Amazon.com
At the beginning of The Writer's Journey, Christopher Vogler asserts that "all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies." Some may be hard-pressed to accept this idea (and will wonder how storytellers from Homer to Shakespeare to Robert Altman might respond to the proposition). Others may imagine that since Vogler uses movies like the Star Wars trilogy and The Lion King to defend his mythological philosophy, he is, unwittingly, listing the reasons why Hollywood films of the last 20 years have been so unimaginative. But there's no doubt that Vogler's notion, based on psychological writings by Carl Jung and the mythmaking philosophy of Joseph Campbell, has been profoundly influential. Many screenwriters have used Vogler's volume to understand why certain scenarios sell, and to discover a blueprint for creating mythic stories of their own.
Now in its second edition, The Writer's Journey sets forth archetypes common in what Vogler calls "the hero's journey," the mythic structure that he claims all stories follow. In the book's first section, he lists the different kinds of typological characters who appear in stories. In the second, he discusses the stages of the journey through which the hero generally passes. The final, supplementary portion of the book explains in detail how films like Titanic and The Full Monty follow the patterns he has outlined. --Raphael Shargel
Book Description
Provides new insights and observations from Vogler's pioneering work in mythic structure for writers.
Customer Reviews:
Prettily printed, pretentious, poorly written yet remains standard textbook in American film schools.......2007-10-04
This author might have followed his own best advice rather than "trusting the path" and written clearly, concisely, and most vital for cinema, seeing not saying.
Instead he fears fuddling the formula of the first two successful editions and merely adds a new introduction.
Please, future film writers of America, do not write as he writes. See, do not hear this labyrinthine excess of verbiage. The cover illustration is quite appropriate. Avoid the trap of the Minotaur, and read the originals.
See Joseph Conrad, Jack London, Robert Bly's Iron John, or even Hemingway's Old Man and the Sea. Read the Book of Job, and especially the Book of Ruth for a truly epic journey of women which demands to be updated to Dafur or to Detroit. Avoid Vogler, who will trap you within his turgid prose.
He tells us less is more and then tells us more than more.
Why not read the original Homeric epic, or Dante (instead of Vogler's poorly translated citation), or our semi-modern urban epic Ulysses by Mr. James Joyce. Read if you must Joseph Campbell on Joyce, but not Vogler's lukewarm and fuzzy interpretation.
For filmcraft basics visit not Vogler but Whitcomb's The Writer's Guide to Writing Your Screenplay: How to Write Great Screenplays for Movies and Television and the rest of the more meaty fare, down to earth. Vogler remains a bit in the clouds and unclear. His introduction leaves us feeling he was rather out of his depths at top level production meetings where he found no room for whiners but people taking responsibility for their jobs. His ending personal epic of hiking in a state park at sunset makes us wonder if he has ever been out of the house; Jack London it is not, and it is not even well written. Check out this mixed metaphor which reads unintentionally funnily:
"As I looked back at the mountains and forest that had just held me in their jaws, I realized I'd been given a gift with that phrase, Trust the Path, and I pass it on to you. It means that when you are lost and confused, you can trust the journey that you have chosen, or that has chosen you. It means others have been on the journey before you, the writer's journey, the storyteller's journey. You're not the first, (sic) you're not the last. ( . . . more of same p.266)"
The carniverous mountains and forests released this wisdom unto him. It means, Christopher, that when you are in a production meeting you better deliver your assignment well written with no whining because you are not the only one writing right now. You won't be the last. Another will replace you.
I regret not finding this book recommendable. Read the originals. Avoid the suggested filmography as there are better examples of epic writing than King Kong or Roger Rabbit, etc. In fact the sins of omission such as the truly epic Grand Illusion glare painfully, replaced by its dim shadow the Great Escape, which is not a great source of dialogue models. I see none of Kurasowa's epics here suggested either, simply US pop cine.
There is a lot of valuable material there . . . .......2007-10-03
. . . . . . but what is more noticeable is what has been left out.
It is obvious that the author is very knowledgeable in his field, namely, literary and psychological understandings of mythology over the last 50 years or so. Much of the advice he gives to new writers about the concept of "story" and "journey" is of value, as are some (not all) of the examples he gives. "The Heroic Quest" has been in the past, and remains an extremely significant literary motif. I also appreciated some of the stories he told about his own experience, especially his recounting of some of the "behind the scenes" in the Disney movie "The Lion King". I was pleased to see that some of my perceptions about this film were correct.
Why then only two stars?
Imagine someone writing the history of 16th and 17th century English theater -- and forgetting to mention William Shakespeare. Imagine someone writing an anthology of classical music -- and omitting Bach or Beethoven.
