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Screenwriting for Teens The 100 Principles of Screenwriting Every Budding Writer Must Know

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ISBN-10: 1932907181

ISBN-13: 9781932907186

Edition: 2006

Authors: Christina Hamlett

List price: $20.95
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This books gives teens -who go to the movies more than any age group in the world - the tools to do more than just watch those movies. It gives them the tools to write their own films.
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Book details

List price: $20.95
Copyright year: 2006
Publisher: Michael Wiese Productions
Publication date: 11/1/2006
Binding: Paperback
Pages: 228
Size: 11.00" wide x 7.50" long x 0.75" tall
Weight: 1.298

CHRISTINA HAMLETT - Former actress/theater director Christina Hamlett is an award winning author, professional ghostwriter, media relations expert, and script consultant for the film business (which means she stops a lot of really bad movies from coming to theaters near you). She resides in Pasadena, California with her gourmet chef husband and Lucy, the world's cutest dog. JAMIE DARE - Along with Christina Hamlett, freelance writer Jamie Dare has co-authored a full-length Jane Austen spoof ("Cliffhanger Abbey - Where Perfect Manners Meet Perfect Monsters") as well as three Shakespearean parodies: one-act plays written not in iambic pentameter, but Dr. Seuss rhyme. Ms. Dare has also…    

Film Tells a Story Differently Than a Book or a Play
Classic Story Structure
A "Story" is not the Same Thing as a "Plot"
A Story's Content Determines its Length
A Commercial is the Ultimate Short
A Short is Just a Slice of Life and not a Whole Life Story
"Reel" Time Moves Differently than "Real" Time
Casting Call
The Audience and the Box Office
Knowledge = Credibility
What Do You Want Your Film to Say?
Speaking the Language of Screenwriters
Linear Versus Nonlinear Storytelling
Story Beats
A Theme is the Glue that Holds Your Story Together
Relatable Characters are What Give a Story an Audience
Relatable Characters Come From...Everywhere!
Compelling Ideas Come From...Everywhere Else!
Ideas that Work Best as Shorts
A Conflict is What Drives a Plot Forward
Show Us Who (and What) We're Rooting For
Substance Versus Style: Who's in the Driver's Seat?
All Conflicts Derive from Reward, Revenge and Escape
Aiming for High Concept
Catchy Loglines
Synopses Shouldn't Read Like Book Reports
Location, Location, Location
Master Scenes
How to be Multiple Places at Once
Conflict is a Collision Course of Multiple Layers
A Conflict is Ignited by an Inciting Incident
Objective Acceptance and Subjective Engagement
Action = Reaction
To Make a Conflict Convincing, the Opponents Need to be Evenly Matched
When "Losing" Isn't an Option
A Conflict can't be Resolved Until the End of the Film
Surprise is on Your Side
Conflict Grows Out of Character
Character Grows Out of Conflict
Character and Conflict Comprise the Hero's Journey
Crossing the Point of No Return
A Character Arc is a Transformation
Heroes Aren't 100% Good; Villains Aren't 100% Bad
Sidekicks, Confidantes and Confederates
Ordinary Characters Need Extraordinary Situations
Extraordinary Characters Need Ordinary Situations
Hooks, Foreshadowing and Uh-Oh's
A Character Should Do More than Just Take Up Space
Minor Characters Don't Need Major Introductions
Designer Genes
Names Should be a Reflection of Character
A Character's Actions Say More Than His or Her Words
Sometimes the Audience Needs to Know More Than the Characters
Sometimes the Characters Need to Know More Than the Audience
Motivation and Redemption
A Script is No Place for Words That Just Ramble
Dining at the Speed of Light
Fancy Footwork and Fisticuffs
For "Reel" Talk to Sound "Real," You Need Vocal Variety
Characters Shouldn't Use Dialogue to Explain Things to Each Other That They Already Know
Don't Use a Voice Over if a Visual Would Say Much More
Topic: Dreams and Flashbacks
Mood-Setting Montages
Save the Big Speeches For When They'll Really Count
Actors Should Never be Left to Ad-Lib
What We See Isn't Always What We Get
Stereotypes and Character Reversals
Context + Subtext = Delivery
Always Keep the "Accent" On Readability
Every Story Needs a Point of View
First One In, Last One Out
Splat! Hitting the Wall With Writer's Block
Genres are to Film What Menus are to Restaurants
The Perils of Genre Zeitgeist
Genre Dictates Structure
Genre Bling-Bling
Don't Switch Genres in Midstream
A Comedy is Something That Makes Us Laugh
A Drama is Something That Makes Us Sad, Mad, Disturbed or Contemplative
A Sci-Fi Film Takes Us Out of This World
A Western Film is Always About a Showdown
A Fantasy Film is a Ticket to All Things Magical
A Horror Film Will Make You Sleep With the Lights On
A Romance is a Pas De Deux
A Thriller Keeps You Guessing from Start to Finish
Action/Adventure Films are An 'E' Ticket to Fun
Taking a Page From Real Life
The Magic of Animation
Music, Music, Music
Family Fare and Coming of Age
Genre is a Reflection of Attitude and Intention
Elvis May Have Left the Building But His Heirs are Alive and Kicking
Rules of the (Formatting) Game
Bulletproofing Your Script
What's Mine is Mine
Screenwriting Competitions
Fast Pitch
Screenwriter's Etiquette
You Hate Me. You Really Hate Me
Recommended Reading
About the author
About the Author's Assistant