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
For years, award-winning independent filmmaker Rick Schmidt has been teaching aspiring writers, directors, and producers how to make “no-budget” films, both in workshops and in his classic guide, Feature Filmmaking at Used-Car Prices. Now Schmidt shows how it is easier—and cheaper—than ever to make an innovative, high quality work, thanks to digital video. Filled with the latest information on equipment and software, ideas for experimenting with new techniques, and advice based on Schmidt's own experiences, Extreme DV at Used-Car Prices offers a step-by-step tour through the making of a feature- length movie using the newest and ever-changing DV technology. Instructive and inspiring, this one-of-a-kind book is essential for filmmakers with lots of ideas but little money.
Customer Reviews:
Awesome book!.......2007-09-23
Do yourself a favor and read it if you are serious about no only making a movie/video but having people sit through and enjoy your work.
Good intro to those seeking to make film at "used car" price.......2007-08-03
This book is a good intro to those seeking to make a DV film at a "used car" price. It has a chapter on everything from planning, shooting and marketing plus some of the author's experiences in each. The bad aspect of the book is that each section is very short. The chapters only basically touch on subjects. In addition, the movie is weak in the area of planning non-documentaries (i.e., very litte discussion of script - author's advice is just go out and shoot). In addition, the book is geared to the cheapest production values. For example, he spends a lot of time discussing the use of a TRV10 (a digital 8 camera!!) and the $60.00 on camera amateur mike that can be purchased for it. Little discussion is given of using even a slightly more advanced camera such as a Canon XL-1. If you are going to spend a few weeks of your life on a project does it not make sense to spend another grand and use decent equipment?
Despite these weaknesses book gives good (albiet very rudimentary) intro to most phases to indie filmaking. For somebody starting out fine. For someone who is beyond the beginner level the book will not provide much of use.
A digital filmmaking must!!!.......2006-01-18
Don't judge this book on the typing errors (they are not noticeable anyway), but on the content. Rick has been very successful in independent film, but is a much better teacher than a filmmaker. As a filmmaker myself, this book along with Rick's original one on feature filmmaking, has inspired and taught me more than any other book on the subject. In the new era of digital and HD filmmaking, this book will breif you on everything you need to know. Great advice lines the pages and motivation to make a movie is the least you'll take away from reading even just a chapter. Buy this book because even if you breifly thought about making a movie then Rick can get you started.
Yuck.......2006-01-04
Dont buy this, its just his own personal experiences of making horrible sounding DV film. He gives bad advice, and sugguests not using a script. As said before, look at who is giving you advice before you take it. If you really want this book buy a used copy.
Don't Be Afraid.......2005-06-05
Ya ever think - I'd like to make a movie - but then stopped right there 'cause the reality (so you think) is that putting something like that together is just too hard? Pick up Extreme DV, ya goof. It doesn't have to be that difficult. You could get your cinematic vision in the can without the unpleasantness of ulcers and spousal abandonment. Take a look. And don't be afraid.
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
Sitcoms have never been hotter in Hollywood, and the demand for writers has never been greater.With fees starting at $16,000 for a half-hour script, sitcoms can be a lucrative option for freelancers. The hundreds of shows produced every year, each of which needs a team of writers, provide a tremendous opportunity to break into the industry.But successful sitcom writing begins long before Act I, Scene I. Hollywood insider Jurgen Wolff will start you off right. He'll show you why some ideas are promising and some should be rejected immediately, even when they're funny. You'll learn how to analyze and develop characters. And you'll find out how the pros punch up their work with subplots, physical comedy, and timing.The technical ins and outs of the sitcom format are also explained, including act structure, subplots, sets, entrances, and exits. You'll learn the manuscript formats the networks use, so your work will look as professional as it reads. And you'll get solid advice on how to find an agent, take a pitch meeting, and land your script on a producer's desk-- even if you don't live in Los Angeles.Novice and veteran sitcom writers alike keep Jurgen Wolff's book handy. Read it, and you'll see why.
Customer Reviews:
Not a bad book, but . . ........2000-02-18
if you are serious about learning how to write sitcoms, the Evan Smith book "Writing Television Sitcoms" is much better. Smith's book gives better more detailed advice, plus it is more current.
If you're ready to write, this book will help you focus.......1999-11-11
Boy, did I love this book... Mr. Wolff engagingly shares his experience as a veteran of the sit-com world with his audience of hopefuls, and makes it not only understandable but enjoyable. I was especially motivated by his step-by-step exercises designed to free the muse. And even though he was very direct about the chances of an unknown actually selling a show, he made me feel I can -- and will-- succeed. If he's this good on paper, I can only imagine how inspiring he would be in a classroom!