In my view, this is what the author has done. While the author has given Joseph Campbell, and his seminal work on mythology proper due; and while he has given Carl Jung his proper due (and arguably more than his due), he has completely ignored the writing, both fiction and non-fiction of JRR Tolkien, who besides being the best-selling author of "The Hobbit" and "The Lord of the Rings" was a professor of English at Oxford University for more than 30 years -- and was the foremost expert on the literary genre of myth and fairy-story in probably the past two hundred years. Tolkien's work on Beowulf? Ignored. "Sir Gawaine and the Green Knight"? Ignored. His essay "On Fairy Stories" (which is THE definitive word on the subject)? Ignored. And that's just the non-fiction. Tolkien's fiction, especially "The Lord of the Rings" re-defined the genre of the Heroic Quest. Yet both the book and the movies are excluded from his discussion.
Honestly, I don't know why this is. Perhaps the author is not familiar with Tolkien's non-fiction work on the subject -- but I find this difficult to believe. Perhaps he just didn't care for the books of for the films. Still not a good excuse. Perhaps the author is uncomfortable with Tolkien's philosophical and religious pre-suppositions. I just don't know.
All I can say is that a book of this sort which excludes a widely recognized expert in the field is a very incomplete book, and one that I can only recommend with serious caveat.
Useful, but not indispensable.......2006-04-26
Having heard a recording of one of Vogler's lectures - which was largely based upon the same material as this book - I was eager to read the book, in order to get a more in-depth look at the concepts Vogler covered in his lecture. Unfortunately, the book really does not add all that much of interest or value. That is not to say that the material is not useful. However, if you've heard the lecture ("Using Myth to Power Your Story"), you've covered basics of the material more efficiently.
I will say that Vogler's book may serve as a good introduction to Campbell's work - The Hero with a Thousand Faces - on which it is, to some extent, based. However, I must agree with the earlier reviewer, who suggests skipping over the "intro" and going straight to Campbell. In addition to The Hero with a Thousand Faces, I would highly recommend all of the Joseph Campbell Audio collection - preferably with a comfortable chair and a glass of cognac.
A book I keep coming back to -.......2006-04-10
I'm not sure how many times I've read this book. Dozens. Sure you can read Campbell, and probably should. Still, this book stands on it's own. Good read.
A Fiction Writers Dream.......2006-03-20
I found the book incredibly helpful detailing where my writing was weak, where it was slow, and how to very clearly identify why fiction writers often experience writers block. The Journey clearly describes necessary story structure THAT WORKS and has forever improved my craft and eliminated any fear of writers block. We're only blocked when we don't know where we are headed!
Don Quigg
Amazon.com
Aspiring screenwriters don't need another book on how to write a screenplay, says Karl Iglesias. What they need is a book on how to be a screenwriter. Voilà: The 101 Habits of Highly Successful Screenwriters, featuring interviews with 14 screenwriters, arranged by subject. The result reads like a panel discussion, touching on such subjects as collaboration, schmoozing, discipline, Hollywood, and story pitching. The dream of winning a Hollywood jackpot has lured everyone and his gardener into the screenwriting game. Still, despite the unencouraging odds, "all you need to do is write a good script," says Scott Rosenberg (Beautiful Girls). Some of the book's best advice concerns one of the screenwriter's most formidable hurdles: getting a screenplay read. Submit it to film festivals and screenwriting competitions, or follow Tom Schulman's (Dead Poet's Society) advice and hire an entertainment attorney. After all, "most of them know a lot of agents." --Jane Steinberg
Customer Reviews:
A Must Read.......2007-05-14
This is a must read for anyone who aspires to be a screen writer. Any wannabe writer has their own personal favorite blogs, a blog that helps inspire, motivate and teach them. This book is almost a best of those blogs from successful writers whose movies they have written have actually BEEN PRODUCED.
The one main theme of this book is just write and write and write because you love writing and not because you want the Hollywood celebrity lifestyle. Great writing will open a lot of doors for one and most importantly, keep that door open.
In my opinion, I like to study and and read how successful writers from all genres got their first break, their work ethic and how most importantly they work through writer's block and rejection. Again, Karl Iglesias' book does that successfully.
The truth you need to hear before pursuing your dreams.......2006-04-10
I was lucky enough to meet Mr. Iglesias at the Screenwriting Expo. He knows his craft, he loves the business. And he's brutally honest in conveying the realistic odds of breaking into Hollywood. While no one ever says it's easy, he can tell you just how hard. This book is a must read for any aspiring screenwriter. Interviewing some of the greatest screenwriters, they all are forthcoming in telling their own tales of struggle, achievement, success, and most of them, frustration.
This book may be geared toward all screenwriters, however it succeeds in leaps and bounds, by telling the realistic truth any up-and-coming screenwriter needs to hear. Too often people are putting together a script hoping to win the lotttery, sell it for mid-six figures, and not taking the time to understand that the money should never be the motivating factor of writing any script. And if that's your only motivation, you'll never succeed in making your dream come true. This book reminds those of us that do it for a different reason, what that reason is. It's the love of writing. Anything else, any other reason, is simply a waste of time and energy.
