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Feature Film Screenwriter's Workbook
P a g e | 1 P a g e | 2 A GUIDE TO FEATURE FILM WRITING A Screenwriter’s Workbook & Reference Guide Compiled by Joe T. Velikovsky 2011 Published: 1995, 1998, 2003. This work is intended as an academic review of the literature and theory in the field of Feature Film screenwriting. It is not intended for sale. Wherever possible, please buy and read any or all of the texts referenced within. P a g e | 3 CONTENTS INTRODUCTION......................................................................................................................................................5 A VERY BRIEF HISTORY OF SCREENPLAY MANUALS .........................................................................6 WHAT IS A SCREENPLAY? .................................................................................................................................7 AN OVERVIEW OF “THE SCREENWRITING PROCESS/STEPS” .......................................................9 WHERE TO START? (WITH `FILM STORY IDEAS’) ............................................................................. 10 THEME ..................................................................................................................................................................... 11 THE CREATIVE PROCESS ................................................................................................................................ 12 THE GREEK LEGACY: 3-ACT STORY STRUCTURE .............................................................................. 13 THE PREMISE ...................................................................................................................................................... -
THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15 -
Usc School of Cinematic Arts
USC SCHOOL OF CINEMATIC ARTS CTWR 516: ADVANCED MOTION PICTURE SCRIPT ANALYSIS 2 units Spring 2016 Professor: Tom Abrams Email: [email protected] DA: Jeremy Palmer Email: [email protected] Section: 19449R Day/Time: WED, 1 – 4:50PM Location: SCA 112 Office hours: By Appointment In a recent poll taken by the Directors Guild, it was discovered that 75% of their members got their start directing scripts that they wrote or co-wrote. When Alfred Hitchcock and David Lean were asked about film schools and how to teach film directing, both agreed that students should not be given equipment until their second year: “students should first make films with their typewriters.” George Lucas looked back at his education at USC and advised more time should be spent on writing. The comment heard most often from graduating production students and alumni over the years is: "I wish I had spent more time on my writing." In fact many students, upon screening their award-winning thesis films and 546's, were not offered a twenty-five million dollar picture to direct, but asked: "Do you have a script?" Hopefully by the end of CTWR 516 you will have gained a great deal of insight into the workings of feature screenplays, helping you along the path of writing them yourselves. In this class we will share the experience of viewing and enjoying a number of films - made at different times and with contrasting narrative approaches - and work together to discover how these Abrams – CTWR 516 – Spring 2016 2 films were put together, what screenwriting methods were employed, and how these techniques can help us become better screenwriters and film makers ourselves. -
Communication, Creativity and Consilience in Cinema
THE UNIVERSITY OF NEWCASTLE Communication, Creativity and Consilience in Cinema A comparative study of the Top 20 Return-on-Investment (RoI) Movies and the Doxa of Screenwriting Joseph Tesla Velikovsky Bachelor of Arts (Communication) (UoN) Postgraduate Screenwriting Certificate (AFTRS) A thesis submitted for the degree of Doctor of Philosophy to The School of Design, Communication and Information Technology, Faculty of Science and Information Technology, University of Newcastle, Australia. October 2016 Velikovsky - Page | i The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. Name: Joseph Tesla Velikovsky Velikovsky - P a g e | ii ACKNOWLEDGEMENTS & DEDICATION My thanks to my doctoral supervisors Dr Michael Meany and Dr Susan Kerrigan for all their helpful guidance, support, advice and wisdom. Thank you also to all scholars in the School of Design, Communication and Information Technology (DCIT) and the Communication and Research Group (CAMR) at the University of Newcastle. My thanks also to my fellow Creativity and Evocriticism research scholars, to the Australian Writers Guild, the Australian Directors Guild, the Digital Humanities Research Group (DHRG) and to Dr Ian W. -
