or simply remind them of practices they may already be doing. With a flowing, comfortable prose and intelligent film anaylsis, The 3rd Act should be required reading for any serious screenwriter.
True Screenwriting Gem -- A great book for writers and film critics alike!.......2006-09-19
Thank god someone has finally written an intelligent and helpful book on 3rd Acts!!
Having earned my MFA in Screenwriting from USC and working full time in development, I have read hundred of scripts. I can say for a fact that even the best writers can meet their downfall in the crucial third act (see Cameron Crowe's Elizabethtown).
I have seen many good scripts crash and burn at page 80 - the start of the 3rd act. Usually the writer has no idea how to resolve their plotlines, and winds up taking shots in the dark. The truly amazing scripts have killer third acts - every moment of the previous scenes as been building to this. The mediocre scripts have satisfying, yet never surprising, third acts. And truly horrible scripts? Well, those writers never considered their third act while writing the first act.
Yanno walks the reader (and screenwriter) through the key types of scenes often seen and usually required in successful 3rd acts. He breaks down the mechanisms of the 3rd act, and of scripts in general, without losing the purpose of writing - to tell a story that evokes emotion.
During his numerous examples, Yanno does not discriminate with his taste in films. He discusses a wide range of movies: classics, modern releases, art house flicks, and even popcorn blockbusters. Most screenwriting books focus on the author's one or two favorite examples, Yanno uses almost 20!
Although I read The 3rd Act as a screenwriting guide, it works equally as a critical discussion of story structure - and therefore would be a tremendous value to writers and film theorists alike.
I really hope this is the first in a series by Drew Yanno. His thorough and friendly examination of other areas of screenwriting in definitely needed.
Book Description
Finally! A step-by-step guide to the keys that unlock the doors to Hollywood.
Opening the Doors to Hollywood has all the information you'll ever need in order to tap into the $500 million spent yearly in Hollywood on acquiring and developing projects.
Discover how to:
Find a story
Rewrite it
Option it
Package it
Pitch it
Write it
Sell it
to film and television companies
Complete with a reference section that includes guilds/unions, libraries, sample contracts, seminars and workshops, trade publications, and writers' organizations,
Opening the Doors to Hollywood is invaluable to any writer.
Customer Reviews:
A practical guide to the Hollywood system.......2005-07-20
"Opening the doors to Hollywood" gives a great overview of the Hollywood system for any writer wanting to break in to the business.
It has a great "key" system which highlights useful websites and essential advice. It gives a good insight into the functioning of the major studios, independent production companies and television networks.
Overall, it's a very practical text which demystifies the Hollywood system and provides paths for new writers wanting to break in. "Opening the doors to Hollywood" is a useful and inspiring text.
Like Having a Friend in the Business........2000-05-28
The authors give a 'nuts and bolts' overview of the entertainment business, and generally what a novice can expect once they have taken that first step into the glittering city called Hollywood. The sage advice given is ample to give a newcomer enough information to lead to the proper Hollywood doors, rather than down blind alleys. The authors give great advice, the dreamer has to do the work. I would highly recommend.
Book Description
With the average screenplay selling for $100,000 or more, every writer knows that movies are where the money is. In The Writer's Guide to Selling Your Screenplay, veteran screenwriter Cynthia Whitcomb reveals everything today's aspiring screenwriter needs to know about selling a movie script to Hollywood, cable TV, or network television. Readers will find proven, award-winning strategies for getting the right people to look at your work, marketing a "spec" script, making a splash at pitch meetings, and much more. Plus, they'll discover what today's top agents and producers look for in a script, the types of deals you can expect to make, as well as an appendix of agents who specialize in handling scriptwriters.
Customer Reviews:
Buy This Now! Learn from the Master.......2002-11-22
Look, do you want to learn how to sell your screenplay from a master or a novice?
CYNTHIA WHITCOMB is not only a masterful writer, she's a persuasive saleswoman who wheels and deals her way into meetings with A-list producers. She has seventy-five sales and over half those are produced movie credits! We're not talking about Joe Blow's Back Alley Production Company here, we're talking Dreamworks. We're talking CBS. We're talking a twenty year career.