Mr. Iglesias lays it out in plain view, through interview after interview, just how much of an uphill battle it is get someone to simply give your script a look, and even then, chances of your selling it are slim. Nicholas Kazan once spoke at a seminar. He told them to go turn in their registration forms and go home. He then told them that if any of them seriously entertained that advice, they would never make it. It's all about challenge and it's all about sacrifice. This book will help you realize how important both of those things are.
Yes, I am tired of reading old reviews on Screenwriting Books too........2006-03-06
I always find it frustrating when I go to Amazon and look at the reviews that are posted and find that they are at least 2 to 3 years old. So I decided to at least make a more up-to-date review.
First and foremost, this book is NOT a `How to Write a great Script' book. This book is about screenwriters and their knowledgeable insight on the practice we all know as Screenwriting. These established screenwriters ( Akiva Goldman: A Beautiful Mind, A Time to Kill, and the up coming The Da Vinci Code Steven E. de Souza: Die Hard, 48 Hours.) reference their past experience on what works, what does not work, and what habits you need to establish to have a successful career in the shark infested waters of Hollywood. Not sure how many hours you need to write day in day out? Thinking that you are the only one with a spouse and kids, fearing that you will not have enough time to write? Arrived at Hollywood lost with no plan of action on how to get your script read? Worried that you born yesterday and began sending inquiry letters to agents and producers? Fear of rejection (it is inevitable) from everyone? All these topics are discussed and more in this book.
This book is required reading for all serious screenwriters. I also suggest Breakfast with sharks by Michael Lent, The Art of Dramatic writing by Lajos Egri, Story by Robert Mckee, Making a good script Great by Linda Seger, and The Writer Got Screwed by Brooke A. Wharton.
A Must Have For Aspriring Screenwriters.......2005-11-28
This is one of thost books that you absolutely must read if you are an aspiring screenwriter. It's a goldmine of quality information to help you go from being a decent or lousy writer to a great one. Fourteen of Hollywood's most successful screenwriters share their secrets and tips to writing and selling your scripts to Hollywood. It's like getting private lessons from the pro's. Don't pass this book up, it will make a big difference in your writing career.
A good "dip-in" book for the isolated writer.......2004-12-20
Think of this book this way: it's you having a cup of tea with a bunch of good and not-so-good (but working) screenplay writers. This is not a formula for greatness, but rather a list of suggestions and experiences that you can greatly benefit from if you are so inclined.
Don't be put off by the cover. This is a good book. The best thing about it is it creates a sense of community and exchange of knowledge in what is essentially an isolated (and some might argue isolating) occupation.
This is a "dip-in" book which I find useful and refer to often.
Amazon.com
Christopher Vogler has served as a studio folklore specialist, and here comes up with a book that is, in one regard, much like the screenplays it seeks to strengthen: it's derived from other sources! An acknowledged distillation of, and meditation on, the work of Joseph Campbell, The Writer's Journey approaches the storyteller's craft as one of recounting the hero's mythic journey, replete with roadblocks and life lessons. But why the unspoken assent that movies hew to this structure, when we don't demand the same of plays or books? Could it be that the collective viewing of films is one of our last tribal rituals?
Customer Reviews:
Great Book!.......2004-02-15
This book's a bit controversial among established writers, and I know wonderful and successful writers on both sides of this fence. It seems you either "get" this book and can use it, or you don't. Personally, I love it. But then, I love movies and plotting and dissecting stories to figure out why they work or don't work. You have to decide for yourself.
A Journey Worth Taking.......2002-11-03
Christopher Vogler's "The Writer's Journey" is an open corridor to superb characterization. In preparing to write either your novel or screenplay, Vogler's vivid descriptions of the most common archetypes are truly indispensable and useful. Every fiction writer owes it to him or herself to be mindful of the qualities that each archetype possesses. My mind has been opened by studying the different characteristics of the Hero, the Shadow, the Mentor, the Threshold Guardian, the Herald, the Shapeshifter and the Trickster. Vogler describes each one's dramatic function as well as their psychological function. After teaching us the merits and peculiarity of the character, Vogler exhibits his own unique dramatization of Joseph Campbell's work. The Writer's Journey gives the writer a chance to develop a story to its fullest potential. I thoroughly enjoyed this book and have started to employ its direction in my own fiction writing. It will not only change the way we view our characters' and their prospective journeys but it will also help us to see some of their characteristics in our own lives. This is a great book. Every novelist and screenwriter must have The Writer's Journey. Kudos!!
Bases on the work of Joseph Campbell.......2001-12-26
This is Christopher Vogler's interpretation of Mystic Structures for Storytellers & Screenwriters.
I have not yet applied this book yet it was a real eye opener. This book is not only for the aspiring writer but is a good insight to existing stories and movies. The content goes way beyond Campbell with contemporary movies as subjects.