Recommended. A focused and concise book on sitcom writing........1998-09-26
This book gathers the basic information on sitcom writing an a refreshingly straightforward manner. Because of the focus on successful network shows, the examples are necessarily lame. This book focuses on the structural requirements of teleplays as well as applicable business constraints.
This will not teach one how to be funny. No book can. But, as the book states: jokes are easy. Story is hard. This book will help you craft a better sitcom story in a professional manner.
TAKE MY WIFE, PLEASE.......1998-09-04
If you think that is funny.....then you'll love this book.
This tired and insipid book........................................1998-07-24
This book is sorporific. It's humour-free and is as dessicated as the gobi dessert. Wolff and Ferrante are to comedy writing what Ronald Reagan is to rememberance. This tired and insipid book is the broker of an unalloyed satanism. It purports to transform sketchy scrips into something monolithically funny. But their techniques are utterly without value and character. My mother, bless her, has more depth and writing ability than these two charlatans, and she has never picked up a pen or read a book.
Book Description
The world of animation has expanded far beyond the children's fare generations of Americans have grown up watching. Hit television series like South Park, The Simpsons, and King of the Hill have blurred the boundary between sitcom and cartoon and have aimed straight for adult audiences with a powerful admixture of social commentary and outright hilarity.
In movie theaters, with films like Toy Story and Shrek, digital technology has enabled animators to produce films both of stunningly realistic quality and the imagination and fantasy that the genre has always supplied. In the meantime, with recent hits like Tarzan and the forthcoming Atlantis: The Lost Empire, classic animation has never been more popular. It all adds up to an expanding market for writers who have an eye toward the future and an eagerness to work in a medium where the only limit is the depth of their imagination.
With step-by-step instructions, award-winning animation writer Jeffrey Scott details every stop on the road from inspiration to production, with sections on premises, outlines, storyboards, treatments, description, and dialogue, and much more:
* The job market and salaries for animation writing
* Writing animation for the internet
* Creating an animated TV series
* How to rewrite and polish scripts
* How to get hired to write for your favorite animated TV show.
With the insights of a seasoned veteran he also gives foolproof advice on how to sell the finished product-breaking in, getting an agent, negotiating the treacherous Hollywood pitch meeting. How to Write for Animation is the ultimate guide for anyone with ambitions of writing for the most rapidly developing medium in all of entertainment.
Customer Reviews:
Worth it all the way!.......2007-03-08
I'm in the process of writing a proposal for a new animated series and though familiar with writing in general have no experience in animation. Scott's book is a clear, step-by-step primer and is a terrific source of info for the beginner. Every writer approaches his work differently, of course but I find Scott's one-block-at-a-time method of putting together a solid animated story to be highly efficient while leaving room for a good deal of creativity and fun at the same time.
When I feel my energy and ambition start to flag a bit, opening up Scott's book and reading a couple of pages is a great way to get the fires burning again. He writes in a clear, friendly style that neither condescends nor misses any of the major questions a newbie might have.
"How To Write For Animation" is obviously the product of a highly experienced pro - which is much to the benefit his readers.
Highly recommended.
Like having a coffee with your pal Jeffrey..........2007-01-21
I didn't know who he was before buying the book but you bet I learned who he is and what he's done. Great person to read and learn from. The book was very inspiring but specially was technically estimulating to the level that for the first time in my life I think I can give it a shot and write something. He explained writing the script not as an art but a science. Most of the times when he mentioned that writing is also an art he refered to this a "something that takes years to develop" so instead of making me feel bad about this, he went ahead and taught me the basics, the basic structure, the basic approach and it was killer to have some actual samples of his work the reinforcing his words. The books is technical so dont expect an "about my life" book which is great... it's clear that Jeffrey has forged his talent and reputation by his work and not by saying how great he is. The book starts technical and ends in a more conversational way when Jeffrey tells you his "points of view" on different media types including internet. One thing I would love to ask him is to release an updated edition or even a new book on writing for a) writing for the internet and b) full length picture writing. When he wrote this book, internet animation was booming, now it's here so, some advice from him on this regard would be useful.
A MUST READ for anyone interested in animation writing!.......2006-04-12
I am a published comic book writer developing an idea for an animated series and have been thoroughly impressed with `How to Write for Animation'. In it, Jeffrey Scott takes you through the entire process of animation writing, and provides examples for every step. He demonstrates how to write a premise, beat outline, outline, and script. He then tells you how to make contacts in the industry, including finding an agent. What I especially like about the book is the wealth of information Jeff shares on how to develop a series idea, including writing a bible and pilot script and how to pitch the idea to Hollywood.