Hollywood Safari Navigating Screenwriting Books & Theory
Hollywood Safari Navigating Screenwriting Books & Theory John Fraim John Fraim GreatHouse Stories 1702 Via San Martino Palm Desert, CA 92260 www.greathousestories.com [email protected] 760-844-2595 (c) 2014 – John Fraim 1 Table of Contents Introduction!! ! ! ! ! ! ! ! ! ! ! !!!!!! 1. Personal School!! ! ! ! ! ! ! 8 William Goldman Adventures in the Screen Trade! John Schimmel Screenwriting: Behind Enemy Lines! !!!!!! 2. Step School!! ! ! ! ! ! ! ! 11! John Truby Anatomy of Story Blake Snyder Save the Cat 3. Ancient School!! ! ! ! ! ! ! 13 Michael Tierno Aristotle’s Poetics for Screenwriters 4. Drama School!! ! ! ! ! ! ! 16 Lajos Egri The Art of Dramatic Writing Will Dunne The Dramatic Writers Companion 5. Mythology School!! ! ! ! ! ! ! 18 Joseph Campbell Hero With A Thousand Faces Christopher Vogler The Writers Journey Stuart Voytilla Myth And The Movies James Bonnet Stealing Fire From The Gods Jennifer Van Bergen Archetypes for Writers 6. Sequence School!! ! ! ! ! ! ! 21 Paul Gulino The Hidden Structure of Successful Screenplays Eric Edson The Story Solution 7. Plot School!! ! ! ! ! ! ! ! 24 George Polti Thirty-Six Dramatic Situations William Wallace Cook Plotto Tom Sawyer & Arthur David Weingarten Plots Unlimited Christopher Booker Seven Basic Plots 8. Psychology School!! ! ! ! ! ! ! 29 William Indick Psychology for Screenwriters Peter Dunne Emotional Structure Pamela Jaye Smith Inner Drives 2 9. Principles School!! ! ! ! ! ! ! 33 Robert McKee Story David Howard and Edward Mabley The Tools of Screenwriting Richard Walter Essentials of -
Narration in the Screenplay Text
Narration in the Screenplay Text by Ann Igelström A Thesis Submitted to the College of Arts and Humanities In Candidacy for the Degree of Doctor of Philosophy School of English 2014 Abstract This thesis examines the narration in screenplay texts. The aim is to explore how the screenwriter, through the screenplay text, communicates the potential film to the reader. The thesis thus situates the screenplay in a communicational context, and argues that the screenplay text is a means of communication. In many cases, the screenplay text is the writer’s only means of communicating with a potential investor, thus determining whether the screenplay will fulfil its purpose of becoming a film. Using a communicational approach enables a close examination of the different extratextual and intratextual narrating voices that communicate the story and the look of the potential film. The thesis relates the screenplay text to narrational theories from literary and film theory, and proposes its own narrative communication model suited to the screenplay. The model places the various narrating voices on different narrative levels that show the voices’ relation to the text, the fiction, and the scene. The communication model also identifies the voices’ addressees. Through close readings of screenplay texts, the thesis examines how different narrating voices function and how they can be characterised. The discussions focus on how these voices use different techniques to narrate the story and indicate the look of the potential film. The discussions particularly highlight how the voices influence the readers’ visualisation of the potential film, since this is a distinguishing feature of the screenplay text-type. -
The Insiders' Guide to Screenwriting 2017
! The Insiders’ Guide to Screenwriting How Hollywood Evaluates Your Screenplay ! Collin Chang Alison Haskovec Michael Lee Nick Sita Helen Truong Dwayne Alexander Smith Scott Honea Maya Goldsmith Vikram Weet John Evans! ! ! Edited by John Evans ! ! ! !Dear Reader, This eBook has been digitally encoded and registered in your !name, and is provided for your personal and private use only. Piracy is a serious problem in both the movie industry and the publishing industry. As a screenwriter, you hope to receive payment for your hard work. You do not want your scripts or story ideas to be stolen or your movie to be pirated. The authors and publisher of this eBook have invested a great deal of time, effort, and expertise in developing these materials for !you, and we feel the same way. As writers and artists it is incumbent upon us to band together to protect ourselves and each other from those who would attempt to steal our ideas, time and labor. We hope you will join us in this effort and report any unauthorized posting or file sharing, wherever you may discover it, to the legal copyright holder. Working together, we can protect ourselves, our work, ! and our industry. – Production Arts Group ! ! ! ! ! WARNING: This electronic publication is registered and protected under U.S. copyright law, international copyright law, and international property law. The unauthorized posting, reproduction, distribution or file sharing of this copyrighted work or any portion thereof is illegal. Criminal copyright infringement, including infringement without monetary gain, is investigated by the FBI and is punishable by up to 5 years in federal prison and a fine of $250,000. -
