I’ve passionately pursued the art of screenwriting for decades now, with all the ups and downs that go with that—from the peaks of Hollywood projects winning big awards (I was a writer-producer on HBO’s Band of Brothers), to scripts nobody wanted to read and when they read them, they didn’t want to do anything with them. And everything in between. It’s been my career my entire adult life—doing it, teaching it, and helping others understand the requirements of good screenwriting.
This classic is my go-to for the challenges of living the creative life and how to push through them.
In short, punchy chapters, it identifies the main source of blocks writers and artists have and how to push through them.
I love its approach to the workmanlike attitude one needs to have to create consistently and move toward a goal, and how to be clear-eyed about the inner “resistence” we all have that seems to want to stop us.
A succinct, engaging, and practical guide forsucceeding in any creative sphere, The War ofArt is nothing less than Sun-Tzu for the soul.
What keeps so many of us from doing what we long to do?
Why is there a naysayer within? How can we avoid theroadblocks of any creative endeavor—be it starting up a dreambusiness venture, writing a novel, or painting a masterpiece?
Bestselling novelist Steven Pressfield identifies the enemy thatevery one of us must face, outlines a battle plan to conquer thisinternal foe, then pinpoints just how to achieve the greatest success.
Magical realism meets the magic of Christmas in this mix of Jewish, New Testament, and Santa stories–all reenacted in an urban psychiatric hospital!
On locked ward 5C4, Josh, a patient with many similarities to Jesus, is hospitalized concurrently with Nick, a patient with many similarities to Santa. The two argue…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
There are numerous books on writing for TV but Yvonne’s book is eminently practical covering the basics and also the more complex and nuanced aspects like the relationship between writers and script editors. Given the importance of the streamers writing for TV is more important than ever.
A no-nonsense, direct down-the-lens look at the television industry written from the point of view of a television drama producer who's been there, done it, fought some battles and won the odd award. Written in an engaging, anecdotal tone, Writing for Television provides advice on:
Getting an agent
The type of writer television's looking for
The tool kit a television writer needs
The writer /script editor relationship
How to structure a storyline
How to write good treatments and outlines
Packed full of useful insights, links and information, the book includes interviews with successful television writers working today, pointers on how…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
A wonderful book that looks at the psychological bases for the development of sophisticated characters in screenplays. Don’t be afraid of writing complex characters: they are more effective in engaging the audience and this book will help you achieve that.
The Science of Writing Characters is a comprehensive handbook to help writers create compelling and psychologically-credible characters that come to life on the page. Drawing on the latest psychological theory and research, ranging from personality theory to evolutionary science, the book equips screenwriters and novelists with all the techniques they need to build complex, dimensional characters from the bottom up. Writers learn how to create rounded characters using the 'Big Five' dimensions of personality and then are shown how these personality traits shape action, relationships and dialogue.
Throughout The Science of Writing Characters, psychological theories and research are translated into…
Everyday Medical Miracles
by
Joseph S. Sanfilippo (editor),
Frontiers of Women from the healthcare perspective. A compilation of 60 true short stories written by an extensive array of healthcare providers, physicians, and advanced practice providers.
All designed to give you, the reader, a glimpse into the day-to-day activities of all of us who provide your health care. Come…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
Lucy is a screenwriter and script consultant and has created a whole eco-system around supporting writers, with frequent blogs, courses, newsletters, and consistently good advice. It is almost like having a writing partner.
It may be drama features that win the most awards and kudos from critics, but in the current marketplace you're unlikely to sell a drama screenplay in the way you would a genre script.
Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays will consider questions such as:
What is 'emotional truth'?
What separates stereotypical and authentic characters?
What are the different types of drama feature screenplay?
How do we make these films, when there's 'no money'?
What are the distribution opportunities for dramas?