We're talking major success!
Other screenwriter's names may be more familiar to you, but I assure you, when it comes to prolific sales, and near-mythic produced television movie credits, nobody tops Whitcomb. She's the one you'd want pitching your script in a crowded room. She's the one you'd want championing your story. And she's the one you want to teach you everything you need to know about writing and selling your script.
You want to write screenplays Hollywood will read? Get Whitcomb's WRITER'S GUIDE TO WRITING YOUR SCREENPLAY based on the UCLA screenwriting curriculum she taught. You want to sell not one, not two, but 75 scripts, like master-seller CYNTHIA WHITCOMB? Click the Add-to-Shopping-Cart button, take advantage of Amazon's 30% discount, and order Whitcomb's WRITER'S GUIDE TO SELLING YOUR SCREENPLAY.
No cute titles and no gimmicks. Just like the books: straight-forward, pragmatic instruction and advice from a working writer that Hollywood loves.
Book Description
If you've ever dreamed of writing a screenplay,
The Screenwriter Within is the book for you. Insightful, inspirational, and wildly irreverent, it takes you through all the stages of the writing process, using references to hit movies and the author's personal experience to show you how to:
Turn everyday events into big-screen successes
Find the best stories to turn into screenplays
Develop strong characters
Write compelling dialogue
Find your niche as a screenwriter . . . and much more.
Customer Reviews:
Must to have for screenwritewrs!.......2007-01-10
this book is very inspiring and u'll love it if u want to become a screenwriter or u are already started ur career as screenwriter.
I advise everyone who wants to write screenplay to get the book plus downloading a script from the internet to know how it looks.
This struck a chord with me unlike any of the others.......2004-01-04
Really inspiring. I was halfway through and felt the muse awaken. His e-mail address is in the back of the book. I contacted him and he was very amenable to answering questions about my script.
What a jewel!.......2002-09-29
This book is not like Field's, McKee's or any of the zillion others that take you through the basics of screenwriting. It assumes you know most of the basics and concentrates, instead, on polishing and professionalizing your script and does so with a sense of humor that's wonderfully refreshing.
I was exceedingly fortunate to have had DB serve as a consultant on one of my screenplays. He was insightful, encouraging, down-to-earth and funny as hell. His book is written in the same style he uses when consulting and teaching. It will forever have a place on my shelf near my computer and the rest of my important research/reference materials.
Thanks, DB. Hurry up and write the next one!
The Only Screenwriting Book You'll Need.......2002-09-07
After reading about every known screenwriting book that is still in print, and having gotten nothing from them but rigid formulations for hackneyed plots and tips on serving up warmed-over dialogue cliches, what a joy it was to crack open "The Screenwriter Within" and get a tour through the playful mind of Mr. D.B. Gilles. His tone is easy-going and conversational, and his ideas about structure hit you like undeniable common sense. His tone is perfect: down-to-earth and unpretentious, yet always going to bat for quality and high standards. He still believes in the power of commercial Hollywood cinema to tell inspiring and thrill-packed stories, and I must admit, his enthusiasm is contagious.
If you're serious about screenwriting---and if you intend to make any kind of a mark in the business, you had better be---then start your education with this book.
Don't buy Syd Field's book, buy this one!.......2002-07-12
When I bought this book for D.B.'s class, I was all, "Oh great, another professor making me buy his book for his class!" I figured I would read the one chapter he required us to read and then return it to the bookstore as soon as possible.
But then, after I read that one required chapter, and I decided to keep the book after all.
For another film course I was forced to buy Syd Field's book "Screenplay: The Foundations of Screenwriting" and read it over a weekend. Even though Syd's book is a supposed "industry standard" screenwriting book, I wouldn't recommend buying it. After all, any good screenwriting professor will tell you that all screenplay books tell you basically the same thing. You only have to buy one book to learn formatting, the three-act structure, etc. I recommend D.B. Gilles' "The Screenwriter Within" because it gives you the same information you'll find anywhere else, with the added bonus of a sense of humor.
