SceneWriting: The Missing Manual for Screenwriters
Autor Chris Perry, Eric Henry Sandersen Limba Engleză Paperback – 23 mar 2022
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Specificații
ISBN-13: 9781501352126
ISBN-10: 1501352121
Pagini: 264
Ilustrații: 4 bw illus
Dimensiuni: 152 x 229 x 17 mm
Greutate: 0.41 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1501352121
Pagini: 264
Ilustrații: 4 bw illus
Dimensiuni: 152 x 229 x 17 mm
Greutate: 0.41 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
Caracteristici
Gives accessible, functional, and eminently practical instruction informed by decades of mentoring and teaching young writers
Notă biografică
Chris Perry and Eric Henry Sanders, both of Hampshire College, USA, have spent decades in entertainment; SceneWriting is the culmination of their shared experience analyzing, teaching, and exploring the craft. And talking about it a lot. Probably too much.
Cuprins
Why a Book About Scenes?Planning, Drafting, PerfectingWhat is a Great Scene, Anyway?PART I: PlanningCHAPTER 1: What Do They Want And Why?What's It All About?EXERCISE: Overarching GoalOne Does Not Simply Walk Into MordorKinds of Scene GoalsObjectsWords from OthersGetting SomewhereCompleting A TaskQualities of Scene GoalsRelatabilitySpecificityAchievabilityEXERCISE: And. Scene.CHAPTER 2: Why Can't They Have It?The Universe Is Out To Get YouYou Can't Share A Parking SpaceBut I Thought We Were FriendsLions and Tigers and Bears, Oh My!Things In AbsentiaIt's Not You, It's MeEXERCISE: Exploring the PossibilitiesThe Just Right ObstacleResonance with World and ToneResonance with ThemeEXERCISE: What Story Does This Obstacle Tell?Time Isn't On Your SideEXERCISE: Limit the Resources, And PickCHAPTER 3: What Are They Gonna Do About It?Don't Just Stand There, Do Something!You Talkin' To Me? (Characters versus Others)You Can't Argue With a River (Characters versus Things)I'm My Own Worst Enemy (Character versus Self)Getting By With A Little Help With My FriendsEXERCISE: Exploring ApproachesIt's Only a Mistake if You Don't Learn From ItThemes Like a Good IdeaEXERCISE: So THAT Didn't Work...Where're You Going With This?EXERCISE: So How Does Your Scene End?Not All Actions Are Created EqualCooking Up StakesIt Takes Two To TangoMatching World and ToneEXERCISE: One Full ApproachCHAPTER 4: Where And When Is It Gonna Happen?Changing Settings Does Not Necessarily Mean Changing ScenesIt's About Freakin' TimeEXERCISE: Identify Your Moment in TimeLocation, Location, Location!EXERCISE: Zooming in on the Precise LocationResearch and DestroyEXERCISE: Research and Character PreoccupationsPART II: DraftingChapter 5: The Fundamental Tools of ScenewritingShow 'Em What You GotPacingEXERCISE: Basic Practice With Scene DescriptionEXERCISE: Basic Practice With DialogueChapter 6: The Art of Reader EngagementMake 'Em Work For ItEXERCISE: Mapping out a Treasure HuntNobody Expects The Spanish Inquisition!ShockEXERCISE: Leverage The Unusual In Your SceneMake 'Em WaitEXERCISE: Setting Up AnticipationFeast Your Eyes On This!EXERCISE: Add a Little WonderChapter 7: The Unformatted DraftLet's Get This Party StartedWhen and WhereKnock Knock...Better Late Than BoringEXERCISE: Writing the BeginningScenis Morghulis: All Scenes Must EndRevealsThe Natural EndingThe Cyclical EndingThe Reversal EndingThe Unexplained Mystery EndingInviting The Reader Into The Next SceneWe're Closing EarlyEXERCISE: Writing the EndIn the Middle With YouOne Thing Leads To Another (But and Therefore)What's at StakeEXERCISE: Filling Out The MiddleChapter 8: Formatting for Fun and ProfitCourier? I Don't Even Know Her!A