He covers heroes and journeys down to a science. I think I'll put the story together first then come back to this book for the polish. If nothing else this is a good companion to "The Lord of the Rings"
Using the Model of the Hero Myth in Books.......2001-06-01
I have just finished Vogler's fascinating book. The Hero model he describes is a novel writer's dream. It is so flexible and dynamic that the nature of the Hero and his ordeals can find expression in almost all story forms. The writer and the Hero together share the Villan, Trickster, Ordeal, the In Most Cave, the Reward, the Elixir and so much more. It is the writer's life journey incorporated into the Hero model of their story. I am using it to write an historical trilogy for young adults. Vogler will take you to Joseph Campbell the master mythologist.
Mythology gives insight into Movie story-telling.......1998-08-11
This book will tell you how the most successful stories in history are written. How did George Lucas decide on the plot for "Star Wars"? Why do certain movies work so well? This book is a must for any screenwriter. It outlines the story structure which is inherant to humanity, and engrained in our culture.
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
A revised and expanded sequel to Stealing Fire from the Gods, this 2nd edition includes important new revelations concerning the ultimate source of unity, the structures of the whole story passage, the anti-hero's journey, the high-concept great idea, the secrets of charismatic characters, and the analyses of many important new stories and successful films.
Customer Reviews:
Stealing Money From The Schlubs.......2007-09-26
Okay, I have my MFA in screenwriting, and have read many a book on writing (and there are some very good ones out there). But if, like me, you want additional tools or methods to improve your story/writing/script, then this book is "practically" useless. I say "practically", because after spending half the book on the history of story and other incidentals (academic), the author reserves the last quarter of the book for a complicated bit of story construction/deconstruction mumbo-jumbo that was part Joseph Campbell, part mysticism, and part fevered-dream. There is no "practical" here. Oh, there are boxes for you to put your story into, then based on that box (or paradigm), specific paths for your story to follow. However, so many other books do it so much better (and more practically). Heck, read Michael Hague, he'll give you four fundamental hero types/goals; and read Joseph Campbell yourself. And for gosh sakes, there's nothing like reading screenplays.
The book made me mad. This much money for this little is a bookish crime.
Slightly over my head.......2007-09-13
[3.5 stars]
I have to give this a three-and-a-half-star review, because like an opera viewer, while I can recognize the skill of the singers, I am technically inept at understanding the reasons for that skill.
This is advanced level writing, and I can sort of catch glimpses of brilliance in how the author describes story but, for me, that brilliance is frequently hidden from view by the ponderous language and the intricate psychological contrivances. I wanted to really understand this book, but I don't know if that's possible as a neophyte screenwriter. I believe this is a book I will return to when I have a bit more knowledge and confidence.
In the meantime, I will finish reading Syd Field.
Lots of info but not motivational and boring.......2007-09-06
This is a book full of information on writing. It breaks down the task of writing into almost like a math problem or some sort of physics formula.
It's a good way to analyze your script when you are done but a beginner writer shouldn't be required to follow this formula or else the first draft of the script will never be done.
I got this book hoping to learn some tips on writing before I started my script but looking at the book, chapter titles and flipping through it reminded me of a calculus book.
The analysis was not motivational or interesting at all. It actually made me procrastinate on reading this book and also using it to help me write.
Don't get overwhelmed with these formulas and just start writing.
One good book is "Alone in a Room".
Subconscious Source.......2007-08-31
This book came just in the nick of time for me. After my first re-write on a screenplay I needed something a little more abstract than 3 act structure descriptions. Stealing Fire gives an overview of what stories can be about as well as what they can mean to the viewer. It gave me new hope that creating stories that move audiences, is an important contribution to our social structure and evolving history. James Bonnet asks us to consider the archaic power of story lines and archetypes, the importance of story in every stage of life and to see that it is vital, after having come up with a passable story, to dig deeper and use intuition to start communicating with that muddy subconscious source within us to tell stories that inspire and ignite passion as well as entertain.
one of the most stimulating books on storytelling.......2007-05-19
This second edition of James Bonnet's guide to storytelling expands on the original by some forty pages. Like Christopher Vogler, Bonnet is inspired by C. G. Jung and Joseph Campbell's works, so anyone acquainted with The Hero's Journey will feel at home immediately. However, Stealing Fire goes far beyond the basic hero myth. Bonnet traces the entire LIFE of the hero, from his auspicious beginnings to his final doom. In this way, he opens the door to telling other types of stories than the overexposed coming-of-age hero myth - and about time too.
Another important concept here is the `whole story', namely the entire sequence of events which form the backdrop and the future of the screenplay or novel. For instance, if we consider World War II to be a whole story, then Casablanca and Saving Private Ryan are specific moments of its storywheel.
Stealing Fire is an incredibly rich book, filled with ideas and concepts which stimulate the storytelling mind. However, it's not an `easy-to-use' method which depends on a single, easy to remember formula. The second edition material is mainly concerned with making the book more immediately practical for writers. It succeeds, but there are still many concepts and ideas here which could have been treated in more depth (for instance the Anti-Hero's Journey is described in just two pages). I also feel that the visual representation of the Golden Paradigm described here is too complex and abstract. Nevertheless, James Bonnet's book is thought-provoking, insightful and creatively exceptionally stimulating.
