Screenwriting for teens The 100 principles of scriptwriting every budding writer must know
Book - 2006
Saved in:
- Subjects
- Published
-
Studio City, CA :
Michael Wiese Productions
c2006.
- Language
- English
- Main Author
- Physical Description
- xvi, 228 p. : ill. ; 19 x 28 cm
- Bibliography
- Includes bibliographical references and filmography (p. 201-224).
- ISBN
- 9781932907186
- Foreword
- Introduction
- Concept 1. Film Tells a Story Differently Than a Book or a Play
- Concept 2. Classic Story Structure
- Concept 3. A "Story" is not the Same Thing as a "Plot"
- Concept 4. A Story's Content Determines its Length
- Concept 5. A Commercial is the Ultimate Short
- Concept 6. A Short is Just a Slice of Life and not a Whole Life Story
- Concept 7. "Reel" Time Moves Differently than "Real" Time
- Concept 8. Casting Call
- Concept 9. The Audience and the Box Office
- Concept 10. Knowledge = Credibility
- Concept 11. What Do You Want Your Film to Say?
- Concept 12. Speaking the Language of Screenwriters
- Concept 13. Linear Versus Nonlinear Storytelling
- Concept 14. Story Beats
- Concept 15. A Theme is the Glue that Holds Your Story Together
- Concept 16. Relatable Characters are What Give a Story an Audience
- Concept 17. Relatable Characters Come From...Everywhere!
- Concept 18. Compelling Ideas Come From...Everywhere Else!
- Concept 19. Ideas that Work Best as Shorts
- Concept 20. A Conflict is What Drives a Plot Forward
- Concept 21. Show Us Who (and What) We're Rooting For
- Concept 22. Substance Versus Style: Who's in the Driver's Seat?
- Concept 23. All Conflicts Derive from Reward, Revenge and Escape
- Concept 24. Aiming for High Concept
- Concept 25. Catchy Loglines
- Concept 26. Synopses Shouldn't Read Like Book Reports
- Concept 27. Location, Location, Location
- Concept 28. Master Scenes
- Concept 29. How to be Multiple Places at Once
- Concept 30. Conflict is a Collision Course of Multiple Layers
- Concept 31. A Conflict is Ignited by an Inciting Incident
- Concept 32. Objective Acceptance and Subjective Engagement
- Concept 33. Action = Reaction
- Concept 34. To Make a Conflict Convincing, the Opponents Need to be Evenly Matched
- Concept 35. When "Losing" Isn't an Option
- Concept 36. A Conflict can't be Resolved Until the End of the Film
- Concept 37. Surprise is on Your Side
- Concept 38. Conflict Grows Out of Character
- Concept 39. Character Grows Out of Conflict
- Concept 40. Character and Conflict Comprise the Hero's Journey
- Concept 41. Crossing the Point of No Return
- Concept 42. A Character Arc is a Transformation
- Concept 43. Heroes Aren't 100% Good; Villains Aren't 100% Bad
- Concept 44. Sidekicks, Confidantes and Confederates
- Concept 45. Ordinary Characters Need Extraordinary Situations
- Concept 46. Extraordinary Characters Need Ordinary Situations
- Concept 47. Hooks, Foreshadowing and Uh-Oh's
- Concept 48. A Character Should Do More than Just Take Up Space
- Concept 49. Minor Characters Don't Need Major Introductions
- Concept 50. Designer Genes
- Concept 51. Names Should be a Reflection of Character
- Concept 52. A Character's Actions Say More Than His or Her Words
- Concept 53. Sometimes the Audience Needs to Know More Than the Characters
- Concept 54. Sometimes the Characters Need to Know More Than the Audience
- Concept 55. Motivation and Redemption
- Concept 56. A Script is No Place for Words That Just Ramble
- Concept 57. Dining at the Speed of Light
- Concept 58. Fancy Footwork and Fisticuffs
- Concept 59. For "Reel" Talk to Sound "Real," You Need Vocal Variety
- Concept 60. Characters Shouldn't Use Dialogue to Explain Things to Each Other That They Already Know
- Concept 61. Don't Use a Voice Over if a Visual Would Say Much More
- Concept 62. Topic: Dreams and Flashbacks
- Concept 63. Mood-Setting Montages
- Concept 64. Save the Big Speeches For When They'll Really Count
- Concept 65. Actors Should Never be Left to Ad-Lib
- Concept 66. What We See Isn't Always What We Get
- Concept 67. Stereotypes and Character Reversals
- Concept 68. Context + Subtext = Delivery
- Concept 69. Always Keep the "Accent" On Readability
- Concept 70. Every Story Needs a Point of View
- Concept 71. First One In, Last One Out
- Concept 72. Treatments
- Concept 73. Splat! Hitting the Wall With Writer's Block
- Concept 74. Genres are to Film What Menus are to Restaurants
- Concept 75. The Perils of Genre Zeitgeist
- Concept 76. Genre Dictates Structure
- Concept 77. Genre Bling-Bling
- Concept 78. Don't Switch Genres in Midstream
- Concept 79. A Comedy is Something That Makes Us Laugh
- Concept 80. A Drama is Something That Makes Us Sad, Mad, Disturbed or Contemplative
- Concept 81. A Sci-Fi Film Takes Us Out of This World
- Concept 82. A Western Film is Always About a Showdown
- Concept 83. A Fantasy Film is a Ticket to All Things Magical
- Concept 84. A Horror Film Will Make You Sleep With the Lights On
- Concept 85. A Romance is a Pas De Deux
- Concept 86. A Thriller Keeps You Guessing from Start to Finish
- Concept 87. Action/Adventure Films are An 'E' Ticket to Fun
- Concept 88. Taking a Page From Real Life
- Concept 89. The Magic of Animation
- Concept 90. Music, Music, Music
- Concept 91. Family Fare and Coming of Age
- Concept 92. Genre is a Reflection of Attitude and Intention
- Concept 93. Elvis May Have Left the Building But His Heirs are Alive and Kicking
- Concept 94. Rules of the (Formatting) Game
- Concept 95. Bulletproofing Your Script
- Concept 96. What's Mine is Mine
- Concept 97. Screenwriting Competitions
- Concept 98. Fast Pitch
- Concept 99. Screenwriter's Etiquette
- Concept 100. You Hate Me. You Really Hate Me
- Filmography
- Recommended Reading
- About the author
- About the Author's Assistant
Review by School Library Journal Review (c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.