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.
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!
Average customer rating:
- A Solid Book
- I scanned it straight to the money
- Inspiring to all students of writing.
- Sitcoms from the ground up
- A must-read for would-be sitcom writers
|
Writing TV Sitcoms
Evan S. Smith
Manufacturer: Perigee Trade
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Writing Television Comedy
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ASIN: 0399525335 |
Book Description
With guidance from top sitcom producers and examples straight from the screen, this book can help anyone write, revise--and sell--a script.
With twenty years in the business--as a writer, programming executive, and university instructor--Evan Smith knows what it takes to get from spec script to sitcom success. Here he offers the first published description of Premise-Driven Comedy, the writing method he has developed and popularized; tips from writer-producers who have worked on series from "Frasier" to "The Cosby Show" to "Roseanne;" a complete story outline from the series "Home Improvement;" explicit advice on how the business works and how to get an agent; and script layout guidelines for all three sitcom formats.
Clear, comprehensive, and cutting-edge, this is the true insider's guide to becoming a sitcom writer. Who knows--it might just be the book that inspires the world's next Seinfeld!
* Includes examples from classic and contemporary sitcoms, tips from successful writer-producers, and a complete "Home Improvement" story outline
* An author with twenty years of experience in the business
* Advice on both the business and creative aspects of a sitcom-writing career, including a discussion of Premise-Driven Comedy, Smith's innovative new writing technique
Customer Reviews:
A Solid Book.......2005-10-02
Although it has an unfortunate title (who the hell wants to write sitcoms? - aren't they supposed to be dead?), this book is one of the better resources on the subject of television writing in general. It paints a very realistic picture of the business and acknowledges some of the changes that are taking place within the industry. This is a good book for someone who already knows how to write a solid script, but who'd like to learn more about the TV biz.
I scanned it straight to the money.......2001-04-13
I scanned right throught the pages like I needed the cool breeze and stopped on the "how much will I make" page and well, it looks good to me. I also looked in other areas of the book and before I even read it I know it's exactly what I was looking for. A must for even a dream sitcom writer like me. This is a real shortcut, it covers all the information you will ever need.
Inspiring to all students of writing........2001-01-13
Evan Smith introduces Writing Television Sitcoms as the all-in-one writer's guide to sitcoms. It sounds heavy, but honestly true. There is no aspect of TV sitcom writing a student, or otherwise, could dream up a question for which Smith doesn't have an answer. He covers how to create a sitcom, write it, and sell it. And in the first chapters he even details how anyone can make a career in writing. You will find yourself beaming with childlike enthusiasm as your eyes run through Writing Television Sitcoms.
Sitcoms from the ground up.......2000-09-24
Smith goes right to the foundations of sitcom writing, and leads his reader through all the steps to a funny, saleable product. He explains his 'premise-driven comedy' in terms a beginner can comprehend and put to immediate use; a pro will find suggestions for boosting his batting average, and will recognize the voice of someone who's been there, and done that. Kudos to Smith
A must-read for would-be sitcom writers.......2000-09-21
This book is very well-organized, well-written and very informative. I have found that I refer to it often. It is worth the investment if you are serious about sitcom writing.
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:
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
The Writer's Road Map is your quintessential guide to writing one hour Television shows, whether you are a confirmed couch potato with a good idea for a TV series or a professional writer looking for a new medium to stretch your literary muscles. The writing exercises are designed to get your teleplay idea and/or your episode for an already existing series down on paper in the TV industry format. Follow Webber's trademarked Writer's Road Map and you will complete two marketable one hour scripts with ease! The book's meticulous design provides for several rest points with exercises and rules for lifelong script writing.
Gardner's Guide to Television Scriptwriting: The Writer's Road Map includes information on the different television genres, the basic four act structure, tv plot gimmicks, character types and motivations, scene construction, dialogue devices, themes, prose and rewrite lists. Learn the proper format and how to pitch your idea once it is written. Additionally this book contains a TV-ography of over 70 show references, a detailed glossary of popular industry terms, and a full length television script to provide a realworld example. Hollywood's waiting; the vehicle is ready, and you have the Map.