Exploring the ways in which drama and authenticity…
Julian Friedmann is co-owner of the Blake Friedmann Literary Agency and was the publisher of ScriptWriter magazine. At the agency, he has represented both book and scriptwriters for over 40 years and also acts as Executive Producer for and with clients. Julian is a TEDx speaker and is the author of the Make Money Screenwriting series, co-author of The Insider’s Guide to Writing for Television, and editor of two volumes on Writing Long-Running Television series.
He has taught at universities and film schools all over the world. He designed the MA in Television Scriptwriting at De Montfort University, and PILOTS (for developing long-running television series) for the EU MEDIA Programme.
Aimed at filmmakers, this guide is also invaluable to screenwriters, who can use it as a reference book covering all the contracts that are involved in making a film or TV drama. It will certainly help writers appear more professional if they know their way around this essential area of the business.
There is an infinite number of legal matters on which producers seek advice. Nevertheless, certain questions frequently arise: is permission required to use material from a book? Does a contract have to be in writing? May classical music be used in the background of a scene? The Filmmakers' Legal Guide addresses the practical legal requirements of those making movies, documentaries, shorts, television programmes and other audio-visual content. Key issues are analysed and explained in a clear and logical manner concentrating on the practical needs of producers.
'Tony Morris’ guide is unique. It's clear, practical, and comprehensive. If only it had…
I’ve passionately pursued the art of screenwriting for decades now, with all the ups and downs that go with that—from the peaks of Hollywood projects winning big awards (I was a writer-producer on HBO’s Band of Brothers), to scripts nobody wanted to read and when they read them, they didn’t want to do anything with them. And everything in between. It’s been my career my entire adult life—doing it, teaching it, and helping others understand the requirements of good screenwriting.
I’ve long been inspired by this manual for fiction writers on what makes good writing.
“Be a lion, a pirate when you write” is one of the chapter headings, dealing with the boldness a writer needs. It also gets into how detailed specificity on character and emotion taken from real-life observation makes a good piece of writing shine.
Originally published in 1938, this classic by Brenda Ueland is considered by many to be one of the best books ever written on how to be a writer. Part a lesson on writing and part a philosophy on life, Ueland believed that anyone could be a writer and everyone had something important to say. Heavily influenced by the ideas of William Blake, Ueland outlines 12 points to keep in mind while writing and encourages writers to find their true, authentic selves and write from there. Born in Minneapolis in 1891 to a progressive household, Ueland’s father was a lawyer and…
Odette Lefebvre is a serial killer stalking the shadows of Nazi-occupied Paris and must confront both the evils of those she murders and the darkness of her own past.
This young woman's childhood trauma shapes her complex journey through World War II France, where she walks a razor's edge…
I’ve passionately pursued the art of screenwriting for decades now, with all the ups and downs that go with that—from the peaks of Hollywood projects winning big awards (I was a writer-producer on HBO’s Band of Brothers), to scripts nobody wanted to read and when they read them, they didn’t want to do anything with them. And everything in between. It’s been my career my entire adult life—doing it, teaching it, and helping others understand the requirements of good screenwriting.
I think Blake Snyder’s original book simplified, codified, and added to the most key fundamental precepts for screenwriters and did it in a light, breezy style that’s an easy read.
I find it to be full of practical wisdom delivered succinctly from a dedicated professional who knows the craft and how to communicate it.
Here’s what started the phenomenon: the best seller, for over 15 years, that’s been used by screenwriters around the world! Blake Snyder tells all in this fast, funny and candid look inside the movie business. “Save the Cat” is just one of many ironclad rules for making your ideas more marketable and your script more satisfying, including: The four elements of every winning logline The seven immutable laws of screenplay physics The 10 genres that every movie ever made can be categorized by ― and why they’re important to your script Why your Hero must serve your Idea Mastering the…
I’ve passionately pursued the art of screenwriting for decades now, with all the ups and downs that go with that—from the peaks of Hollywood projects winning big awards (I was a writer-producer on HBO’s Band of Brothers), to scripts nobody wanted to read and when they read them, they didn’t want to do anything with them. And everything in between. It’s been my career my entire adult life—doing it, teaching it, and helping others understand the requirements of good screenwriting.
