Showing titles in Screenwriting

Write It to Win It!: 39 Secrets from a Screenwriting Contest Judge is the first book ever written for screenwriting contest success. The author is a highly successful script consultant and judge for Hollywood screenwriting contests who reveals the insider secrets that give screenwriters the winning advantage while avoiding costly pitfalls.

While TV is prevalent in most of our lives, few of us have much knowledge of its behind-the-scenes operations. In this riveting expose, veteran writer and producer Ian Gurvitz illuminates a side of the business few people get to see. Drawing on notes from his personal journal, Gurvitz details two years in the dizzying ups-and-downs life of a Hollywood television writer— the pitch meetings, the table readings, the rewrites, the studios, the networks, and the executives who make all the decisions.

While the major studios are losing the battle for the attention of the audience, TikTok and Micro-dramas are taking over the world. In this book, award winning filmmaker Matt Dean explores a theory of what makes content addictive and how to translate that into any script for any medium and any genre. Part one looks six basic principles that makes short form content addictive and how to replicate it for any TikTok, Instagram or YouTube videos. Part two explains how to take those six principles and apply them to scripts for Micro-dramas and feature films.

Gus Van Sant’s film and the ’90s cult of the alternative Gus Van Sant’s 1991 indie darling My Own Private Idaho perplexed and provoked, inspiring a new ethos for a new decade: being different was better than being good. Gentlemen of the Shade examines how the film was a coming-of-age for a generation of young people who would embrace the alternative and bring their outsider perspectives to sustainability, technology, gender constructs, and social responsibility.

A smart, engaging investigation of the show that brought real teens to TV My So-Called Life lasted only 19 episodes from 1994 to 1995, but in that time it earned many devoted viewers, including the showrunners who would usher in the teen TV boom of the late ’90s and the new millennium. With its focus on 15-year-old Angela Chase’s search for her identity, MSCL’s realistic representation of adolescence on TV was groundbreaking; without her there would be no Buffy or Felicity, Rory Gilmore or Veronica Mars.

One of the most challenging aspects of screenwriting is character development. The reason for this is because it is so easy to create characters that are simply carbon-copies of one another. This sounds harmless in theory, but your screenplay, novel, or book suffers in the long run because the characters lack substance, depth, and relatability. With this audiobook, I take away all the guesswork by honing in on the top 12 elements that are needed to create characters that are beautifully human, authentic, compelling, and three-dimensional. Step into my office and let's get started!

In this sequel to Creative Writing Career: Becoming a Writer of Movies, Video Games, and Books, Stephan and Justin continue to bring you industry advice as well as interviews with screenwriters, video game writers, and authors of books and comics. These writers' credits include such amazing titles as: Big Fish; Batman; Game of Thrones; The Crow; Divergent; Brave; Yesterday's Gone; Sandman Slim; Jurassic World; and many more!

Have you ever wanted to improve your ability to write Horror Genre screenplays by 100%...200%…300% or more? If so, then here's how you can gut, slice, chainsaw, bite, hack, howl and chew your way to the top by writing Horror screenplays that slit throats, haunt houses, cook brains and tear souls apart. Believe it or not, it doesn't matter how much you already know about the Horror genre.

From the New York Times bestselling author and award-winning showrunner of Alien: Earth and Fargo, a book that will transform how you think about success, and how to get there. Noah Hawley has not followed a prescribed path. He was a musician who became a novelist, who became a screenwriter, who...

Писательница Кэти Мари (К.М.) Уэйланд известна не только своими популярными романами, но и пособиями по литературному мастерству. Лауреат престижных премий, она прекрасно чувствует динамику текста и знает, как заставить читателя сопереживать героям и следить за развитием сюжета. Свою новую книгу она посвятила теме разработки арок персонажей. Почему именно арка персонажа? Потому что, если ваш герой на протяжении всей истории никак не меняется, не развивается и ничему не учится, а топчется на одном месте, он никому не интересен.

Преподаватель сценарного мастерства, гуру Голливуда Роберт Макки предлагает системный подход к «рассказыванию историй». Он предлагает отказаться от набора сюжетов и создать драматическую структуру: выбрать героя, среди многих событий найти самое важное, нарушающее порядок вещей, перейти к преодолению препятствий, довести дело до кризиса, показать, как герой решается, может быть, на единственно верный шаг и начинает действовать, а затем либо победа, либо… окончательное поражение—каждый волен выбирать свой финал.

A mob boss in therapy. An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash...

Разве в жизни так бывает? В жизни бывает и не такое! Чем отличается художественная правда от реальности и где лежит грань между ними? Почему полностью выдуманная драматическая история часто кажется нам более правдивой, чем сама жизнь? Этой теме посвящает свою книгу известный сценарист, преподаватель сценарного мастерства Александр Талал. Анализируя феномен мифологического восприятия, автор знакомит читателя с техниками, которыми пользуются создатели захватывающих историй, сочетая и смешивая мифические и жизненные элементы, «правду» и «ложь».

Эта аудиокнига — результат многолетней работы Кристофера Воглера и Дэвида Маккенны. Будучи профессиональными экспертами, они проанализировали в общей сложности более 40 000 сценариев самых разных жанров. Свой совместный труд Воглер и Маккенна рассматривают не просто как полезный инструментарий сторителлинга, они считают его «спасительным» и для начинающих, и для активно пишущих авторов.

Секрет зрительского успеха кинокартины кроется в трех словах: противоречие, перевертыш, парадокс. В аудиокниге он приводит наглядные примеры, как реализуются эти приемы в кино, и помогает авторам в работе над сценарием — от идеи до первого драфта. Через разбор культового фильма «Матрица» Олег Сироткин дает понятную и простую схему сценарной структуры фильма.

Named One of The Hollywood Reporter’s “100 Greatest Film Books of All Time” Famed independent screenwriter and director Robert Rodriguez (Sin City, Once Upon a Time in Mexico, Spy Kids, Machete) discloses all the unique strategies and original techniques he used to make his remarkable...

A guide to understanding the major genres of the story world by the legendary writing teacher and author of The Anatomy of Story John Truby. Most people think genres are simply categories on Netflix or Amazon that provide a helpful guide to making entertainment choices. Most people are wrong...

The man who wrote Taken and The Karate Kid was also an international hashish trafficker—and that’s not even the craziest part of this stranger-than-true memoir. Before writing some of the most beloved movies of the last forty years, Robert Mark Kamen lived a life that would have been...

This fun-to-listen-to, insightful book will enlighten audiences hoping to expand their view of Story, as well as instruct those learning the art of scriptwriting. Designed for anyone of faith who likes movies, TV shows, or theatre, this book explores the hardwired universal patterns in Story and the effect those elements have on our souls.

Gill has taught screenwriting for 20 years at such institutions as Drexel University, the University of North Carolina School of the Arts and East Carolina University, and he’s noticed a common pattern among his students. First-time screenwriters are generally excited and full of ideas—until they hit a wall: “It feels good until they get somewhere between pages 20–30,” he notes. “Then, they run out of things to write about. Why is there nowhere else to go? Why is it so short? Where is the rest of the story? What do they do now?”