Amazon.com
A comprehensive guide to writing screenplays by an experienced screenwriter and a respected writing teacher. Along with sections on the sreenwriter's craft, basic storytelling, and the parts and objectives of a screenplay, the book is distinguished by detailed analyses of sixteen successful films' screenplays, including the likes of E.T., Some Like It Hot, North by Northwest, Citizen Kane, and Annie Hall.
Book Description
In The Tools of Screenwriting, David Howard and Edward Mabley illuminate the essential elements of cinematic storytelling, and reveal the central principles that all good screenplays share. The authors address questions of dramatic structure, plot, dialogue, character development, setting, imagery, and other crucial topics as they apply to the special art of filmmaking.Howard and Mabley also demonstrate how, on a practical level, the tools of screenwriting work in sixteen notable films, including Citizen Cane, E.T., One Flew Over the Cuckoo's Nest, Rashomon, The Godfather, North by Northwest, Chinatown, and sex, lies, and videotape.
Customer Reviews:
Verbose but thoughtful advice.......2007-01-10
Nothing new here and it is wordy. You should read it carefully, underliner in hand, to mark fishing grounds worth remembering.
Good if you've never written anything ever before.......2006-05-10
If you have never written anything, in any genre, in any format, then this book would be an excellent tool to help develop your writing skills. However, as a book on screenwriting, this book gives the very basic of basics. That is, to sum up 97 pages of text, you need to have characters, a plot, conflict, a resolution. Oh, yeah, and it all has to make sense.
Each concept is "delved" into in about two to three pages. Most of this, however, is just primer to the Analysis Section in the back of the book, where the writer now explains how all those elements take place in various movies he considers Good.
Not a great book.
Comprehensive and Practical.......2004-09-29
I think this book stands out from others in the heap of books on screenwriting in at least two salient aspects.
First, it does a fairly good job of defining the terms being used. There is great confusion in screenwriting terminology; different authors have differing definitions for commonly used terms -- or none at all. They just throw out terms as if the reader already knows what it means or the meaning is so intuitively obvious it doesn't need definition. Or they define the term vaguely and apply it inconsistently so it seems to mean one thing in one paragraph, and then something else in another. Terms do need clarification and authors need to be consistent.
Second, whereas some authors emphasize a particular element or technique as a sin qua non -- if not the sin qua non for creating a marketable manuscript -- this book discusses all the basics with no particular emphasis or preference for one.
After surveying the basics, the authors apply their analytical schema to 14 notable films from various genres including The GodFather, Rashomon, Annie Hall, sex lies and videotape and Hamlet. Though I don't always agree as to how they apply their schema, it's a practical schema.
An indispensable Tool........2001-12-14
I can't praise enough this book. The First section explain the Basic about Storytelling, the Second section expose The Screenwriting Tools, the Third Section from the page 100 to the end provide an Analyses of 16 Films using the following tools/elements:
Protagonist and Objective, Conflict, Obstacles, Premise and Opening, Main tension, Culmination and Resolution, Theme, Unity, Exposition, Characterization, Development of the History, Dramatic Irony, Preparation and Aftermath, Planting and Payoff, Plausibility, Action and Activity, Dialogue, Visuals, Dramatic Scenes.
My conclusions:
1) The information is clear and concise explaining the essential elements of a script
2) The Analyses Section provides examples in depth
3) The book is cheap
Is a favorite between my 12 books about Writing, you can't go wrong with this bok even if you are a Pro because the analyses of the films provide you a comparative of the central principles of a good movie.
Masterful! Brilliant! Amazing!.......1999-07-22
Forget all of the other books out there...or, buy the other books, but make this one first on your list. Howard and Mabley are both accomplished professional writers and they know their tools of the craft, which they now share with you. This book succeeds immensely simply because it lists the elements of a screenplay and tells how each is best used and why. It has all of the basic elements: Dialogue, Dramatic Irony, etc. But ever heard of "Preparation and Aftermath", "Future and Advertising", "Planting and Payoff", or "Plausibility"? If not, then learn how to include them in YOUR screenplay to make it better, more exciting, and more fulfilling in a dramatic and universal way. Absolutely the best book on screenwriting. Period. Buy it now. I have read it a countless number of times and each time I learn something new or it spurs my imagination to create something new in the world of my screenplay. Please do yourself a favor and get a hold of this book. A masterpiece of screenplay instruction.
Customer Reviews:
Attention writers: This book could save your life.......2004-10-26
If your tough guy in your hard-boiled detective story/police procedural/cozy thrillerdrops dead after one bit of the amanita pantherina, or the panther mushroom, and shows no symptoms, the uninformed may think your scene is shocking and dramatic, while fans in the know will probably feed you some wild grapes. If you read Deadly Doses: A Writer's Guide to Poisons, you probably won't know that the poisonous plant moonseed can be mistaken for wild grapes, you'd know that your tough guy, after eating amanita pantherina would first get an upset stomach, feel lightheaded, and get dehydrated from tears and sweat, before succumbing to death at least one and a half to three hours later. However, your tough guy would have had to eat a whole trunk full of mushrooms and been, well, too tough to go to a doctor.
