You've got an idea for the next great screenplay. Maybe you're just getting started or perhaps you've spent time with other screenwriting books, and you have your hero's journey, plot twists, reversals, and cat-saving scenes all worked out. Either way, what stands between you and an outstanding finished screenplay are the blank pages that you must fill with cinematic life, energy, conflict, and emotion. So how on Earth do you do that?
The secret is scenewriting.
This thorough and effective guide will help the beginner and the professional master the most critical and overlooked part of the screenwriting process: the art and craft of writing scenes. With step-by-step instruction, and numerous exercises, you will learn how to transform an outline into a fully-developed script. Learn how to prepare scenes for writing, construct sparkling, naturalistic dialogue, utilize scene description and the unique structure of the screenplay format to maximum advantage, and polish your scenes so that your idea becomes the script you always imagined it could be.
Through scenewriting, great ideas become brilliant scripts.
Rezensionen / Stimmen
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. * Journal of Screenwriting * 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. * David Walpert, Executive Producer (House of Lies, Veronica Mars, New Girl) * 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. * Jeremy Sheldon, Head of Development, Omeira Studio Partners, UK * 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. * Jessika Borsiczky, Writer, Showrunner, Director (House of Lies, UnREAL, Lucifer) * 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. * Phoenix Screenwriters Association * 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. * Julian Hoxter, Screenwriting Coordinator for Cinema at San Francisco State University, USA * 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. * Will Reiser, USA, Writer/Producer of the film 50/50 * 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. * David J. Greenberg, University of the Arts, Philadelphia, USA and author of Screenwriting For Micro-Budget Films * 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. * Susan Shilliday, Writer (Legends of the Fall, thirtysomething), Sundance Advisor * 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. * Historical Journal of Film, Radio and Television *
Sprache
Verlagsort
Verlagsgruppe
Bloomsbury Publishing Plc
Zielgruppe
Für höhere Schule und Studium
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
Maße
Höhe: 229 mm
Breite: 155 mm
Dicke: 17 mm
Gewicht
ISBN-13
978-1-5013-5212-6 (9781501352126)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
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.
Autor*in
Hampshire College, USA
Hampshire College, USA
Why a Book About Scenes?
Planning, Drafting, Perfecting
What is a Great Scene, Anyway?
PART I: Planning
CHAPTER 1: What Do They Want And Why?
What's It All About?
EXERCISE: Overarching Goal
One Does Not Simply Walk Into Mordor
Kinds of Scene Goals
Objects
Words from Others
Getting Somewhere
Completing A Task
Qualities of Scene Goals
Relatability
Specificity
Achievability
EXERCISE: And... Scene.
CHAPTER 2: Why Can't They Have It?
The Universe Is Out To Get You
You Can't Share A Parking Space
But I Thought We Were Friends
Lions and Tigers and Bears, Oh My!
Things In Absentia
It's Not You, It's Me
EXERCISE: Exploring the Possibilities
The Just Right Obstacle
Resonance with World and Tone
Resonance with Theme
EXERCISE: What Story Does This Obstacle Tell?
Time Isn't On Your Side
EXERCISE: Limit the Resources, And Pick
CHAPTER 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 Friends
EXERCISE: Exploring Approaches
It's Only a Mistake if You Don't Learn From It
Themes Like a Good Idea
EXERCISE: So THAT Didn't Work...
Where're You Going With This?
EXERCISE: So How Does Your Scene End?
Not All Actions Are Created Equal
Cooking Up Stakes
It Takes Two To Tango
Matching World and Tone
EXERCISE: One Full Approach
CHAPTER 4: Where And When Is It Gonna Happen?
Changing Settings Does Not Necessarily Mean Changing Scenes
It's About Freakin' Time
EXERCISE: Identify Your Moment in Time
Location, Location, Location!
