Showing titles in Screenwriting

In You Talkin’ to Me?, Seger and Rainey are here to help with all your dialogue problems. In each chapter, they explore dialogue from a different angle and discuss examples of great dialogue from films and novels. To cap it all off, each chapter ends with examples of poor dialogue, which are annotated by Linda and then rewritten by John so that listeners don’t just learn how to recognize when it’s done well - they also learn how to make dialogue better. Whether you’re writing fiction or nonfiction, for the screen or the page, this book will get your characters talking.

Want to know how to write a script that people will remember, and can catch the attention of producers and other above-the-line talent? (Don't worry about agents; they don't want to talk to you). Nail your dialogue. Really. Now I know you've heard all the maxims: Film is a Visual Medium; You Can Either Write Dialogue or You Can't. And they both sound very logical. And esteemed writers, such as David Mamet, have been preaching them for years. But, in my not so humble opinion, they're both total bullcrap.

This is a beginner's guide to starting, finishing, and filming a screenplay. It includes tips to write and structure emotionally satisfying screenplay(s).

Writers once dreamed of writing novels: now it's screenplays. These selections from the award-winning workshop, Screenwriting for Hollywood, will put you well on your way to writing and selling for television and film.

This is a short book, with just one goal - to teach you the simple principles you can use right now to design a powerful scene before you write it. If you've already written your novel, you can use these same principles to make each scene better.

Hollywood vs. The Author is a collection of non-fiction anecdotes by authors who’ve had the pleasure of experiencing the development room firsthand - some who have successfully managed to straddle the two worlds, seeing their works morph into the kinds of feature films and TV shows that make them proud, and others who stepped blindsided into that room after selling their first or second novels. All the stories in this collection illustrate the great divide between the world of literature and the big or small screen.

Learning how to write a movie script is more than just figuring out the margins and hitting a few plot points along the way....

Veteran script consultant Jill Chamberlain discovered in her work that an astounding 99 percent of first-time screenwriters don't know how to tell a story. What the 99 percent do instead is present a situation. In order to explain the difference, Chamberlain created the nutshell technique, a method whereby writers identify eight dynamic, interconnected elements that are required to successfully tell a story.

Authored by a former story analyst-turned-development executive, this newly revised, expanded, and updated edition of The 1-3-5 Story Structure Made Simple System guides screenwriters, producers, and other entertainment industry professionals through the industry's best practices. This includes writing, developing, pitching, and selling a screenplay from the buyer's point of view.

Short Film Structure Secrets - Short Films - There's no secret that structuring a short film can be a difficult process because of how condensed short films can be in relation to a feature film. Author Chike Camara has done it again. This book demystifies the process and gives you a breakdown of some of the most common short film types, how their structures work, why their structures work and how to take your own short film idea to the next level. In a way, it teaches you how to create a short film as well.

There are over 1,094 books on Amazon that show you "how to write a screenplay," but next-to-nothing on how to break into Hollywood, sell your script, and build a successful writing career. Until now.

This edition of Story by Numbers is no longer available.

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!

TV WRITING TOOL KIT 2nd Edition—is an update of my latest story tools, breakdowns, and handouts. The book covers story structure for a TV pilot and spec script, logline formulas for Logline For Your Life and your story, and character. With character, the book goes into the wound and the flaw. I cover everything that I teach in Writers on the Verge at NBC. There are breakdowns for several shows, including—THE GOOD WIFE, MODERN FAMILY, THE NIGHT MANAGER, HOMELAND, FLEABAG, and DEAD TO ME. The book also explores staffing and development.

Raymond Chandler was one of the most original and enduring crime novelists of the 20th century. Yet much of his pre-writing life, including his unconventional marriage, has remained shrouded in mystery. In this compelling, wholly original book, Judith Freeman sets out to solve the puzzle of who Chandler was and how he became the writer who would create in Philip Marlowe an icon of American culture.

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.

Cari Beauchamp masterfully combines biography with social and cultural history to examine the lives of Frances Marion and her many female colleagues who shaped filmmaking from the early teens through the 1940s. Frances Marion was Hollywood's highest paid screenwriter - male or female - for almost three decades, wrote almost 200 produced films and remains the only woman to win two Academy Awards for original screenwriting (The Big House and The Champ).

Writing successful screenplays that capture the public imagination requires more than simply following the formulas prescribed by the dozens of screenwriting manuals currently in print. Learning the "how-tos" is important, but understanding the dramatic elements that make up a good screenplay is equally crucial. In A Poetics for Screenwriters, veteran writer and teacher Lance Lee offers aspiring and professional screenwriters a thorough overview of all the dramatic elements of screenplays, unbiased toward any particular screenwriting method.

He was, according to Pauline Kael, "the greatest American screenwriter." Jean-Luc Godard called him "a genius" who "invented eighty percent of what is used in Hollywood movies today." Besides tossing off dozens of now-classic scripts - including Scarface, Twentieth Century, and Notorious - Ben Hecht was known in his day as ace reporter, celebrated playwright, taboo-busting novelist, and the most quick-witted of provocateurs. During World War II, he also emerged as an outspoken crusader for the imperiled Jews of Europe.

Jane Austen was born in Steventon, England, in 1775, where she lived for the first 25 years of her life. Her father, George Austen, was the rector of the local parish, and provided most of her education in their home. She began to write while in her teens and completed the original manuscript of Pride and Prejudice First Impressions, between 1796 and 1797. Pride and Prejudice was published in January 1813, two years after Sense and Sensibility, her first novel.