Granted, Syd Field's book is funny, but it is because his examples are outdated, and the screenplay he uses for an example is about speedboats. Syd Field is succeeding at being funny without trying, whereas D.B. is trying to be funny and succeeding. Therefore, I recommend the latter.
Customer Reviews:
Smart & funny.......2001-01-30
This guy doesn't cut any slack ... he assumes we're somewhat like him -- full of fantasies and a tendency to procrastinate...and he tells it like it (probably) is. I just finished reading it -- and notice that it's a few years old...some of the references sound a bit dated, but the information is still wise and delicious.
Don't market your screenplay until you've read this book.......1997-06-13
So you've written a screenplay... Now what?
Here's a hint: Read This Book! The determination
to make it in the entertainment business is only
a small aspect. Discipline and coordination play
an important factor as well.
This book not only covers the basics of screenwriting but digs deeper into the world of feature
films and spec scripts; it covers the wide
spectrum of episodic television and alternative
markets. You will also learn about the basic
elements of a script and how to approach agents
with your pitch.
Check this book out! You'll be glad you did!
Average customer rating:
|
Writing Your Screenplay
Lisa Dethridge
Manufacturer: Allen & Unwin
ProductGroup: Book
Binding: Paperback
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ASIN: 1741140838 |
Book Description
This guide to film writing is an ideal introduction to the craft for would-be screen scribes or film buffs who want to learn how it is done. A broad introduction to writing for the screen is provided, along with a structured system for creating strong screenplays, based on the author’s successful online college course. This book goes beyond the typical formulaic approach, offering insights into the classic mythic structures as well as contemporary storytelling techniques that underlie good screenwriting. The secrets to crafting cohesive plots, likeable characters, compelling action, and believable dialogue are all explained. Also provided is guidance on how to create strong scenes and a complete visual world that will engage audiences.
Customer Reviews:
my lecturer.......2006-04-17
I've read this book and am a student of Lisa Dethridge. She knows her stuff and doesn't muck around. It's an easy to read overview of screenwriting. A great book for those who find Robert McKee's "Story" too intense and random. Regardless she has her own stuff to say too. Lisa has worked as a script writer and consultant in Hollywood for many years and also in Australia.
Customer Reviews:
A great tool.......2006-10-18
This is not a sit-by-the-fire-and-enjoy-a-brandy sort of book. It does exactly what it says it will do and will teach you how to format your screenplay into a format that Hollywood readers expect. Every year thousands of screenplays are rejected without being read because they don't look like screenplays. Add this tool to your kit and at least get your scripts read.
Necessary for any beginning scriptwriter.......2004-08-22
When I first realized I might have a story that was suitable for movie treatment I bought a couple of books which told me all about how to get ideas etc. but I couldn't find any hard copy on how to format. The general advice was read some manuscripts and learn from them. Good advice except these aren't types of manuscripts submitted the first time. I finally consulted Dr. Roger Busfield (author of The Playwright's Art) and he said Formatting Your Screenplay was the best book for learning how to correctly format a screenplay. He was right. It had the information I wanted in an easy-to-access form.
Coupled with The Playwright's Art it is an exclent addition to any beginning script writer's library.
A great teacher, and a good book........2000-04-02
I took Mr. Riechman's class at Georgetown University, and partnered with him on a few screenplays. Rick is an excellent teacher, and really does know his stuff. In regard to previous comments on the format being wrong in the book, it was an error on the part of the printer. I wish I knew where Rick was these days, I could use his sage advice. At least I still have the book :)
Helpful for beginners.......2000-01-15
This manual isn't 100% complete, but it has the basics. I was terribly intimidated when I wrote my first screenplay, but this book helped me get through the formatting without paying for software. I still use it for reference material.
Useful, but ..........1999-07-01
I think this book teaches you the basics about script formatting, but sometimes you get the impression the author is doing guesswork instead of delivering valid information. And the funny thing: Even some of the examples are wrongly formatted.
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How Not to Write a Screenplay: 101 Common Mistakes Most Screenwriters Make
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Writer's Guide to Selling Your Screenplay
Writing Screenplays That Sell: The Complete, Step-By-Step Guide for Writing and Selling to
How to Write a Selling Screenplay
