100 Books Like Blue Pages

When I first read this years ago, it struck me as one of the great books about directing—Steven Spielberg’s ingenuity is a major focus. Revisiting it today, I realize it’s equally valuable as a screenwriting resource because serving a director’s vision is a huge part of the screenwriting life.

As Gottlieb recounts, making Jaws wasn’t stressful just because the mechanical shark kept malfunctioning but because of the pressure Spielberg was under to transform a pulpy bestseller into a crowd-pleasing spectacle. Gottlieb, the third writer to work on the project, offers his unique perspective on the all-too-common scenario of starting a production without a finished script.

Every time I return to this book, I discover another insight about screenwriting, about filmmaking, and about creativity.

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

As perfectly tragic as one of his Jazz Age characters, Fitzgerald drank himself to death before finishing this novel which in my opinion, could have been his best. Like Gatsby, Monroe Stahr is an eloquent, rich, and isolated character, pining for a mysterious woman. He is a hugely successful movie mogul in the golden age of Hollywood, and Fitzgerald’s contempt for the studio system’s treatment of writers is here on full satirical display. The sparse prose sparkles with diamond-like harshness and clarity as the doomed love affair plays out. I’m sure it's his least known novel since it is technically “unfinished,” but most editions publish Fitzgerald’s unfinished future chapters, his pass at the ending as well as his notes and outlines, making this a master class in novel writing.

Despite wars, plagues, and technological revolutions, the psychology of Hollywood endures and Schulberg’s novel about screenwriters in pre-World War Two Hollywood remains an obligatory read for anyone contemplating a life in showbusiness or wanting, as a member of the audience, to have a deeper understanding of the business. The book still so accurately describes the challenges of a writer’s life and work, that when I served on the Writers Guild of America West’s board, I’d sometimes read passages from the book to the rest of the board members during our discussions of potential strike issues or matters affecting Guild unity. Schulberg’s eloquent yet plain-spoken insights were simply still that valuable, convincing – and entertaining.

Reading this book was a career-changing experience for me. Growing up and advancing through film school, I was convinced that if I had a good story, my screenplays would sell. Oh, how naïve I was! Because the truth is that there are thousands of good stories out there.

To sell a screenplay, it’s not just about the quality of the tale but the mastery of the screenplay format that matters. This book helped me to see what a “good” screenplay looks like from the reader's perspective. What’s amazing is that years after I first read this book, I became one of those Hollywood Readers myself–and this book helped me to learn the ropes of my job much faster than most. So, yeah, this book got promoted. Thank you, book. 

“You never really succeed,” Andrew W. Marlowe tells the editors of Tales from the Script, “You always fail at a higher level.” So: first you can’t finish your script, then you can’t get it read, then you can’t sell it, then you can’t get it made, then it’s made – but badly. Or, in Marlowe’s case, it’s made into Air Force One and you’re asked to repeat the trick. “Even when you get to the top there’s this realization: ‘Okay, the view is great, but tomorrow I gotta get up and start climbing the mountain again.’” If you find that depressing, don’t be a screenwriter. If you see it as a challenge, read on…

I read Alexandra’s book years ago and she’s since released several revised editions. This book provides an insightful history of the 3-act and eight sequence structures she uses, and offers invaluable insight into overcoming the pitfalls of the dreaded “second-act sag”. But perhaps the most important lesson her book instilled in me is the importance of taking the time to analyze the structure of your own favorite movies and novels to understand why they resonate with you. She calls this your Master List and it’s a tool that every writer should have in their toolbox to improve their craft. 

This book opens with an absolutely breathtaking passage, one of my favorite openings in any book ever. One imagines Niven narrating his memoir poolside, gripping a cigarette and a martini in the same fist, his pince-nez mustache dancing up and down while he describes, in sordid detail, old-school Hollywood at its most louche. If you want a book that brings alive the atmosphere of a bygone era, this is it.

There's a good chance you're familiar with his poem “What Teachers Make”, from his other book. But this is the book that has his most poignant and human poems, including “Tony Steinberg: Brave Seventh Grade Viking Warrior”, which has long been one of my partner's favorite poems, and accomplishes in a few minutes of words what many Hollywood movies try and fail to accomplish with a full cast, two hours, and hundreds of millions of dollars: It alternately makes you laugh and cry. Which I say as someone who has seen it performed many times, and it still makes me laugh every time, and still makes me cry every time.

We’ll be honest. We don’t really remember the romantic drama Up Close & Personal (1996), starring Robert Redford and Michelle Pfeiffer. But we won’t forget this book by Dunne, who wrote the film with his wife, Joan Didion. This is a forthright look at the writer’s lot in Hollywood. It’s a manual for massaging egos and dealing with conflicting notes, told with bracing honesty.

Sometimes, you take a job because you need health insurance. Sometimes, a movie that starts out based on the tragic true story of newscaster Jessica Savitch becomes a glossy sudser in which she lives. Sometimes, a troubled project becomes a hit despite itself. That’s always show business.