Screenwriting for Dummies�

ISBN-10: 0470345403
ISBN-13: 9780470345405
Edition: 2nd 2008
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Description: Screenwriting For Dummies, 2nd Edition contains over 25ew and revised material covering the entire screenwriting process from conception to selling a script to getting it produced. In addition, this new edition includes information on new technology  More...

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Book details

List price: $19.99
Edition: 2nd
Copyright year: 2008
Publisher: John Wiley & Sons, Incorporated
Publication date: 6/30/2008
Binding: Paperback
Pages: 360
Size: 7.00" wide x 9.00" long x 0.75" tall
Weight: 1.188
Language: English

Screenwriting For Dummies, 2nd Edition contains over 25ew and revised material covering the entire screenwriting process from conception to selling a script to getting it produced. In addition, this new edition includes information on new technology that makes screenwriting easier and more effective.

Born in Red Oak, Iowa, educated at Coe College; the University of Iowa, Iowa City; and Georgetown University, John Logan found inspiration for his early poetical works in his conversion to Catholicism. Influenced primarily by Rainer Maria Rilke, his poetry has moved from a religious formalistic style to a freedom of line and voice. Editor of Choice, a major magazine of poetry and photography, Logan has received the Indiana School Letters Fellowship (1965, 1969); the Miles Modern Poetry Award (1967); and a Rockefeller grant (1968).

