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| The Evolution of Storytelling | |
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| History Lessons Make Better Writers | |
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| Don't Miss the Myths: The Hero with a Thousand Faces | |
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| The Greeks Made the Rules | |
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| Aristotle and the Three-Act Structure | |
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| Romans, Christians, and Italians | |
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| Classic Stories Are Immortal | |
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| Story and the Mind | |
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| Hegel, Freud, Sex, and Stanislavski | |
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| Carl Jung and the Symbolic World | |
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| Joseph Campbell and the Power of Myth | |
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| That Fellow Shakespeare | |
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| Shakespeare in Love | |
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| Using Shakespeare | |
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| Shakespeare's Secret | |
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| Pages from History | |
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| The Screenplay's the Thing | |
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| Shakespeare's Continuing Influence | |
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| Stealing from Shakespeare | |
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| Shakespear's Log Lines | |
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| Birth of the Movies | |
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| The Worldwide Storytelling Tradition | |
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| Influences of the Great Playwrights | |
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| Authors from Centuries Past: The Great Storytellers | |
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| European Originals: The Brothers Lumiere and Other Lights | |
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| Thomas Edison and the Monopoly That Didn't Work | |
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| A Place Called Hollywood: How Tinseltown Was Born | |
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| From Scenario to Screenplay | |
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| The Scenarists: How Screenwriting Began | |
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| Women Writers Ruled: Frances Marion and the Scenario Queens | |
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| What the Transition to Sound Did | |
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| Hollywood, the World, and Migrating Writers | |
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| How Genres Evolved: What's a Screwball Comedy, Anyway? | |
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| The Impact of 1939, Possibly Hollywood's Greatest Year | |
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| From the Big Screen to the Computer Screen | |
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| Movies After World War II; the Whole World Changed | |
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| How Television Transformed Hollywood | |
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| I Love Lucy: The Power Shifter | |
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| The Birth of the Antihero and the Death of Feel Good | |
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| Hollywood Genres Don't Change, but the Outlet Does | |
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| A Hollywood World in the Digital Age | |
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| What to Write | |
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| Sources for Movie Ideas That Will Sell | |
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| Reading the Newspaper Like a Screenwriter | |
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| Recycling Old Movies | |
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| True Stories: How to Secure the Rights and Where to Sell Them | |
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| How to Know If You're Original Idea Is Truly Original | |
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| Movies to TV and Back Again to Movies | |
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| Anything Males Eighteen to Thirty-Four Like | |
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| Movies Are Not Books or Plays | |
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| Why You Don't Write a Screenplay Like a Stage Play | |
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| What a Book Can Do That a Movie Cannot | |
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| The Differences in Television and Movie Scripts | |
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| Elements to Remember When Writing a Movie | |
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| What Your Audience Really Wants to See | |
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| Sex and Violence Sell: What That Really Means | |
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| Helping Your Viewer Escape from Reality | |
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| Pick a Genre and Pick Success | |
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| Writing for the Worldwide Audience | |
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| The Kids Have It: Write with Children in Mind and Win | |
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| Defining Your Movie | |
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| First, a Premise | |
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| If You Want to Send a Message, Use E-Mail | |
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| Outlines, Synopses, and Treatments | |
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| High Concepts and Mixed Ideas | |
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| The Log Line: The All-Important Twenty-Five Words or Less | |
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| What's Hot, What's Not, and What's in Your Heart | |
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| Tastes Change with Generations | |
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| What Goes Around Comes Back Around | |
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| Different Strokes for Different Blokes: What They Like, Around the World | |
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| Predicting the Future by Demographics | |
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| Write What You Want to See on the Screen | |
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| Your Screenwriting Schedule and Why It Is Essential | |
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| Getting It Done by Three-Page Scenes | |
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| Setting Up a Schedule That Works | |
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| Taking Your Schedule Seriously | |
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| The Day You Become a Screenwriter | |
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| How to Write Your Screenplay | |
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| Preparing Your Outline and Reordering Scenes | |
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| Sorting Out Your Premise | |
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| Comparing Your Log Line to Other Movies | |
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| The "Master Mind" Method | |
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| The Beauty of the 3 [times] 5 Card | |
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| Outlining by Three-Minute Scenes | |
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| One-Sheets, Synopses, and Treatments | |
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| Building the Perfect Blueprint | |
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| The All-Important First Ten Pages | |
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| Back Story Is for the Writer, Not the Viewer | |
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| The Life of a Script Reader and What It Means to You | |
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| Opening Scenes We Don't Forget | |
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| How the Digital Age Affects Screenplay Openings | |
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| See If You Can Beat the Best | |
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| The Structure of Hollywood Movies | |
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| Three Acts and Thousands of Years Later | |