Customer Reviews:
Very Hands-On.......2007-02-12
Writing for TV- or film, for that matter- is a challenge. "Gardner's Guide to Television Scriptwriting-The Writer's Road Map" will help you get that TV episode, even that pilot episode written. And you don't have to have connections in the (entertainment) business to write a pilot (but if it does get accepted, you DO have to move to LA). Very interactive, and informative.
I would have preferred that the author updated this edition, every 2-3 years or so would be fine. As always, TV series come and go, given the volatile nature of (both broadcast and cable/satelite) network TV. But all in all, this is a very good read, and a very good aid to writing for series TV.
Gardner's Guide to Television Scriptwriting.......2006-03-11
I found the book to be informative, well organized, and timely. It helped me immeasurably. The only thing that I didn't like about the book was her descriptives -- comparing the writing process to driving a car. She describes the acts as Streets and lists Roadblocks encountered on these streets. It was kind of silly, but the book is EXCELLENT overall -- even with the goofy metaphors. Marilyn really knows her stuff, and she's an excellent writer. If you were only going to buy one book on scriptwriting (for a one hour show), this should be it!
Especially for the novice with no prior experience.......2003-05-16
Television Scriptwriting: The Writer's Road Map by Marilyn Webber is a highly practical guide to the art of writing viable, intelligent, and commercially marketable television shows and scripts. Whether attempting to turn ideas into a television series, or a seeking to earn a living as a professional writer in the exciting and dynamic medium of television, Television Scriptwriting: The Writer's Road Map is a first-rate and highly recommended resource (especially for the novice with no prior experience) featuring basic information, pitfalls to be aware of, useful checklists, and much, much more.
Book Description
A reference designed by the directors of this prestigious workshop to guide aspiring writers of TV sitcoms and dramas.
Deborah Pearlman and Abby Finer of the Warner Bros.Television Writers Workshop reveal in this essential guide insider tips and tricks aimed at paving the way to better scripts by new writers.
The book focuses on all aspects of writing for television, from the definition and importance of sample material to what it takes to be a successful TV writer. The authors offer invaluable insider information on the keys to writing a good script and how to choose the right show for sample material. In particular, they provide instruction on troubleshooting scripts - with a do and don't list. For the novice scriptwriter, they include advice on how to research, brainstorm ideas, and write a beat sheet and outline through to a polished draft. Filled with practical advice and up-to-date industry information, each chapter provides strategies and insights that will jumpstart a fledgling writing career toward success.
Customer Reviews:
Very helpful book.......2006-11-01
I found Starting Your Television Writing Career a very helpful book.
If you want to get into television writing, then Abby Finer is the person to learn from.
It is to the point, and it is obvious this is written by a pro with first-hand knowledge of the industry.
This book is a great start and I certainly hope the author decides to come out with a volume 2.
[...]
Lame! Nothing Like I Had Hoped...Save Your Money!!.......2006-09-24
I bought this book because I was interested in finding out some tips on getting my script accepted by the decision makers of the Warner Bros. Writer's Workshop. After all, those of us considering such a workshop already know how to write a script.
Yet this book was a weak attempt at showing someone how to write a television script. And it didn't do a good job at that! There are MUCH BETTER books on television script structure for both comedy sitcoms and drama series. Anyone reading any information on television writing for the first time would be SEVERELY MISGUIDED by taking the information from this book and attempting to apply it successfully to a television script.
But again, why is this book even about the structure of a television script? It SHOULD be about how to break into the Warner Bros. Writer's Workshop. It should have addressed what kind of writing the workshop accepts and which they turn down. It would help to know what those who are getting turned down all the time are doing wrong! That's what they should be talking about...How to GET IN!
PASS ON THIS BOOK! IT'S A TOTAL RIP OFF!
Disappointed.......2006-07-05
The book consists of: 51 pages of overview of how you write a good spec script and what you do with it; 49 pages of a comedy outline and script; 90 pages of a drama outline and script; and 27 pages of interviews with established TV writers.