Foreword
Introduction
About This Book
Conventions Used in This Book
Foolish Assumptions
How This Book Is Organized
Icons Used in This Book
Where to Go from Here
So You Want to Write for Pictures
Introducing the Art of Screenwriting
Thinking Visually
Developing the Writer's Mind
Approaching Screenwriting as a Craft
Finding Your Screenplay's Story
Working through the Writing Process
Formatting Your Screenplay
Constructing Your First Draft
Rewriting Your Script
Adapting Your Screenplay from an Outside Source
Selling Your Screenplay to Show Business
Preparing to Think Visually
Exploring Other Mediums
Fiction
Stage plays
Poetry and studio arts
Screenplays
The Visual Life of a Screenplay
From the outside in
From the inside out
Diving In to the Screenwriter's Mind
Learning from Other Writers
Reading for dramatic intent
Recognizing a screenplay's genre
Art and Life: What's the Difference?
Developing an Artistic Sensibility
What a writer sees
What a writer hears
What a writer remembers and what a writer forgets
Recognizing a Story When You See One
Identifying the call to write
The four important P's of story
Finding an opening image
Approaching Screenwriting as a Craft
A Look at the Creative Process
Imagination: Your Creative Arsenal
Flexing the imagination
Putting the imagination to work
Identifying your writing voice
Craft: A Vehicle for Your Imagination
Form
Technique
Discipline
Breaking Down the Elements of a Story
Unpacking Your Idea
I Have This Great Idea. Now What?
Pinpointing your interest in the idea
Documenting your interest in the idea
Getting to Know Your Audience
Matching the story to the audience
Connecting with your audience
Knowing What Happened Before Your Story Began: Creating the Backstory
Elements of the backstory
Developing a screenplay through backstory
Identifying the Tone of Your Piece
Establishing Your Story's Time Clock
Deciding When to Start Your Story
Getting to Know Aristotle: A Dramatist's Best Friend
What's It All About?: Writing a Nutshell Synopsis
Plot Part I: Beginnings
Enhancing Your Opening Images
Person, place, or thing: What do you want to present first?
Conflict: What's wrong with your story?
Possible ways to begin your story
Tracking Success: Three Compelling (and Contrasting) Movie Beginnings
The Untouchables
American Beauty
Jaws
Plot Part II: Middles
Deciding What Comes Next
From Lights to Camera to ... ACTION!
Presenting both action and activity
Revisiting the story's time clock
Status: Where's the Upper Hand?
What's Your Problem? Introducing Conflicts and Obstacles
Exposition: From Clunky to Creative
Sharing info the characters know
Sharing info the characters may not know
Determining What to Write from What You've Already Written
Continuing Success: Tracking Three Successful Movie Middles
Jaws
The Untouchables
American Beauty
Plot Part III: Endings
How Do You Know When You're Done?
Tracking the change: What's different now?
Crafting your story's conclusion
Danger Will Robinson: Threats to an Otherwise Healthy Plot
Would that really happen? The probable versus the possible
Scenes where nothing happens: Two final threats to watch for
Ultimate Success: Tracking Three Movies through Their Triumphant Conclusions
Jaws
The Untouchables
American Beauty
Character Building
Portrait of a Person: Constructing a Physical World
Your character's physical being
Your character's physical environment
The Good, the Bad, and the Ugly: Constructing an Internal World
Dreams, desires, and passions
Talents and expertise
Internal obstacles
Your character's argument
From the Inside Out: Making the Inner World Visible
Balancing character dialogue with character action
Crafting concrete character goals
Providing character opportunities
Establishing routines that change
Forcing your characters to choose
Using a mentor
Using a narrator
Crafting secondary characters
Say What? Constructing Dynamic Dialogue
Diction: What's in a Word?
Isn't versus ain't: Diction's determining factors
The highs and the lows of language
Name That Tune: Crafting Your Character's Music
Sound 101: Using poetry as a guide
Fascinating rhythm: Crafting your script's pulse
Listening: The Other Half of Conversation
Putting It Together: Letting Your Characters Speak
Setting the scene
Dialogue do's and don'ts
The Nontraditional Film
Breaking with Tradition - Other Ways to Get the Job Done
Thinking Out of Time
Song and Dance: The Movie Musical
Original musicals
Musical adaptations
Maintaining an Audience's Trust
Screenwriting and Ethics
Screenwriting and Responsibility
What are you willing to put your name on?
Approaching difficult subject matter
The Immunity Factor
Turning Your Story into a Script
Mapping Out Your Screenplay
Conceptualizing Your Concept
How to Treat Your Treatment
Before you begin
Putting it on the page
Exploring the Ins and Outs of an Outline
One sentence at a time
One step at a time
What to Do When the Outline's Through
Surviving Writer's Block
From Panic to Peace: Switching Mind-Sets
The top ten reasons for writer's block
A survival guide
Reevaluating Your Routine
Seeking Outside Help
Formatting Your Screenplay
How the Screenplay Looks on the Page
Setting your typeface and your margins
Spacing your script correctly
Making your computer work for you
Creating a PDF
Key Formatting Elements
Character introductions
Cinematic description
Camera concerns
Terms that defy categorization
A Sample Scene
Putting It Together: Structuring Your First Draft
Navigating the Three-Act Structure
Introductions
Your opening moments
The first ten pages
The inciting incident
Plot point one
Salting the Wound
Know where the action is
The about-face
The midpoint: A halfway house
Plot point two
The Final Frontier
The climax
The resolution
A Note on Subplots
Take Two: Rewriting Your Script
Downshifting between Drafts
How to work when you're not working
Your first time back: Read-through #1
A second glance: Read-through #2
Back in the Saddle Again: Rewrites
Finding a Reader
Your Critique: Surviving the Aftermath
Adaptation and Collaboration: Two Alternate Ways to Work
Acquiring Rights to Primary Material
Understanding copyrights
Obtaining permission
Determining how much to adapt
Navigating between Forms
From fiction to film
From stage to screen
Poetry and music
The Process of Adaptation
How to approach an original work
What to do when you're stuck
The Art of Collaboration
What to look for in a writing partner
How to approach collaboration
Learning from the Masters
Alexander Payne and Jim Taylor
Joel and Ethan Coen
Selling Your Script to Show Business
Before You Send It: Premarketing Considerations
Understanding the "Biz" in Showbiz
Getting to know the players: The Hollywood hierarchy
Getting to know the buyers: The studio hierarchy
Getting a "grip": Hollywood jargon
Preparing Yourself for the Biz
Putting on a happy face: The art of attitude
Organizing your records
Acquiring the right information
Setting personal expectations
Polishing the Copy You Send
A last-minute checklist
Front-page news
Protecting Your Work
The Library of Congress
The Writer's Guild of America
The "poor-man's copyright"
Getting Your Screenplay Noticed
Designing Your Own Package
Highlighting the universal
Gaining the competitive edge
Considering the reader
Preparing to Pitch
The teaser pitch
The story pitch
Finding an Agent
Approaching an Agent
Small versus large: Does size matter?
The query letter
The "cold call" and the "drop in"
Pitching Your Script without an Agent
What to Do When They Say Yes
Meeting with an agent
Meeting with executives
Looking Ahead: Upon Achieving Success
A Final Note
The Part of Tens
Ten Screenwriters You Should Know
William Goldman
Ruth Prawer Jhabvala
Alan Ball
Nora Ephron
John Logan
Sofia Coppola
Wes Anderson
Charlie Kaufman
Christopher Nolan
Diablo Cody
Ten Screenwriting Myths
I Have to Live in Los Angeles to Write Screenplays
You Have to Go to School to Learn How to Write
Screenwriting Is Entertainment; It's Not a Real Profession
If You've Never Written Before, It's Too Late to Start Now
Writing Is a Lonely Profession
Hollywood Has No Ethics; It'll Ruin the Integrity of My Script
It's Not What You Know; It's Who You Know That Matters
I Have Too Many Obligations to Be a Writer
You're Only as Successful as the Last Screenplay You Sold
I'm Not Talented Enough to Be a Writer
Index

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