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| The Influence of the Myth Structure | |
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| Syd Field's Paradigm | |
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| New Approaches and Other Ideas | |
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| The Ultimate Screenplay Design | |
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| Writing the Feature Film | |
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| Making the Beginning, Middle, and End Work | |
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| First Acts Don't Last Forever | |
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| The Second Act Is the Movie | |
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| Usually, the Second Act Most Needs Fixing | |
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| Steven Spielberg's Second Acts | |
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| The Midpoint and the Hero's Orientation | |
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| The Short but Crucial Third Act | |
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| Tag, You're a Denouement | |
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| The Screenplay, Step by Step | |
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| The All-Important Initial Concept | |
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| Giving Yourself the Proper Treatment | |
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| Drafting Beats Dreaming | |
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| The Importance of Being Formatted | |
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| Winning the Daily Battle with the Hemingway Trick | |
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| The Rewrite Is the Secret | |
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| Why First Drafts Are Drafty | |
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| Scene Length and Readability | |
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| Collaborators and Craft | |
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| Who Should Read Your Script and Why | |
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| The Difference Between a Rewrite and a Polish | |
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| Resources for Better Rewriting | |
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| Polish Makes Perfect | |
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| Why Studio Movies Have So Many Writers | |
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| How Screen Credits Are Determined by the Writers Guild of America | |
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| Dialogue Specialists, Purchased Scripts, and Other Tools | |
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| How You Know When It's Ready | |
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| Post-Script Possibilities | |
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| What a Reading Can Show You | |
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| The Theatrical Tradition in Hollywood | |
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| How to Find Actors for a Reading | |
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| Organizing a Reading That Works | |
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| Writers Conferences and Other Irregularities | |
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| Why the Screenplay Is Merely a Blueprint | |
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| What You Should Know About Movie Budgets | |
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| How Your Cowboy Villain Became an English Terrorist | |
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| Star Power Changes Screenplays | |
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| How a Purchased Script Gets Read | |
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| Script Resources That You Should Explore | |
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| The Real Role of the Screenwriter | |
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| Writing for the Cineplex Patron | |
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| Are Auteurs Dying in a Screenwriter Uprising? | |
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| What Happens After a Script Is Bought | |
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| How Hollywood Is Changing and What You Can Do to Help | |
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| Writing for Television | |
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| The TV Movie and the Seven-Act Structure | |
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| The TV Queue That Supposedly Doesn't Exist | |
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| Plotting by Network | |
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| A Long Form Is Not What You Fill Out to Sell a Miniseries | |
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| If the Idea's That Good, Write a Book | |
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| Short Films and the Digital Age | |
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| Blame It on MTV: How Short Films Affect Screenwriting | |
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| Downloads and Debuts | |
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| Short Film Format | |
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| Everything You Need to Film Your Own Scripts | |
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| It's All in the Details | |
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| Sweating the Small Stuff | |
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| Two Brads, Not Three | |
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| Simple Is Elegant | |
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| The Funky Font Don't Fly | |
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| Shane Black and Other Quirky Perqs | |
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| Hollywood and Ageism | |
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| Persistence Makes Perfect | |
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| Fixing Amateur Technical Mistakes | |
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| Flashbacks and Fools | |
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| Don't You Just Love Watching People Talk on the Phone While They're Eating? | |
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| Voiceovers as Sleep Aids | |
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| Cute Is for Babies | |
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| Who Needs Actors and Directors, Anyway? | |
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| The Mentor Merry-Go-Round | |
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| The Galloping Gurus | |
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| Book Writers and Real-Life Experience | |
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| Sherwood Oaks Experimental College and Other Legitimate Resources | |
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| "Words into Pictures" and the Writers Guild of America | |
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| Film Festivals and Panels of Pundits | |
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| Online Oracles and Internet Interpreters | |
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| Schools and Other Institutions | |
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| The Truth About Selling Scripts | |
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| How to Keep Your Query Letter out of the Round File and Your Project on Their Mind | |
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| The Telephone as Weapon of Choice | |
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| E-Mails and Other Specious Species | |
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| The Gatekeepers Know All the Tricks: The Usual Channels Are There for a Reason | |
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| How the Internet Is Changing the Access Codes | |
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| Flesh-and-Blood Contacts Are Still the Most Sexy | |
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| Plotting Your Screenwriting Career | |
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| When to Start Your Next Script | |
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| Do You Need to Live in L.A.? | |
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| The Big Picture Is Not Just a Movie | |
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| The WGA Agent List and Agent Myths | |
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| Somebody Who Knows Somebody--How It Usually Works | |
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| Writer's Guide to Hollywood and Other Effective Post-Screenplay Resources | |
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| Index | |