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Much of Trottier's advice is common sense: "Don't write anything that cannot appear on the screen"; to keep casting options open, don't make your physical descriptions too specific; "don't say Ron Howard is looking at the project if he is not." But there are things to know about Hollywood that are, well, quirkier. Don't write the title of your script on the front cover or side binding; present action sequences using the "stacking action" style; in query letters and scripts alike, avoid "big blocks of black ink." Trottier's guidance--from character development and revision to queries and pitches--is invaluable. Getting in the door can seem impossible, but it's not, necessarily. "If you write a script that features a character who has a clear and specific goal," says Trottier, "where there is strong opposition to that goal leading to a crisis and an emotionally satisfying ending, your script will automatically find itself in the upper five percent."
(By the way, MOS is said to have "originated with German director Eric von Stroheim, who would tell his crew, 'Ve'll shoot dis mid out sound'"). --Jane Steinberg --This text refers to an out of print or unavailable edition of this title.
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The writing primer section presents all of the sreenwriting fundamentals. It's perfect for novices and a good review for professionals. The workbook asks hundreds of questions that I use to keep me on track. I love the Character/Action Grid--an excellent revision tool. The formatting guide is easy to understand--I like it much better than Cole and Haag's classic. The marketing plan is what's helping me the most right now; it's very focused. Obviously the author knows the business. The resources section includes all the contests, script consultants, software, etc.
It's not the last word on s! ! creenwriting, especially for old pros; but it guides you in every aspect of screenwriting in clear, concise language. And it covers the basics. The book is jam-packed with info you can use.
"The Screenwriter's Bible" is also useful as a marketing tool, especially his sample project plan and action plan, which all writers will find useful as a template. Remember, your great spec script is a business proposal as much as anything else, for a project which will run well into 8 figures, in most cases. Approach it with the same care and attention to detail that you would if you were trying to sell your garage software development firm to Microsoft.
Unlike many "How-to" screenwriting books, Trottier's sample query letters are actually quite entertaining. If I were a Hollywood suit, I'd bite at the sample "Wizard of Oz" example.
This book won't tell you how to write a great story (that's something that really can't be taught), but it will help you get the mechanics of the trade down. There are many terrible scripts which have been made into movies, but virtually all of them (even those starring Pauly Shore) get the details correct.
In summation, if I had to pick just one screenwriting book, this would be my first choice.
But know thanks to this "Bible," it gives every answer to every to every question asked by a beginning screen writer trying to get his or her spec script in the proper format to get into the market. And that's just for formatting. I haven't even started to look at the last two books of the Screenwriter's Bible on marketing and references and if it's anything like the previous ones, I should be able to find every avenue available for getting my script at least read.
The Screenwriter's Bible is sectioned off into different parts for the different processes of the getting your screenplay off the ground and does a great job doing it. Can't think of anything that was missed. Thank you David Trotteir! I only wish that Hollywood will be as fair as you are.