I found the overview frustrating. Granted I'm not the best audience for this book, because it's written for nonprofessionals who want to get into the business, and I've written for TV. But I have read TV writing books that taught me stuff, particularly the brief but superb pamphlet the WGA has on its site, Writing for Episodic TV. I agree with the things the overview says. The problem is it says them generally instead of specifically. It gave me the impression that it was written by someone who sat in on meetings with experienced writers and then wrote down -- quickly -- what they said. In fact, the authors each have one television credit on the IMDb, are TV pro's, and run the Warner Bros TV Workshop (though their author bios don't actually say they are TV writers). But who can say in 57 pages all you need to know to write TV? You can say more or less what you need to do, but not how.
The interviews were fine, but they were similarly more directed at end results than processes. Not, "How do you come up with...?" and "How do you deal with...?" but "What was your first sample script and how did you get someone to read it?" I found them less compelling than the yards of interviews the WGA has up on its site.
I would also have found it more interesting if each interviewee was answering different questions.
The bulk of the book, though, is the scripts. And I gotta ask: what's the point of putting one comedy script and one drama script into a book? You need to read dozens of TV scripts, not one each of drama and comedy. And there are dozens to read on the Net -- see my right sidebar, "Links to downloadable scripts."
So, in all, I was disappointed. I really wanted to like this book.
One interesting point though: I did notice that this book uses different terminology than I've heard. For example, it says a typical scene will have three or four "story beats." That's a different use of the word "beat" than I've run across. In my experience it's rare to have more than two beats in a scene; usually it's one per scene or even per sequence. The book defines "act break" as "the place in the script where the action reaches its highest point." I've only heard "act break" used as a synonym for "act out," a term the book leaves undefined. And I'd never heard of a "clam," which apparently is an overused trendy phrase (e.g. "Talk to the hand"). It may be helpful to know these usages, so it might be worth checking out the glossary.
rip off!.......2006-06-06
I learned nothing from this book. Nothing. I could have written a better guide to TV writing myself. There's nothing about how to actually write a script; it's all just script samples, one a drama, one a sitcom. If this is what you're interested in, head on over to EBay for a script of a show you actually like. Otherwise, save your money!
Short and Sweet.......2005-10-02
I'd recommend this book to anyone who's thinking about getting into television writing. It's a brisk read and the authors really know what they are talking about. The only disappointment is that sample scripts account for approximately half of the book's length. Still, one manages to remain grateful that the authors didn't attempt to strech the content to create yet another of the condescending tomes that have saturated the market. The interviews with working writers at the end of the book are especially valuable.
Book Description
Clamoring to get your writing published...develop your ideas into great books...turn those stories into screenplays?
You want it all-and industry insider Peter Miller is the man to help you get it. In Author! Screenwriter!, "The Literary Lion" shows you how to write proposals that will be taken seriously on both coasts. Unlike other books on the market, Author! Screenwriter! presents a clear distinction between the two industries, focusing on what makes one unique from the other-and how you must customize your proposal and approach to be successful.
Author! Screenwriter! will provide:
Specific do's and don'ts
Sample inquiries and proposals
Success stories right from the author's prestigious clients
Author! Screenwriter! is your inside guide to seeing your words published and produced!
Customer Reviews:
The Literary/Film Bible.......2007-09-26
Peter Miller's Author!Screenwriter! is direct and to the point, so I shall be also. This beautifully organized exposition provided me with more insight into the Book and Film industry than I have found in any other source. I could write much more, applauding the great chapters on the mysteries of film deals and the most helpful examples of project proposals in many genres -- but the bottom line is simple Author!Screenwriter! is definitive, the most helpful book on the subject.