R.N. and writer Serita Deborah Stevens and partner-in-crime Anne Klarner give a would-be Ed McBain or Sue Grafton all the lethal ammunition you need in this reference guide to poisons. Read Deadly Doses and avoid the wrath of a homicidal fan.
From a Pharmacist/Poison Specialist.......2003-09-19
I became interested in this book, not because I am a writer, but because I'm a toxicologist and love to read anything on poisons.
It's a great place to start, and *mostly* accurate. Hoever, some info is out of date (especially decontamination and antidotes), incomplete, or just plain wrong. It certainly is much easier to read than other toxicology texts, and even though I have my doctorate in pharmacy, I learned a few things! I would suggest though, for people who intend to incorporate poisonings in their writings (accurately), to verify the info with a toxicology text or poison control center.
Just stateing what you already know.......2003-06-30
Okay, all this book is is a guide to common poisons that everyone knows about. It explains a little bit about how to obtain them and how to make some common ones. It also gives some info on how to identify different poisons. This is one of those things that makes you say "I-WILL-NOT-BUY-STUPID-STUFF-FOR-NO-REASON!"
a must for historical or mystery writers!!.......2002-10-11
This book is a super reference book for writers. Gives you a short history of poisons,then moves in the classic aka Agatha Christie style poisons. Next we get into the what's on hand style of poisons i.e. household stuff. Plant poisons, the dead mushrooms etc. They cover movie poisons such as spiders and snakes, medical oops-es, what's in the garden pesticides. Even Street Drugs and a few hints on do-it-yourself-versions. They covered the methods, the forms, the symptoms, and even the time that is takes and just how successful (toxicity rating)....anything a writer needs to know....no no no don't touch that mushroom!
Super reference work and highly recommended
Excellent Beginning Resource.......2001-12-31
Deadly Doses is an excellent beginning resource for the writer interested in using poison as an element within a story. It gives a brief history of poisoning, clearly divided chapters (plant based poisons, industrial, medical, etc.), and an easy to read format for each entry. Each poison is listed with a toxicity rating (6 being the highest), form, effects and symptoms, reaction time, antidotes and treatment, case histories, and notes of interest. Because the book has to cover so much, each entry is necessarilly brief and many less toxic forms of poison are glossed over or omitted. The author is quite open about this from the start.
In addition to the known poisons, the author provides a chapter on how to create an imaginary poison for the sake of your story. You may not find exactly what you need to kill your main victim with, but you will certainly come out of this book with a much stronger sense of how to do it and where to look, thanks to a very infomative biliography. As an unlooked for benefit, you may find yourself far more knowledgeable of dangerous substances in your own life, and, while one hopes such knowledge will never be necessary, knowing the syptoms and treatment of a common household poison may be useful (especially if you have children!)
Customer Reviews:
An excellent guide for writers........1999-08-31
Although the title would seem to aim this book at a specialized market, this is in fact an excellent guide for writers in all markets. The theme of the book is that a well-written story will be much easier to sell than a poorly written one. The majority of the book is devoted to guidelines for plot and character development in the context of the specialized requirements of film and television. Many of the directions in the book are applicable to writing aimed at a wide variety of markets. There are several useful examples of actual scripts and other industry-specific forms that serve as bluprints for the aspiring film and television writer. There are also examples of synopsis and treatments as they are used in the industry. The second half of the book is devoted to the mechanics of the visual entertainment industry and how the script and writer fit in. The appendices deal with the Writers Guild and include an agency list. This book is a must-have for the aspiring film and television writer.
Book Description
Gardner's Guide to Animation Scriptwriting is the place to go for information on writing Saturday morning cartoons or animation short films! This book is user-friendly, with illustrated text that takes you through the steps necessary to create a winning script. Detailed instructions so you won't get lost on your way to becoming a successful writer for Animation. Complete, concise and fun it's packed with real examples and exercises, that includes three formats for different age groups. All you need to know to get started.
Customer Reviews:
Aside from Confusing Road Analogies...Great Book!.......2006-02-03
This is a great book for anyone that wants to learn the structure of writing for animated shows. It reveals the formula for creating successful stories, characters, and scripts.
The only drawback was the overuse of the road sign analogies. Don't get me wrong, they work fine to illustrate the points, but I just felt there were too many of them.
In any case, an excellent book if you're starting out your career in animation...like me:)!
Complete cartoon-writing reference guide - Amazing!.......2005-04-15
I knew that scriptwriting was formulaic, with lots of rules about what should happen at what page and all of the structural details. But this book plots out exactly what a cartoon should do! From the general outline to the set-in-stone types of humor. Who knew that anyone had codified all this stuff! It's all here, from the Flintstones to South Park. This is how it's done.
