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E-raamat: Next Level Screenwriting: Insights, Ideas and Inspiration for the Intermediate Screenwriter [Taylor & Francis e-raamat]

(Fairleigh Dickinson University, USA), (University of Texas Rio Grande Valley, USA)
  • Formaat: 152 pages
  • Ilmumisaeg: 08-May-2019
  • Kirjastus: Routledge
  • ISBN-13: 9780429055386
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  • Taylor & Francis e-raamat
  • Hind: 161,57 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 230,81 €
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Next Level Screenwriting: Insights, Ideas and Inspiration for the Intermediate ScreenwriterSuurem pilt
  • Formaat: 152 pages
  • Ilmumisaeg: 08-May-2019
  • Kirjastus: Routledge
  • ISBN-13: 9780429055386
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9780429055386

Next Level Screenwriting is an intermediate screenwriting book, for those that have already learned the basics of screenwriting, written a screenplay or two and want to bring their writing and stories to the next level.

Each chapter of the book examines a specific aspect of screenwriting, such as character, dialogue and theme, and then provides the reader with ideas, tips and inspiration to apply to their own writing. Rather than being another "how to" book, this volume features a variety of case studies and challenging exercises throughout – derived from a broad selection of successful feature films and TV shows from the 1940s to the present day – to help spark the imagination of the writer as they work through different styles and approaches of screenwriting.

An absolute must-read for any screenwriter wanting to improve their writing and storytelling skills.

Introduction xi
1 Don't be afraid of genre
1(10)
Enjoying the genre
1(1)
Crossing genres
2(2)
Horror comedy
4(2)
Genre expectations and bending them
6(3)
A final note
9(1)
What did we learn?
9(1)
Exercise
9(2)
2 The write approach
11(7)
Motivated style
12(1)
The internal approach
13(1)
Maintaining an established style
14(2)
Style that fits the genre
16(1)
What did we learn?
16(1)
Exercise
16(2)
3 Character depth
18(13)
Motivating your characters
18(3)
Unmasking your characters
21(2)
Humor is character
23(1)
The other character change
24(3)
Television characters
27(2)
What did we learn?
29(1)
Exercise
30(1)
4 Dialogue that does more than further the plot
31(18)
A distinct voice
32(3)
Attitude dialogue
35(2)
Period dialogue
37(2)
Dialogue that reveals character
39(2)
Poetic dialogue
41(2)
Contemporary dialogue
43(3)
When talk is action
46(2)
What did we leant?
48(1)
Exercise
48(1)
5 Poetic description
49(8)
Choosing your words
49(2)
Describing for the mind's eye
51(1)
Writing for the reader
52(2)
Humorously said
54(1)
What did we learn?
55(1)
Exercise
56(1)
6 Finding the theme
57(9)
Popular movies have themes
57(2)
Shared themes of westerns and horror
59(1)
We have met the enemy and they are us
59(1)
The stronger the theme, the stronger the story
60(1)
Even comedy has a theme
61(1)
The naked theme
62(2)
What did we leant?
64(1)
Exercise
65(1)
7 First-person narrative screenwriting
66(12)
Nanation that isn't a crutch
66(3)
Hard-boiled witty nanation
69(2)
Found footage as first person
71(2)
Mockumentary
73(4)
What did we learn?
77(1)
Exercise
77(1)
8 Managing multiple-protagonist syndrome or ensembles
78(19)
Ensemble vs. episodic
78(1)
Linking stories
79(1)
Playing with time
80(1)
Ensemble characters
81(1)
Recurring locations
82(1)
The ensemble anchor
83(1)
Ensemble in the park
84(1)
The trouble with ensemble
85(2)
Ensemble in television
87(4)
A note on television dialogue
91(4)
What did we leant?
95(1)
Exercise
95(2)
9 Based on true events and research
97(13)
Adapting history
97(2)
Free yourself from the truth
99(3)
Find a special event in history
102(1)
Find a special place in history
103(3)
Research that works for you
106(2)
This all applies to television
108(1)
This all applies to everything you write
108(1)
What did we learn?
109(1)
Exercise
109(1)
10 Set-up, pay-off and the twist
110(9)
The Twilight Zone set-up/pay-off
111(1)
Twist ending set-up/pay-offs
112(1)
Character, character, character
112(3)
Twists in TV
115(1)
Comedy set-up/pay-off
116(1)
The Aristotle connection
116(1)
What did we leant?
117(1)
Exercise
117(1)
Bonus exercise
118(1)
11 Writing for a budget
119(7)
Micro-budget feature
119(2)
Independent low budget
121(2)
Hollywood low budget
123(1)
Limited-budget TV
124(1)
What did we leant?
124(1)
Exercise
125(1)
12 Rewriting: The pain and the gain
126(10)
Working in backstory
128(1)
The development rewrite
129(2)
The production rewrite
131(2)
The post-production rewrite
133(1)
A note on taking notes
133(1)
Three tricks to taking notes
134(1)
What did we learn?
135(1)
Exercise
135(1)
13 Wrote the script, now what?
136(15)
Copyright
137(1)
Feedback
137(2)
Contests
139(1)
Producers and agents
140(2)
They call it Hollywood
142(1)
Pitching
143(1)
How hard is pitching?
144(1)
Goodbye Hollywood
144(1)
Make it yourself
145(1)
Low-budget independents
146(1)
How and how much?
146(1)
Show me the money --- in the movies
146(1)
Show me the money --- in television
147(1)
Don't undo your sale
148(1)
What did we learn?
148(1)
Exercise
149(2)
Index 151
David Landau is an award-winning screenwriter and playwright with seven plays published and is the author of the books Lighting for Cinematography and Film Noir Production in addition to numerous articles on screenwriting for such magazines as Script, Screenwriters Monthly, Student Filmmakers Magazine and HD ProGuide. His feature screenwriting credits include Murder at Café Noir and Dark Tarot. David earned his MFA in Screenwriting from Goddard College and is a full Professor at Fairleigh Dickinson University. He is also a member of the Dramatists Guild and the University Film & Video Association.

David Bennett Carren is an award-winning screenwriter whose work includes numerous episodes for such television shows as Star Trek: The Next Generation, Stargate SG1, Martial Law, Dennis the Menace, and Teenage Mutant Ninja Turtles among others. His feature films include Mr. Hell and Waiting for Sandoval, and he was the writer/director on the feature film The Red Queen. A member of the Writers Guild of America and the University Film & Video Association, David earned his MFA in Screenwriting from Spalding University and is an Associate Professor at the University of Texas Rio Grande Valley where he is the Interim Chair of the Department of Theatre.
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