Wisdom par excellence.......2007-07-28
I purchased Peter Miller's book at the recommendation of a colleague who knew I was in the process of writing a book proposal. Peter's book and DVD provide the reader/viewer with such clarity and direction. Peter provides wisdom and insights for the experienced and the novice writer in how to maneuver their way through the challenges, obstacles, politics and subtelties of the publishing industry. By the time you are finished reading his book and viewing his DVD you have a very clear picture of what lies ahead - no rose colored glasses, advice for the dedicated writer; you are clearer than you ever imagined you could be about what lies ahead. Buy this book if you are serious about our writing career.
Brilliant and engaging!.......2007-07-18
"...exciting and stimulating with a galloping narrative pace. Full of resourceful `cut through the noise' content that will boom confidence in hopeful writers decade after decade...." Peter's passion for his work and the publishing industry speaks loudly. I heartily recommend this book to any aspiring author or screenwriter.
The Best-of-Breed Manual.......2007-07-14
I have read several books on this subject, but with Peter Miller's "Author! Screenwriter!" I have felt this is the one I should have read right at the beginning. It is comprehensive, hands-on and straight forward. It is clear that some decades of experience have made this book an outstanding piece that everyone , who is in the field of authoring and/or screenwriting, should read. In short it makes your life easier and you are likely to be more successful sooner. Reading it is a time well spent and good fun, too.
This Is The Book........2007-06-18
I'm a neophyte screenwriter with one screen credit to my name. I was delighted to find Author! Screenwriter! after having read many other books that promised to tell me what this one actually does: how to succeed as a writer in New York and Hollywood. Everything I need to know is in these pages, with invaluable examples so I have something concrete to go on as I prepare proposals and negotiate contracts. Even better, this book is a page turner, something I had come not to expect from how-to tomes about publishing books and getting screenplays sold and produced. It's as if you have fifteen meetings with Peter himself, plus all the supporting materials you could desire, and he's there across the table with his brilliance and energy sharing his wonderful expertise in a way that's both highly literate and highly accessible.
New York and Hollywood are the geographic poles of books and films in the U.S., and Peter Miller is the best possible Virgil to anyone's Dante determined to negotiate these sometimes frightening realms. Even if you aren't looking to succeed as a published author or a produced one, read this just because it's so engaging, so much fun!
Amazon.com
For many first-time screenwriters, the most daunting aspect of getting underway is learning the proper format. Paul Argentini lends a helping hand with Elements of Style for Screenwriters. It's a good nuts-and-bolts introduction to the terminology of filmmaking and a step-by-step guide to making sure your opus is properly formatted. Argentini starts with a short sample screenplay as a concrete example, peppered with annotations as simple as "use plain Arabic numbers" and as complex as "(continuing) not needed here--LUDVINNIA (O.S.) and LUDVINNIA are separate elements." Don't worry, when it's all laid out on the script it makes a lot of sense. Most of the book is set up as a glossary of film terms, though Argentini does not stop at mere definitions, also filling the book with practical advice. He explains that a "talking heads" scene refers to one that is all dialogue and no action and points out that it will doom your script. The second portion of the book--considerably smaller--lays out the elements of style for playwriting in a similar sample and glossary fashion. Argentini also helpfully explains the broader differences between writing for the stage and writing for the screen (in a nutshell, the playwright can get away with those talking-head scenes.) A good, practical manual that should take a lot of the fear out of diving into that first script. --Ali Davis
Book Description
How to design and format manuscripts to impress any film school professor, story editor, agent, producer or studio executive.
Customer Reviews:
The author can't write, and I am pretty sure has never had a screenplay produced.......2007-09-10
This book is so incoherently and terribly written that I only got through the 3rd page of the intorduction out of morbid fascination. Consider a sentence from the author's biography that illustrates, simultaneously, his lack of grammatical ability and credits:
"Awarded a Playwriting Fellowship by the Massachusetts Artists Foundation, he is a former Boston and Washington D.C. editor, reporter and photographer."
That is, by the way, the most specific sentence of his four-sentence bio, besides "He graduated from Boston University".
A few sentences from the introduction:
"There will be some repetitious information on these pages. But, there are no wrong examples to remember. The Elements of Style for Screenwriters was not written to teach screenwriting, or to give you an insight into the dramatic art, although it might come close and I beg your forgiveness."
