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Foreword | xix | |
Introduction | 1 | |
About This Book | 1 | |
Conventions Used in This Book | 2 | |
Foolish Assumptions | 2 | |
How This Book Is Organized | 3 | |
Icons Used in This Book | 4 | |
Where to Go from Here | 5 | |
Part I | So You Want to Write for Pictures | 7 |
Chapter 1 | An Introduction to the Art of Screenwriting | 9 |
Thinking Visually | 10 | |
Developing the Writer's Mind | 10 | |
Approaching Screenwriting as a Craft | 11 | |
Finding Your Screenplay's Story | 12 | |
Working through the Writing Process | 12 | |
Formatting Your Screenplay | 13 | |
Constructing Your First Draft | 14 | |
Rewriting Your Script | 14 | |
Adapting Your Screenplay from an Outside Source | 15 | |
Selling Your Screenplay to Show Business | 15 | |
Chapter 2 | Preparing to Think Visually | 17 |
Exploring Other Mediums | 17 | |
The Visual Life of a Screenplay | 21 | |
Chapter 3 | Diving Into the Screenwriter's Mind | 25 |
Learning from Other Writers | 26 | |
Developing an Artistic Sensibility | 29 | |
Recognizing a Story When You See One | 33 | |
Chapter 4 | Approaching Screenwriting as a Craft | 37 |
A Look at the Creative Process | 38 | |
Imagination: Your Creative Arsenal | 39 | |
Craft: A Vehicle for Your Imagination | 46 | |
Part II | Breaking Down the Elements of a Story | 53 |
Chapter 5 | Unpacking Your Idea | 55 |
I Have This Great Idea. Now What? | 55 | |
Getting to Know Your Audience | 58 | |
Knowing What Happened Before Your Story Began: Creating the Backstory | 63 | |
Identifying the Tone of Your Piece | 66 | |
Deciding When to Start Your Story | 67 | |
Getting to Know Aristotle: A Dramatist's Best Friend | 69 | |
What's It All About?: Writing a Nutshell Synopsis | 70 | |
Chapter 6 | Plot Part I: Beginnings | 73 |
Enhancing Your Opening Images | 73 | |
Tracking Success: Five Compelling (and Contrasting) Movie Beginnings | 79 | |
Chapter 7 | Plot Part II: Middles | 83 |
Deciding What Comes Next | 84 | |
From Lights to Camera to ... ACTION! | 85 | |
Status: Where's the Upper Hand? | 89 | |
What's Your Problem? Introducing Conflicts and Obstacles | 91 | |
Exposition: From Clunky to Creative | 93 | |
Determining What to Write from What You've Already Written | 96 | |
Continuing Success: Tracking Three Successful Movie Middles | 98 | |
Chapter 8 | Plot Part III: Endings | 103 |
How Do You Know When You're Done? | 104 | |
Danger Will Robinson: Threats to an Otherwise Healthy Plot | 112 | |
Ultimate Success: Tracking Three Movies through Their Triumphant Conclusions | 117 | |
Chapter 9 | Character Building | 121 |
Portrait of a Person: Constructing a Physical World | 122 | |
The Good, the Bad, and the Ugly: Constructing an Internal World | 129 | |
From the Inside Out: Making the Inner World Visible | 133 | |
Chapter 10 | Say What? Constructing Dynamic Dialogue | 139 |
Diction: What's in a Word? | 140 | |
Name That Tune: Crafting Your Character's Music | 148 | |
Putting It Together: Letting Your Characters Speak | 154 | |
Chapter 11 | Maintaining an Audience's Trust: A Screenwriter's Responsibility | 161 |
Screenwriting and Ethics | 161 | |
Screenwriting and Responsibility | 163 | |
The Immunity Factor | 165 | |
Part III | Turning Your Story into a Script | 167 |
Chapter 12 | Mapping Out Your Screenplay | 169 |
Conceptualizing Your Concept | 170 | |
How to Treat Your Treatment | 172 | |
Exploring the Ins and Outs of an Outline | 174 | |
What to Do When the Outline's Through | 178 | |
Chapter 13 | Surviving Writer's Block | 181 |
From Panic to Peace: Switching Mindsets | 181 | |
Reevaluating Your Routine | 186 | |
Seeking Outside Help | 187 | |
Chapter 14 | Formatting Your Screenplay | 191 |
How the Screenplay Looks on the Page | 192 | |
Key Formatting Elements | 195 | |
A Sample Scene | 208 | |
Chapter 15 | Putting It Together: Structuring Your First Draft | 213 |
Navigating the Three-Act Structure | 213 | |
Act I | Introductions | 214 |
Act II | Salting the Wound | 218 |
Act III | The Final Frontier | 222 |
A Note on Subplots | 224 | |
Chapter 16 | Take Two: Rewriting Your Script | 227 |
Downshifting between Drafts | 227 | |
Back in the Saddle Again: Rewrites | 238 | |
Finding a Reader | 239 | |
Your Critique: Surviving the Aftermath | 241 | |
Chapter 17 | Adaptation and Collaboration: Two Alternate Ways to Work | 243 |
Navigating between Forms | 244 | |
The Process of Adaptation | 249 | |
The Art of Collaboration | 252 | |
Part IV | Selling Your Script to Show Business | 255 |
Chapter 18 | Before You Send It Out: Pre-Marketing Considerations | 257 |
Understanding the "Biz" in Showbiz | 258 | |
Preparing Yourself for the Biz | 260 | |
Polishing the Copy You Send Out | 267 | |
Protecting Your Work | 270 | |
Chapter 19 | Getting Your Screenplay Noticed | 273 |
Designing Your Own Package | 273 | |
Preparing to Pitch | 278 | |
Finding an Agent | 281 | |
Approaching an Agent | 282 | |
Pitching Your Script without an Agent | 287 | |
What to Do When They Say Yes | 289 | |
Looking Ahead: Upon Achieving Success | 291 | |
A Final Note | 292 | |
Part V | The Part of Tens | 293 |
Chapter 20 | Ten Screenwriters You Should Know | 295 |
William Goldman | 295 | |
Ruth Prawer Jhabvala | 297 | |
Alan Ball | 298 | |
Nora Ephron | 298 | |
John Logan | 299 | |
Amy Holden Jones | 300 | |
M. Night Shyamalan | 301 | |
Callie Khouri | 302 | |
Christopher Nolan | 303 | |
Nia Vardalos | 304 | |
Chapter 21 | Ten Movies You Should See and/or Read | 305 |
A Note on Criteria | 306 | |
Citizen Kane | 306 | |
The African Queen | 307 | |
Rear Window | 308 | |
Guess Who's Coming to Dinner | 309 | |
E.T. the Extra Terrestrial | 309 | |
Ghost | 310 | |
Sling Blade | 311 | |
Life Is Beautiful | 311 | |
Shakespeare in Love | 312 | |
Signs | 313 | |
My Big Fat Greek Wedding | 313 | |
Chapter 22 | Ten Screenwriting Myths | 315 |
Index | 321 |
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