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D. Marshall Website: http://actioncutprint.com Blog: http://filmdirectingtips.com Email: [email protected] Film Directing Coach http://actioncutprint.com/filmdirectingcoach Peter D. Marshall has worked (and survived) in the Film and Television Industry for over 40 years - as a Film Director, Television Producer, First Assistant Director and Series Creative Consultant. Credits & Awards http://actioncutprint.com/credits1 NOTE: This Course has been updated as of November 8, 2018. Please download the updated version here: http://www.actioncutprint.com/files/18-AOTD-AS.pdf Copyright (c) 2018 Peter D. Marshall /ActionCutPrint.com All Rights Reserved “The Art and Craft of the Director” Audio Seminar Dear Filmmaker, Thank you for purchasing this 2016 version of "The Art and Craft of the Director Audio Seminar” - a comprehensive, multi-media audio course that demystifies the process of directing and fast tracks your way to becoming a working film and television director. When I first created this course in 2007, I wanted it to be an Online insider's reference guide for filmmakers. Having now updated it seven times, I believe this 261 page course (with over 1000 online reference links and videos) will help you to become a successful film director by providing you with the “insider” knowledge I have gained from over 40 years in the film and television business. Although the majority of productions I have worked on were Hollywood feature films, television movies and TV series, the information you will find in this course is easily adaptable to your own low budget independent films - anywhere in the world! All you need to do is take the information in this course and scale it down for your own productions (short films, small indie films, music videos etc.) I talk a lot about PASSION and TRUTH in this course because these are two of the essential ingredients to having a successful directing career. -
The Pleistocene Protagonist: an Evolutionary Framework for the Analysis of Film Protagonists
The Pleistocene protagonist: An evolutionary framework for the analysis of film protagonists Kira-Anne Pelican, Robert Ward and Jamie Sherry, Bangor University Abstract Over the last 25 years, evolutionary science has reinvigorated not only the human sciences but also literary criticism and film theory. Drawing on models of human behaviour advanced by evolutionary psychologists Bernard et al., Lövheim and Zuckerman et al. (1991), we propose that the application of an evolutionary framework will illuminate our understanding of film protagonists and their associated audience appeal. We report the development of a new instrument to assess differences in film protagonists’ emotions, motivations and character traits across 34 scales: the Assessment of Protagonists’ Traits, Emotions and Motivations Questionnaire (APTEM-Q). The results of a preliminary study comparing protagonists in 100 popular, recent American and Chinese films indicate that the questionnaire is comprehensive and that four protagonist motivations and emotions predict whether a film is preferred at the American or Chinese box office. Using this four-factor model, we found cross-cultural consensus in the way these psychological attributes are perceived. These findings are consistent with evolutionary theories, which would suggest that screen characters’ traits, motivations and emotions are writers’ emulations of universal adaptations to evolutionary selection pressures, reshaped through aesthetic and cultural processes. Keywords evolutionary criticism character development consilience -
Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2019 VOL.21, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA Mark Little Makes Move to Live Action Pitching Your Way Into the Big League Bad Blood leads to good times for Michael Konyves PM40011669 tsc-2019-cs-ad-final.pdf 1 2019-03-04 2:08 PM C M Y CM MY CY CMY K CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 2 Spring 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire Contents [email protected] Cover Director of Communications Lana Castleman Bad Blood 6 Editorial Advisory Board Canada’s contribution to felonious violence has been Michael Amo ignored for years. That was a crime. Michael Konyves Michael MacLennan and Simon Barry changed that. Susin Nielsen Simon Racioppa By Matthew Hays Rachel Langer President Dennis Heaton (Pacific) Features Councillors Michael Amo (Atlantic) Demons and Laughs 12 