I accidentally bent the cover, but I am sure Barnes and Noble will take it back out of shame.
As Essential to Screenwriters as Strunk & White is to All Writers.......2007-02-11
Yes, you'll use this book fewer times as you keep writing screenplays simply because you'll commit more of it to memory. Yes, you'll want one for your shelves, one for your briefcase, and one for your office. Yes, they'll all be well used. And yes, this will be as invaluable a tool to you as your best loved dictionary and thesaurus. I require it of all my screenwriting students who are discouraged from ever selling it back to the bookstore, especially if they plan to take an advanced class with me. I also recommend this to all my workshop participants.
Get this book, read it through cover to cover once, and then flip through the alphabetized screenwriting terms when you need to refresh yourself as you write your script. Good luck with your project!
Look at me! Look at my cap........2005-10-04
This book is basically an extensive glossary of screenwriting terms, and will help the beginning (and the experienced) screenwriter make sure that his or her screenplay is formatted correctly and that it uses the correct terms. The book is arranged alphabetically, so if you need to look up "Fade In" or "Margins," you can turn right to the correct pages.
The book lists a lot of terms, however, that you should never use in a spec script that you just want to show to producers and investors. Use this in conjuction with other screenwriting books to get a better idea of this.
The book is not always perfectly written either--and don't let its title fool you into thinking it has anything to do with Strunk and White--but it is helpful, and when I'm writing a screenplay, I use it often.
THE Screenplay Writer's Guide.......2005-05-07
If you're into writing screenplays, this is THE Essential Screenplay Writer's Guide. I used it to write a couple of screenplays for Triggerstreet.com. In all of the feedback I received, not one person knocked the style of my works.
Writing.......2005-01-22
Maybe I'm crazy, but I tend not to like writing reference books that are terribly written.
Book Description
** COMPLETELY UNAUTHORIZED **
The constellation of characters and themes created in Angel, the popular Buffy the Vampire Slayer spin-off, are explored in this collection of essays. A vampire author, a sex expert, a TV critic, a science fiction novelist, and Buffy writer Nancy Holder provide essays examining the different issues relating to the series, including Angelus as the prototypical high school bully, Angel as victim, Wesley's many transformations, how Spike fits into Angel, the takeover of Wolfram & Hart, and Lindsey's moral center.
Customer Reviews:
Interesting Read.......2005-09-11
I bought Five Seasons of Angel: Science Fiction and Fantasy Writers Discuss their Favorite Vampire (Smart Pop Series) because I wanted to know where Joss got his inspiration for Jasmine, Season 4's villian? I thought she was Oprah, ha. But two authors gave their opinions and I was not satisfied with them. So, overall, I enjoyed the book because it had some trivia that I didn't know as well as some unusual takes on the show's story arcs and themes.
My first foray into obsessiveness.......2005-06-14
This book was the first book I've ever read about a television show. I really enjoyed watching the Angel DVDs and discussing them with other equally insightful friends, but eventually our discussions ran out of juice. I mean, Lorne's sweet and all, but really, what is his purpose on the show? And what was the thought behind bringing Lindsay back in the final season? The authors of the essays in Five Seasons of Angel have a wide variety of backgrounds and are often quite insightful - others hit the mark dead-on. (Why, why, Doyle, did you have to die??) After having read this, I look forward to many more books about television shows.
Insightful and Funny.......2004-12-22
As a fan of Buffy and Angel, I try to keep my distance from conventions, fan clubs, and books like "The Watcher Diaries" in order to not appear obsessed with the shows. However, when I found out about this book and its "sister" Seven Seasons of Buffy, I broke down and got them. The reason I was so interested was that the essays in this anthology were written by many different types of fans; some of them hold PhDs, while one essay is written by a crew member from the show, so he had some pretty interesting stories to tell. I must say that some of these people's interpretations of the show are pretty interesting. A lot of them made me take a step back and look at certain episodes again to see what they were talking about. This book will make a good read for even a casual Angel fan.