Far from being confining, I'm finding that reading and re-reading this tome (easy to read tome!) is inspiring beyond belilef. I'm cranking up my DVD player and finding that every detail of every chapter is true down to the last nut and bolt. Professionals have been following these guidelines for decades!
This book must be the textbook for lots of classes about this subject somewhere.
I'm a 3d animator, and it's my goal to make animated shorts a lot more "arty" than Pepper Ann and Rugrats. But this book is such an eye-opener! I've never realized that even the cartoons that I've loved for years - Simpsons, South Park, Ren & Stimpy - all of them! They all follow the same rules.
One funny thing about this book: For a writing manual, it has a phenomenal number of typos. What a hoot. The book is incredibly easy to find your way around. The author is simply a master at her craft, and the insights are invaluable for anyone not employed in Callifornia. Yet you can find 1 or 2 typos or grammatical errors per page. I guess they skimped on the editing.
If you're concerned about developing content for your own animations, or aiming at a job scripting for cartoons, or just want to round out your knowledge about scriptwriting in general, this is an awesome book.
A Unique Achievment: constructing an Animation script.......2001-11-07
Is a shame that a great book like this only have one review until now ( and a wrong one ) hence I'll try to correct this.
NOTE: Be aware that this review is for the GARDNER'S GUIDE TO ANIMATION SCRIPTWRITING ( this review is wrongly appearing TOO in the "Gardner's guide to Multimedia & animation Studios", some kind of problem in Amazon.com I Think, :-( SORRY Chaz )
I bought this book in August 2001, if you are looking for books about scripts there are many ones, some very good, but any is writed exclusively thinking in animation and cartoons. For the animator this is an invaluable reference, here is the summary:
1.- Animation - An Overview
2.- Cartoon Genres
3.- The Moral
4.- Central Idea
5.- Dead End Ahead - The Central question
6.- The Characters and the Character Arc
7.- Introduction to Plot
8.- The Twenty-Two minute Structure
9.- The Eleven Minute Structure
10.- The Seven Minute Structure
11.- Make 'Em Laugh - Levels of Humor
12.- Prose
13.- Dialogue
14.- The Scene
15.- Broadcast Guidelines
16.- The Rewrite
17.- The Writing Process of Animation
Glossary, Cartoonography, Filmography, Road Map Forms, Apendix
The book itself have a good easyreading design, with plenty of quotations and references to well known movies or series, here you have the basics of writing but you can find more profound books about this, the special of the book is that is writed for cartoons specially, have 3 chapters studying the structures of the cartoonscript of 7, 11 and 22 minutes, of course you can apply all the information for an animation of any length, movies or shorts.
Including checklists for Structure, Characters, Scenes, Dialogue, Humor, Prose, 3 Structure guides, 75 Excercises, 37 Rules and an Animated 7 minutes Teleplay in the appendix: You have here a book that will go to occupy an important place near you.
I'm not an acclaimed screenwriter in fact I'm a novice in this area but I'm working with a firm producing some animations and I can asure you that this book can prevent you some rocky mistakes in this special field and even If you are a Pro you'll find some good points here.
A complete, definitive, "user friendly", industry directory.......2001-03-16
Gardner's Guide To Multimedia & Animation Studies is the complete, definitive, "user friendly", industry directory for anyone seeking jobs, connections, and services information and contacts. In addition to indices listed by state or province, and company name, Gardner's Guide To Multimedia & Animation Studies is carefully organized in four parts: East Coast, Central; West Coast; Canada. Within each regional section the companies are alphabetically listed and include the number of employees, areas of specialization; a brief description, address, phone, fax, and website address. Gardner's Guide To Multimedia & Animation Studies is a very practical and highly recommended addition to industry professional and library reference collections.
Amazon.com
You've got to love a lawyer who advises, "Don't make your lawyers rich." Entertainment lawyer Brooke A. Wharton provides an authoritative and, yes, entertaining primer for the beginning entertainment writer not just on the legal and business issues of writing for the industry, but also on how to get a career jump-started. The first section covers copyright, libel, and contracts, so that if you can't "control the exploitation of your scripts and written work ... at least [you'll] know when you're being screwed." The following section delineates the murky differences between the roles of agent, lawyer, and manager. The gist of it is that you don't need all three, but which ones you need depends on the type of person you are and the type of agents/lawyers/managers they are (industry insiders are not prone to job-title limitations). The next section has a series of interviews with writers, agents, and a producer, all of whom help to enlighten us about the various writing jobs the industry offers, from film to television to cyberspace. (If you're surprised to learn that "most writers working in the film industry do not make their living from the sale of a spec screenplay," I've got a good deal for you on some land in Florida.) Finally, there are lists of competitions, fellowships, internships, and agencies. And what about jump-starting that glamorous career? Contacts, baby. Contacts. And wouldn't you know, if you ain't got 'em, Wharton's got great advice on how to make 'em.