A previous reviewer misstates Jeff as saying that writing a feature is impossible. This is not the case. What Jeff did write was that `to the best of my knowledge, at the time of this writing, no spec animated screenplay has ever been sold or produced'. He goes on to write, `Someone IS going to sell an animated spec one day and it might as well be you.' (Emphasis added). This book will equip you to do just that.
For those of you wanting to take the next step in your animation writing career, I highly recommend Jeffrey Scott's Cartoon Writing Apprenticeship Program offered through his website (www.jeffreyscott.tv). In this program, you learn directly from the master and I can tell you from personal experience that Jeff does an incredible job of teaching you how to improve and polish your writing.
The book and the apprenticeship program are incredible resources to help you succeed as an animation writer.
a letdown - really mostly for TV series writing.......2006-04-05
I was disappointed in this book since it focussed almost exclusively on creating TV series scripts, and drew virtually all examples from one of Scott's Teenage Mutant Ninja Turtles scripts. When it comes to features, there's only a small chapter and Scott basically says 'Forget about it - no film scripts have ever been bought from outside a studio - they're only developed in-house by execs.' There's also only one paragraph devoted to creating 'direct-to-video' projects, and no mention whatsoever of strategies for writing for independent films or any less 'orthodox' ways to get your work seen and developed.
Given all the other glowing reviews I read, I expected more.
Awesome!.......2005-10-06
I'm a boring lawyer who had an idea for a cartoon series swimming around in her head. I found this book, followed it to the letter, developed the idea, pitched it, and now have a major animation production company who has purchased an option for the show. Mr. Scott even took the time to respond to an e-mail I sent with a question. This is a great and simple to understand resource for anyone with the ideas and gumption to go for it. Thanks Mr. Scott!
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
Customer Reviews:
Remedial at best.......2003-09-23
This is one of the weakest scriptwriting book I have ever read. The author's references are dated, and the examples she uses from her own writing (episodes of "The Bob Newhart Show" and "Starsky and Hutch") are hardly good guidelines for any new writer to follow.
The book is useful for its occasional pearls of wisdom (the main character should be in the first and/or last scene of every act), but the beginning writer would be confused by her explanation of structure. As for her guidelines on format and marketing--who knows how much has changed since 1990?
A new edition might be worth a look. For the novice writer, though, you're better off learning how to write screenplays and applying that knowledge to television. See authors like Christopher Vogler, Michael Hauge, and Michael Chase Walker.
This is the book if you want to write for television.......2003-05-03
An excellent book on the subject. Well written by a knowlegable author.I never did write a TV script but enjoyed the book anyway.
Bravo Madeline.
Practical, Fun & Written with Heart.......2002-03-29
Well, we all have opinions, and I must disagree with the prior reviewer. Perhaps he did the Evyln Woods speed read on this book. Madeline is an experienced and gifted screenwriter with her finger on the pulse of the motivations that drive character and create the conflicts that move plot to resolution. This book is a FUN READ, informative, and insightful. It is used as a teaching text at USC and is the product of Madeline's extensive experience writing for television. I have been fortunate enough to attend two screenwriting courses taught by Madeline (I have done many of the other "famed" teacher's seminars also) and found her to be genuine, inspired, open, practical, visionary and experienced enough to know the hoops you need to jump through and the order in which to do it. Her classes we leagues above the others - primarily because she never loses sight of the dynamics of characters and their inherent flaws.
'How to Write for Television' is one of the best books on this subject available anywhere.
At least it's cheap..........1998-09-26
Not bad or misleading, but this book doesn't compare well with others in this genre.
A better title would have been: "How to Make a Living Through Bad Television."
Examples used include Fantasy Island and Starsky and Hutch. Professionally written, but someone's going to have to spend a few aeons in Art Purgatory for those stinkburgers.
To be fair, the generic info is helpful if you have no other information, but there are several better books out there. For sitcoms, try: "Successful Sitcom Writing."
Book Description
Break into the TV newswriting business with this expert guide
How to Write Television News delivers dozens of tips and principles used to train writers at CNN Headline News in a guidebook of simple formulas and clear explanations for becoming a solid television news writer. Actual network news scripts illustrate what to do and what not to do. Aspects covered include leads and style, as well as demonstrations when a dry and straightforward approach is appropriate and when a more creative style can be used to better effect.
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