Minute Per PageEXERCISE: Pick Your Software and Import Your Unformatted DraftA Slugline Says What?EXERCISE: Writing SluglinesYou Lookin' at Me?CALLOUTSTransition CalloutsEXERCISE: Format That Scene DescriptionYou Got Something to Say?WryliesPauses and InterruptionsMORE and CONT'DTrailing Off, Interrupting, and Talking OverOther Ways Characters Can Talk: O.S. and V.O.EXERCISE: Format Your DialoguePART III: PerfectingCHAPTER 9: Check Your LengthThe Bare NecessitiesEXERCISE: Throwin' StrikeoutsWhoa, I Think I Missed SomethingEXERCISE: Did You Throw Out The Baby With The Bathwater?Chapter 10: Managing Scene Information In DialogueAs You Know, I'm Your SonI'm So ConflictedDo You Know Why I Pulled You Over?Thank You, Captain ObviousEXERCISE: Un-obviousing Your ExpositionYeah, You Already Said ThatHere We Are In PrisonThat's My Name, Don't Wear It OutEXERCISE: Removing Redundant ExpositionChapter 11: Bringing Authenticity Into Your DialogueKeepin' It RealI'm ListeningSpeaking of Questions...EXERCISE: Going Off-Topic and IgnoringRead Between The LinesUsing Subtext To Avoid Hurt FeelingsOff-Topic SubtextUsing Subtext To Communicate EmotionsEXERCISE: What I Mean Is...You Sound Just Like My MomEXERCISE: Finding Your VoiceThe Rhythm Is Gonna Get YouEXERCISE: Music in DialogueChapter 12: Final PolishOnce More With FeelingScene POVSpotlight ItWriter's CommentaryPoetic ImpressionEXERCISE: Write In The FeelsSmooth It OutEschew ImpenetrabilityAvoid AmbiguitySProoffrreading Are ImportantEXERCISE: Line By Line, For ClarityLast LooksWhite Space For The WinCompressingEXERCISE: Expand And CompressOkay, Now What?Bonus Chapter: Expanding Your Development CircleNot All Readers Are Created EqualEXERCISE: Build Your Reading RosterReadings Are FundamentalFirst-Time ReadersSlings And ArrowsPrepping QuestionsReceiving CritiqueEXERCISE: Preparing For A ReadingFound In TranslationCollectingWaitingTranslatingRevisingEXERCISE: Lather, Rinse, RepeatAppendix A: ReferencesAppendix B: Course Adoption GuideA Scenewriting-Only CourseCustom Modular AdoptionExample Adoption Into a Pilot- or Feature-writing CourseExample Adoption Into a Short Film Writing CourseAcknowledgementsIndex
Recenzii
Scene Writing: The Missing Manual for Screenwriters delivers on its promise to be an invaluable asset for beginning and intermediate writers of film and TV content and to teachers and students. The more advanced screenwriter would be well advised to sharpen their scene skills with this book. The casual reader will find the book diverting and entertaining. And in the academic setting the book can be useful as a part of a class on screenplay structure.
Buy this book. Read this book. Then when you inevitably hit that moment in your screenplay where you're certain what you've written is garbage, read the book again. Chris and Eric break down the elements of screenwriting with deft humor and loads of insight, using spot-on examples from virtually every genre and subgenre you can imagine. Whether you've never written a screenplay or written dozens, SceneWriting is an invaluable resource.
A multitude of books are focused on helping writers gain skills and solve problems relating to plot and story, but the audience ultimately judges their work one scene at a time, one scene after another. Perry and Sanders focus on these fundamental and often overlooked building blocks from which all scripts are built in an energetic and thorough style.
SceneWriting is perfect for anyone wanting to turn their idea into a polished script. It brings logic to a craft that is often wildly illogical, and goes deeper than any book out there.