Five Seasons of Angel is an awsome book!.......2004-11-03
Five seasons of Angel is an awsome book! This book is based on the cancelled WB series by Joss Whedon and David Greenwalt. The book has many science fiction and fantasy essays based on the TV show, Angel! Each of the science fiction and fantasy authors give their own perspective and point of view on Joss Whedon's series. I like this book because it focus on my favorite Angel characters like Angel (David Boreanaz), Spike (James Marsters), Lorne (Andy Harlett), Wesly Wydham-Price (Alexis Denisof), Cordelia (Charisma Carpenter), Darla (Julie Benz), Fred Burkle/Illirya (Amy Acker) and many other Angel characters. Angel in Season 5 is the best season! Angel (David Boreanaz) and his team take over the evil Law firm, Wolfram and Hart! The essays are well written and are very enjoyable,if you are a fan of Angel, I recommeded this book. Five seasons of Angel is a great book! Highly recommended!
The first anthology on ANGEL is a superb one.......2004-10-17
Although BUFFY THE VAMPIRE has already received the anthology treatment four different times (with at least one more on the way), ANGEL has been singularly ignored by publishers. Sure, there are official viewing guides, some of them (especially the one by Kenneth Topping) excellent, but this isn't the same as getting a host of unofficial takes on the show. And to judge by the collections of essays, the folks who do the best job of writing about the show are writers, not academics or scholars (even though my own background is aggressively scholarly and oppressively academic). It isn't surprising that the best anthology on BUFFY is SEVEN SEASONS OF BUFFY, edited by the same Glenn Yeffeth who edited this new ANGEL collection, nor surprising that this volume happily comes up to the same high standards of that volume.
The great problem with anthologies is that they are of necessity uneven. Some essays are simply going to be better than others. Luckily, there are virtually no truly weak essays in FIVE SEASONS OF ANGEL, and a number of very strong ones. The twenty-one essays overlap to some degree, conflict with one another from time to time, sometimes cover subjects that I would have preferred left uncovered, and take up most, if not all, of the potential themes of the show. No one who loves ANGEL can fail to find this collection utterly fascinating, and no fan will fail to gain new insights into the show's characters and storylines. I was grateful that Conner, my least favorite show got scant mention, and saddened that more was not done with both Fred and her transition into Illyria (a plot line that contained scads of potential for the Season Six that was not to be, a season in which producer Jeff Bell revealed that Willow as to guest star and cast a spell that would allow what remained of Fred to escape from within Illyria, allowing Amy Acker to play a permanent double role).
I hesitate to start mentioning specific essays, for most are quite good. Dan Kerns, who was the Gaffer on ANGEL for the final three years and the Best Boy for the first two, brings a host of fascinating behind-the-scenes details in a highly humorous fashion. Nancy Holder has a great essay on how Spike on the final season of ANGEL differed from his previous incarnations on BUFFY. I'll mention only two more. I belong to those who believe that as much as Angel, Cordelia was the thematic heart of the show, in that she showed how even shallow, petty, and self-absorbed people can fulfill their potential and become not only good but genuinely heroic. I also believe that the dismantling of her character at the end of Season Three, its bizarre transformation in Season Four, and nonuse in Season Five (except for a wonderful one episode reappearance). I understand that some real world issues entered into her being written out of the show, but that doesn't lessen her essentiality in the show. Laura Anne Gilman gets at the heart of her story in her essay on Cordy entitled "True Shanshu." And Jennifer Crusie expresses sentiments precisely like my own (hunt down my old reviews of the ANGEL DVDs if you doubt me) in "The Assassination of Cordelia Chase."
The only two things that I really miss in the collection are an essay that deals with the character of Gunn, who was to me always one of the most underutilized characters on the show, and a lot more on Fred/Illyria. Some might complain of the absence of material on Connor, but for me that is one of the strengths and not one of the weaknesses of the collection.
Any BUFFY or ANGEL fan is going to love this collection. While there is now only one anthology dealing with ANGEL (a situation that will hopefully change), at least it is a good oen.
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