EXERCISE: Zooming in on the Precise Location
Research and Destroy
EXERCISE: Research and Character Preoccupations
PART II: Drafting
Chapter 5: The Fundamental Tools of Scenewriting
Show 'Em What You Got
Pacing
EXERCISE: Basic Practice With Scene Description
EXERCISE: Basic Practice With Dialogue
Chapter 6: The Art of Reader Engagement
Make 'Em Work For It
EXERCISE: Mapping out a Treasure Hunt
Nobody Expects The Spanish Inquisition!
Shock
EXERCISE: Leverage The Unusual In Your Scene
Make 'Em Wait
EXERCISE: Setting Up Anticipation
Feast Your Eyes On This!
EXERCISE: Add a Little Wonder
Chapter 7: The Unformatted Draft
Let's Get This Party Started
When and Where
Knock Knock...
Better Late Than Boring
EXERCISE: Writing the Beginning
Scenis Morghulis: All Scenes Must End
Reveals
The Natural Ending
The Cyclical Ending
The Reversal Ending
The Unexplained Mystery Ending
Inviting The Reader Into The Next Scene
We're Closing Early
EXERCISE: Writing the End
In the Middle With You
One Thing Leads To Another (But and Therefore)
What's at Stake
EXERCISE: Filling Out The Middle
Chapter 8: Formatting for Fun and Profit
Courier? I Don't Even Know Her!
A Minute Per Page
EXERCISE: Pick Your Software and Import Your Unformatted Draft
A Slugline Says What?
EXERCISE: Writing Sluglines
You Lookin' at Me?
CALLOUTS
Transition Callouts
EXERCISE: Format That Scene Description
You Got Something to Say?
Wrylies
Pauses and Interruptions
MORE and CONT'D
Trailing Off, Interrupting, and Talking Over
Other Ways Characters Can Talk: O.S. and V.O.
EXERCISE: Format Your Dialogue
PART III: Perfecting
CHAPTER 9: Check Your Length
The Bare Necessities
EXERCISE: Throwin' Strikeouts
Whoa, I Think I Missed Something
EXERCISE: Did You Throw Out The Baby With The Bathwater?
Chapter 10: Managing Scene Information In Dialogue
As You Know, I'm Your Son
I'm So Conflicted
Do You Know Why I Pulled You Over?
Thank You, Captain Obvious
EXERCISE: Un-obviousing Your Exposition
Yeah, You Already Said That
Here We Are In Prison
That's My Name, Don't Wear It Out
EXERCISE: Removing Redundant Exposition
Chapter 11: Bringing Authenticity Into Your Dialogue
Keepin' It Real
I'm Listening
Speaking of Questions...
EXERCISE: Going Off-Topic and Ignoring
Read Between The Lines
Using Subtext To Avoid Hurt Feelings
Off-Topic Subtext
Using Subtext To Communicate Emotions
EXERCISE: What I Mean Is...
You Sound Just Like My Mom
EXERCISE: Finding Your Voice
The Rhythm Is Gonna Get You
EXERCISE: Music in Dialogue
Chapter 12: Final Polish
Once More With Feeling
Scene POV
Spotlight It
Writer's Commentary
Poetic Impression
EXERCISE: Write In The Feels
Smooth It Out
Eschew Impenetrability
Avoid Ambiguity
SProoffrreading Are Important
EXERCISE: Line By Line, For Clarity
Last Looks
White Space For The Win
Compressing
EXERCISE: Expand And Compress
Okay, Now What?
Bonus Chapter: Expanding Your Development Circle
Not All Readers Are Created Equal
EXERCISE: Build Your Reading Roster
Readings Are Fundamental
First-Time Readers
Slings And Arrows
Prepping Questions
Receiving Critique
EXERCISE: Preparing For A Reading
Found In Translation
Collecting
Waiting
Translating
Revising
EXERCISE: Lather, Rinse, Repeat
Appendix A: References
Appendix B: Course Adoption Guide
A Scenewriting-Only Course
Custom Modular Adoption
Example Adoption Into a Pilot- or Feature-writing Course
Example Adoption Into a Short Film Writing Course
Acknowledgements
Index