The book is well laid out so you can pinpoint where your weak spot is as a scene writer and then dive into those chapters ... Some polishing and description reduction and my scenes are actually amazing.
SceneWriting stands out among screenplay manuals for its unique and valuable approach in focusing on the style and structure of the scene rather than the screenplay. The helpful attention to the writing process and its accessible style make it a useful component of any aspiring screenwriter's library.
SceneWriting is a must read for screenwriters of all levels and backgrounds, regardless if you're an established writer or just starting out. the key to a great script all comes down to writing great scenes, which is why Perry and Sanders have put together a highly instructive and invaluable manual for success.
SceneWriting: The Missing Manual for Screenwriters is such a welcome addition to the world of books on screenwriting. Most books have a chapter or a section on writing scenes, but there are precious few titles that focus on this important topic. The authors present the material in an incredibly engaging, user-friendly style that is not just clear and easy to understand, it is is inspiring. The book kind of flips the model of most screenwriting books, because it centers its attention on constructing rich, active scenes but also gives ample time to other topics like dialogue, structure, and character development. The examples provided from contemporary films are effective in illustrating points and the authors' comments on them are enlightening. I am so glad that this book exists and have already started to implement some of the material into my classes.
Chris and Eric are story-tellers who know there is no formula for screenwriting, only the joy, delight, and hard work of making things happen and creating the people things happen to.
An essential primer on the important foundational structure and elements that make a scene - and by extrapolation, a story - work. ... [D]eserves a place at the head of the table thanks to its crystal-clear explanation of the components needed to tell a well-crafted story and the roadmap it lays out to help every writer do just that.
Buy this book. Read this book. Then when you inevitably hit that moment in your screenplay where you're certain what you've written is garbage, read the book again. Chris and Eric break down the elements of screenwriting with deft humor and loads of insight, using spot-on examples from virtually every genre and subgenre you can imagine. Whether you've never written a screenplay or written dozens, SceneWriting is an invaluable resource.
A multitude of books are focused on helping writers gain skills and solve problems relating to plot and story, but the audience ultimately judges their work one scene at a time, one scene after another. Perry and Sanders focus on these fundamental and often overlooked building blocks from which all scripts are built in an energetic and thorough style.
SceneWriting is perfect for anyone wanting to turn their idea into a polished script. It brings logic to a craft that is often wildly illogical, and goes deeper than any book out there.
The book is well laid out so you can pinpoint where your weak spot is as a scene writer and then dive into those chapters ... Some polishing and description reduction and my scenes are actually amazing.
SceneWriting stands out among screenplay manuals for its unique and valuable approach in focusing on the style and structure of the scene rather than the screenplay. The helpful attention to the writing process and its accessible style make it a useful component of any aspiring screenwriter's library.
SceneWriting is a must read for screenwriters of all levels and backgrounds, regardless if you're an established writer or just starting out. the key to a great script all comes down to writing great scenes, which is why Perry and Sanders have put together a highly instructive and invaluable manual for success.
SceneWriting: The Missing Manual for Screenwriters is such a welcome addition to the world of books on screenwriting. Most books have a chapter or a section on writing scenes, but there are precious few titles that focus on this important topic. The authors present the material in an incredibly engaging, user-friendly style that is not just clear and easy to understand, it is is inspiring. The book kind of flips the model of most screenwriting books, because it centers its attention on constructing rich, active scenes but also gives ample time to other topics like dialogue, structure, and character development. The examples provided from contemporary films are effective in illustrating points and the authors' comments on them are enlightening. I am so glad that this book exists and have already started to implement some of the material into my classes.
Chris and Eric are story-tellers who know there is no formula for screenwriting, only the joy, delight, and hard work of making things happen and creating the people things happen to.
An essential primer on the important foundational structure and elements that make a scene - and by extrapolation, a story - work. ... [D]eserves a place at the head of the table thanks to its crystal-clear explanation of the components needed to tell a well-crafted story and the roadmap it lays out to help every writer do just that.