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Editorial Reviews
From Library Journal
If you've got a half-finished screenplay in the drawer, these two unflaggingly optimistic additions to the how-to literature will make you want to dig it out and get to work. Aimed at beginners, both are by academics who not only teach the subject, but are professional screenwriters themselves. In agreement on most of the basic points, each gives a solid discussion of the craftcharacters, story development, etc.and industry; lays out the all-important details of format; then tells how to market the finished product. Hauge's volume is a detailed manual offering a step-by-step methodology, a scriptual analysis of a hit film, The Karate Kid , and handy chapter summaries. Walter's is more general and breezily written. Both authors argue that screenwriting is a developable craft rather than an art and stress the overpowering need for strong-willed commitment to achieve success. They also agree that, despite all the high-paid, well-established hacks, especially in TV, if you don't have talent, perseverance, imagination, and some luck, you're in the wrong field. For those libraries that can buy only one more title in this crowded field, Hauge is the preferred choice. Two other recent books are Jurgen Wolff and Kerry Cox's Successful Scriptwriting, Writer's Digest, 1988; and Ben Brady and Lance Lee's The Understructure of Writing for Film & Television, Univ. of Texas Pr., 1988. The latter seems aimed at replacing Brady's Keys to Writing for Television and Films as the standard college text. Ed.David Bartholomew, NYPL
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
"The most practical and best single book on the subject." -- --Hollywood Scriptwriter
See all Editorial Reviews
If you've got a half-finished screenplay in the drawer, these two unflaggingly optimistic additions to the how-to literature will make you want to dig it out and get to work. Aimed at beginners, both are by academics who not only teach the subject, but are professional screenwriters themselves. In agreement on most of the basic points, each gives a solid discussion of the craftcharacters, story development, etc.and industry; lays out the all-important details of format; then tells how to market the finished product. Hauge's volume is a detailed manual offering a step-by-step methodology, a scriptual analysis of a hit film, The Karate Kid , and handy chapter summaries. Walter's is more general and breezily written. Both authors argue that screenwriting is a developable craft rather than an art and stress the overpowering need for strong-willed commitment to achieve success. They also agree that, despite all the high-paid, well-established hacks, especially in TV, if you don't have talent, perseverance, imagination, and some luck, you're in the wrong field. For those libraries that can buy only one more title in this crowded field, Hauge is the preferred choice. Two other recent books are Jurgen Wolff and Kerry Cox's Successful Scriptwriting, Writer's Digest, 1988; and Ben Brady and Lance Lee's The Understructure of Writing for Film & Television, Univ. of Texas Pr., 1988. The latter seems aimed at replacing Brady's Keys to Writing for Television and Films as the standard college text. Ed.David Bartholomew, NYPL
Copyright 1988 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
"The most practical and best single book on the subject." -- --Hollywood Scriptwriter
See all Editorial Reviews
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Inside This Book
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First Sentence:
People do not go to the movies so they can see the characters on the screen laugh, cry, get frightened, or get turned on. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
outer motivation, reading your screenplay, other primary characters, visible motivation, writing your screenplay, parenthetical directions, maximum emotion, proposal script, writing regimen, story concept, next screenplay, entire screenplay, complete screenplay, outer conflict, same basic situation, karate kid, completed screenplay, eliciting emotion, karate tournament, episodic series, inner motivation, undeserved misfortune, romance character, own screenplay, development deal Key Phrases - Capitalized Phrases (CAPs): (learn more)
Writers Guild, Los Angeles, Body Heat, Indiana Jones, War Games, Beverly Hills Cop, Chariots of Fire, Miss Klunk, New York, Richard Dreyfuss, Robert Mark Kamen, Romancing the Stone, The Goal of the Screenwriter, The Verdict, World War, Writing Individual Scenes, Barbara Hershey, John Hughes, Lethal Weapon, Neil Simon, Sydney Pollack, The Big Chill, The Terminator, Warren Beatty New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
People do not go to the movies so they can see the characters on the screen laugh, cry, get frightened, or get turned on. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
outer motivation, reading your screenplay, other primary characters, visible motivation, writing your screenplay, parenthetical directions, maximum emotion, proposal script, writing regimen, story concept, next screenplay, entire screenplay, complete screenplay, outer conflict, same basic situation, karate kid, completed screenplay, eliciting emotion, karate tournament, episodic series, inner motivation, undeserved misfortune, romance character, own screenplay, development deal Key Phrases - Capitalized Phrases (CAPs): (learn more)
Writers Guild, Los Angeles, Body Heat, Indiana Jones, War Games, Beverly Hills Cop, Chariots of Fire, Miss Klunk, New York, Richard Dreyfuss, Robert Mark Kamen, Romancing the Stone, The Goal of the Screenwriter, The Verdict, World War, Writing Individual Scenes, Barbara Hershey, John Hughes, Lethal Weapon, Neil Simon, Sydney Pollack, The Big Chill, The Terminator, Warren Beatty New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 10
books:
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19
books
cite this book:
See all 19 books citing this book
- Fatal Attraction by Craig Jones on page 95
- Romancing the Stone by Joan Wilder on page 44
- Love Canal: The Story Continues... by Lois Marie Gibbs on page 31
- Best Story by Thomas Wade Oliver on page 21
- Moonlight Sonata Opus 27, No. 2(Complete Edition) (A Belwin Classic Edition) by Beethoven on page 137
See all 10 books this book cites
- The 3rd Act: Writing a Great Ending to Your Screenplay by Drew Yanno on page 26, Back Matter (1), and Back Matter (2)
- Screenwriting From the Soul: Letters to an Aspiring Screenwriter by Richard W. Krevolin on page 46, and Back Matter
- Aristotle in Hollywood: Visual Stories That Work (Studies in Scriptwriting) by Ari Hiltunen on page 45, and Back Matter
- What Happens Next?: An Introduction to Screenwriting by Charles Deemer on page 136, and page 261
- How to Make Money Scriptwriting by Julian Friedmann in Back Matter
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Beta (What's this?)Writing Screenplays That Sell: The Complete, Step-By-Step Guide for Writing and Selling to
This book is one of the easiest to follow, well-organized "how to's" on feature screenwriting and storytelling. It assumes very little knowledge on the part of the reader, and for this reason, leaves very few unanswered questions.
Created on Jan 17, 2007, last edited on Jan 17, 2007.
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