Book Description
An indispensable roadmap to success, The Writer Got Screwed is the first book to untangle the legal and business aspects of writing for the entertainment industry. It is for the young TV production assistant waiting for a big break, the executive with a treatment tucked away in a bottom drawer, the techie targeting the new field of cyberspace writing, or anyone who is inspired to write screenplays.
Savvy Hollywood entertainment attorney Brooke Wharton decodes legal jargon, explains how to protect creative work, shows how to read between the lines of a contract, and advises how to avoid getting sued and screwed along the way. Useful resources, including a list of agencies, competitions, fellowships, internships, and legal organizations, make The Writer Got Screwed an essential part of every writer's tool chest.
Customer Reviews:
#1 BOOK FOR FILM & TV WRITERS.......2005-12-28
There are a lot of books out there on writing for the entertainment industry, but this was the one book that got me started. A lot of writers tend to pass around gossip and poor information, but this book set me straight from the beginning, and is now joined by Wharton's website/blog: brookewharton.com(rated in top 10 for film blogs). This is the one book that anyone writing for film or television should START WITH. I'm mystified by a previous reviewer who said that Wharton doesn't talk about the WGA (there's a whole chapter on the guild), and also that she doesn't discuss acquisitions vs. development (it's called spec sales vs. assignments in the 1st 10 pages of the chapter on writing for film). Clearly this person couldn't have read the book. If you need real answers, buy the book.
THE BOOK WHICH STARTED MY CAREER.......2005-12-16
After graduating from film school, I had no idea how to start my career as a writer in the film industry. "The Writer Got Screwed" not only showed my how to start my career, but showed me the different kind of careers which exist for Writers in the Entertainment Industry. Most books don't explain what WRITERS working in the entertainment industry need to know: THIS BOOK DOES. If you want to work in the legal department of a studio, take classes in copyright and contracts. If you want to work as a writer in the entertainment industry, THIS IS THE BOOK FOR YOU.
A Must Have for Anyone who Writes.......2005-12-04
This book is one of those needles in a hay stack. It's not out there like all the other books for writers. But if you find it... you have found gold. It is written so that it is easy to understand and has tons of great information in it. A must have.
One of the Best Re: Writing for the Entertainment Industry .......2005-09-27
Very few books explain how to start your career, the different forms of representation (agents, managers, and attorneys), how to protect your work (copyright registration vs. registering with the WGA), how to protect yourself (contracts-what do they mean?) and give lists of available resources (scholarships, WGA approved agencies, production companies, legal resouces/attorneys) for writers working within the entertainment industry--"The Writer Got Screwed" delivers on all of these areas. Whether you are working in film, television, feature animation, soap operas, or interactive, "The Writer Got Screwed" provides interviews with writers who work in these areas and valuable, RARELY FOUND, information regarding how these started their careers. This book is a terrific, must-have book for anyone who wants to write for the entertainment industry, and now is joined by a companion website at [...].
Good for newbies.......2005-09-21
Given all the 5 star ratings, I expected better. Not that this isn't a good book, but it depends on the reader's sophistication. If you don't know anything about some of the basic legal and business aspects of the publishing biz, this book is a good start. On the other hand, if you're a detail oriented person who really wants to dig in deep into this subject, you may find the content a bit light.
Books:
- Theory Essentials, Volume I (with Audio CD): An Integrated Approach to Harmony, Ear Training, and Keyboard Skills
- This Is Your Brain on Music: The Science of a Human Obsession
- This Time, This Place: My Life in War, the White House, and Hollywood
- Tools & Techniques of Financial Planning (Tools and Techniques of Financial Planning) (Tools and Techniques of Financial Planning)
- Was
- What Every Real Estate Investor Needs to Know about Cash Flow... And 36 Other Key Financial Measures
- Who Moved My Cheese? An Amazing Way to Deal with Change in Your Work and in Your Life
- Written in Blood, newly revised edition: The Story of the Haitian People 1492-1995
- Yosemite and the High Sierra
- A Table for Two: Recipes from Celebrated City Restaurants
Books Index
Books Home
Recommended Books
- Chinese Business Etiquette: A Guide to Protocol, Manners, and Culture in the People's Republic of Ch
- The Voynich Manuscript: The Unsolved Riddle of an Extraordinary Book Which Has Defied Interpretation
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- The Dream and the Nightmare: The Sixties' Legacy to the Underclass
- The Heart of the Artist
- Three Adventure Novels: She, King Solomon's Mines, Allan Quatermain
- The Dynamic Great Lakes
- ABC-ABM Gestion de Costos por Actividades
- Schaum's Outline of Cost Accounting, 3rd, Including 185 Solved Problems
- Directory of Grants in the Humanities 2001-2002
Screenwriting
| Movies
| Entertainment
| Subjects
| Books
The Hero with a Thousand Faces (Mythos Books)
Story: Substance, Structure, Style and The Principles of Screenwriting
Myth & the Movies: Discovering the Myth Structure of 50 Unforgettable Films
Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives
Creating Unforgettable Characters