Mark Ellis (Central) Mark Little has swapped his animated demons for Marsha Greene (Central) live-action laughs in his latest project. Alex Levine (Central) Anne-Marie Perrotta (Quebec) By Kendra Wong Andrew Wreggitt (Western) Studio Ours Design Pitch Perfection 16 Cover Photo: Emma McIntyre Printing Renaissance Printing Inc. Getting the proper tone in your pitch is one of the screenwriting craft’s most challenging skills. We get tips Canadian Screenwriter is from some of the industry’s most successful scenarists. published three times a year by the Writers Guild of Canada (WGC). By Diane Wild 366 Adelaide Street West, Suite 401 Toronto, Ontario M5V 1R9 TEL: (416) 979-7907 W-Files FAX: (416) 979-9273 WEBSITE: www.wgc.ca Marsha Green — By Cameron Archer 21 Subscriptions: WGC members receive a Kathleen Phillips — By Mark Dillon 23 subscription as part of their membership. -
The Science of Screenwriting: the Neuroscience Behind Storytelling Strategies, by Paul Joseph Gulino and Connie Shears
Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 292–297 DOI: https://doi.org/10.33178/alpha.19.32 The Science of Screenwriting: The Neuroscience Behind Storytelling Strategies, by Paul Joseph Gulino and Connie Shears. Bloomsbury Academic, 2018, 164 pp. Levi Dean Writing a screenplay is hard. From my own experiences in practice and lecturing, I am confident in saying that the majority of those who have written screenplays, whether successfully or not, would agree. So why would we undertake this arduous task? For the sake of the story. It is widely accepted that there is a story in all of us; a uniqueness that relates directly to our individuality of experiencing the world as we see it. The hard part is how we tease and filter this on to the page in a way that engages others. There are a myriad of “how to guides” promising screenwriters the magic formula to ensure their script has every chance of provoking a bidding war amongst Hollywood productions. Unfortunately, as many of us have discovered, there is no magic formula. Thankfully, Chapman University’s Paul Joseph Gulino, screenwriting professor, and Connie Shears, cognitive psychologist, have presented an interdisciplinary approach to screenwriting that retires magic and, instead, employs science in their book The Science of Screenwriting: The Neuroscience Behind Storytelling Strategies. Gulino and Shears differentiate their book by peeling away the formulaic mask and explore the “why” behind successful conventions through the application of neuroscience. They present a set of narrative techniques and, occasionally, examine key screenwriting texts such as Christopher Vogler’s The Writer’s Journey: Mythic Structure for Writers, Robert McKee’s Story: Style, Structure, Substance and the Principle of Screenwriting, Syd Field’s Screenplay: The Foundations of Screenwriting and Blake Snyder’s Save the Cat! The Last Book on Screenwriting You’ll Ever Need. -
The Writer's Journey : Mythic Structure for Writers / Christopher Vogler
THE WRITER'S JOURNEY MYTHIC STRUCTURE FOR WRITERS THIRD EDITION CHRISTOPHER VOGLER SCREENWRITING/WRITING Christopher Vogler explores the powerful relationship between mythology and storytelling in his clear, concise style that's made i this book required reading for movie executives, screenwriters, playwrights, fiction and non-fiction writers, scholars, and fans of pop culture all over the world. Discover a set of useful myth-inspired storytelling paradigms like • "The Hero's Journey," and step-by-step guidelines to plot and character development. Based on the work of Joseph Campbell, The Writers Journey is a must for all writers interested in further developing their craft. This updated and revised Third Edition provides new insights and observations from Vogler's ongoing work on mythology's influence on stories, movies, and man himself. In revealing new material, he explores key principles like polarity and catharsis, plus: • A revised chapter which looks back at the Star Wars phenomenon and analyzes the six feature films as an epic on the theme of father-son relationships • New illustrations and diagrams that give additional depth to the mythic principles • A final chapter, "Trust the Path," an inspiring call to adventure for those who want to discover themselves through writing "This book is like having the smartest person in the story meeting come home with you and whisper what to do in your ear as you write a screenplay. Insightfor insight, step for step, Chris Vogler takes us through the process of connecting theme to story and making a script come alive. " - Lynda Obst, Producer, Sleepless in Seattle, How to Lose a Guy in 10 Days; Author, Hello, He Lied "This is a book about the stories we write, and perhaps more importantly, the stories we live.