8 Books Like Off the Cliff

Until I read Wasson’s provocative book, it was my understanding that Robert Towne crafted his Oscar-winning Chinatown script with guidance from his star (Jack Nicholson), producer (Robert Evans), and director (Roman Polanski), all of whom urged Towne to find a cogent narrative inside a sprawling concept embedded with powerful metaphors.

Then Wasson debunked the romantic myth of the genius scribe working in isolation by revealing not just the extent of Polanski’s notes but, even more explosively, the involvement of Edward Taylor as Towne’s “editor” and possible uncredited co-writer. I didn’t think it was possible for me to be shocked anymore by discoveries about my chosen field, but Wasson’s book reminded me that solo screenwriting credits are, at best, abstractions and, at worst, misnomers.

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.

Years ago, on a film festival panel, I opined that no American screenwriter had ever enjoyed total autonomy without also becoming a director or producer. Then another panelist proved me wrong by invoking Paddy Chayefsky. I think about that exchange whenever I revisit Itzkoff’s rigorous book about Network, Chayefsky’s scathing satire of television. Why? Because Chayefsky lived the screenwriter’s dream of determining exactly how his story reached audiences.

The empowering example conveyed by Itzkoff is the potential every screenwriter has to capture their cultural moment, and I particularly appreciate Itzkoff’s effort to render a holistic view of Network’s impact. Chayefsky’s flamboyant script set the tone for a generation’s perspective on mass media, and the script’s acidic observations about corporate control of public thought are even more troublingly relevant now.

I recognize that Allen has become a divisive figure, but the stubborn fact is that in the course of making a handful of masterpieces, Allen built a truly unique career—for half a century, the singular writer-director made a movie nearly every year with total creative autonomy.

This book took me inside that process, albeit during the production of a minor film (Irrational Man), and it was captivating to read how Allen approaches writing, fundraising, casting, production, and the rest of the process. On the plus side, Allen, at his peak, was answerable only to the limits of his imagination and skill. On the minus side, he operated within strict budgetary limitations.

What I found most consistently interesting about Start to Finish was its dual nature—on one level, it’s about Allen as an individual artist, and on another level, it’s about the inherent difficulties of transforming screenplays into cinema.… show more.

I became aware of Mind MGMT during the first draft of my book. Its success affirmed that an audience for psychic thrillers did exist. But I put off reading this 6-volume comic series until I finished my novel. It’s good to feel encouraged, it’s another to feel beaten to the punch.

Super-hero tropes dominate the American comic medium. The story elements of weekly world salvation, good guys vs bad guys, stagnate character development, and the artistic choices; idealized anatomy, fine lines, and bright colors appeal to a younger male gaze.

By all these standards, Mind MGMT stands apart. In this morally ambiguous story of psychic spies, Matt Kindt’s illustrations are raw and sketchy, complimented by his choice to color the pages with watercolor rather than digital inks.

Ever heard about the founder of NASA who ran a devil-worshiping sex cult? Strange Angel is a story that, when you read it, you think it has to be fiction. John Whiteside Parsons was an eccentric who, in his short life (spoiler alert: he blew himself up) helped create the Jet Propulsion Laboratory, became a cult leader and summoned a demon woman, got into a court battle with L. Ron Hubbard, and was accused of spying for both the Communists and the Israelis. His life was so astonishing it was made into a HBO TV show: it ran for two seasons and it didn’t even get to the best bits.

On one hand, this sequel to the amazing The Silence of the Lambs might have been doomed from the start, given the pedigree it was expected to live up to. On the other hand, taken as its own work, Hannibal is an interesting, disturbing, and highly engrossing horror thriller.

The ending was extremely controversial, so much so that it was changed for the 2001 movie adaptation. Regardless of how one feels about each ending, however, one thing is certain: the book was the superior version of the tale.

Ridley Scott is an amazing director, but he was the wrong choice for this story, and it led to the overall feel of the movie, as well as the altered ending, not living up to the feel of other entries in the series. Keep an open mind, and the book will please.

Like Dortmunder, Grimm is an idea man, and his idea for the perfect bank robbery is a doozy: he’ll dress as a clown, hold all the workers and customers in the vault, shoot out the video cameras, negotiate with the cops, take off the clown suit and makeup, “release” himself and his two accomplices as “hostages,” and waltz out of the bank and right past the entire NYPD. The only problem is, getting out of the city proves a lot harder than getting out of the bank. Cronley owes a lot to Westlake, but I picked Quick Change because he repays that debt and then some, with a smirking wit that lights up every page.