My favorite tool for developing story ideas is the ten “genres” expanded upon in this first sequel to the original Save the Cat.
With fun names like “Fool Triumphant” and “Dude with a Problem,” I think they really speak to the basic templates for stories that most successful movies pull from.
When I’m trying to figure out the primal essence of any story and what it’s mainly about, this is my go-to reference. It breaks the original ten genres down into 5 subgenres each with a full “beat sheet” of an example movie in each of the 50.
In the long-awaited sequel to his surprise bestseller, Save the Cat!, author and screenwriter Blake Snyder returns to form in a fast-paced follow-up that proves why his is the most talked-about approach to screenwriting in years. In the perfect companion piece to his first book, Snyder delivers even more insider's information gleaned from a 20-year track record as ?one of Hollywood's most successful spec screenwriters, ? giving you the clues to write your movie. Designed for screenwriters, novelists, and movie fans, this book gives readers the key breakdowns of the 50 most instructional movies from the past 30 years. From…
I’ve
been a student of story structure for decades. As a novelist, this initially
started as a means to learn as much as I could from those with more experience
than myself, but quickly grew into a passion. I read everything on the subject
I could get my hands on and eventually began analyzing the plots of novels and
movies for myself, amalgamating what I had learned with my own theories and
insights which coalesced into a wholly new structural paradigm. Since then,
I’ve had the privilege of working with many talented screenwriters and
novelists to help them shape their stories using Six Act Structure.
Schechter
divides the traditional 3-act structure into four parts; Act 1, Act 2A, Act 2B,
and Act 3. While that’s not revolutionary in itself, he uses this four-part
breakdown to structure multiple story elements like theme and motivation. My
favorite element is his breakdown of the character’s story evolution into four
archetypes: Orphan, Wanderer, Warrior, and Martyr. Seeing how these archetypes
can be metaphorical such as Jason Bourne being “orphaned” from his previous
life at the beginning of The Bourne Identity, or literal, such as Rose
martyring herself by returning to the sinking Titanic to
rescue Jack, is worth the price of admission alone.
My Story Can Beat Up Your Story! is the same powerful, easy-to-learn system that industry insiders have used to generate millions of dollars in script sales and ?assignments. In a clear, step-by-step fashion, this book is a fun, eye-opening, ?brain-expanding, and often irreverent guide to writing stories that sell. Covering everything from Heroes to Villains, from Theme to Plot Points, from cooking up good ideas to a business plan for smart writers, this book forever eliminates that horrible feeling every writer goes through — staring at the blank page and wondering “what comes next?”
Can a free-spirited country girl navigate the world of intrigue, illicit affairs, and power-mongering that is the court of Louis XIV—the Sun King--and still keep her head?
France, 1670. Sixteen-year-old Sylvienne d’Aubert receives an invitation to attend the court of King Louis XIV. She eagerly accepts, unaware of her mother’s…
I grew up in a family of writers; my parents and three sisters were all successful writers, and I was the odd one out with a passion for teaching. I love to simplify, diagram, and make the complex graspable. And what’s not to like about a career in which people listen to you tell them what to do? I began writing after years of teaching, and my first novel was a mystery—a genre that no one in my family had yet written and which I’d been loving since my first Nancy Drew and Agatha Christie. Now, I combine the two: teaching and writing. Playing to both strengths and passing along what I’ve learned.
When I was struggling to write my first mystery novel, I realized that I hadn’t a clue what makes a mystery novel a compelling page-turner. My Beta readers thought that my main character was flat. A cipher. I needed to transform the manuscript into a story that made the reader care about the characters (especially the protagonist). Not just present a clever trail of clues and red herrings.
This book focuses on screenwriting, but what McKee says about plotting in general (three-act structure, scene structure, etc.) is completely applicable to writing a mystery novel, and he gives such practical advice. Through this book, I understood the importance of a character arc. Reassuringly, it’s not rocket science.
For more than 15 years, Robert McKee's students have been taking Hollywood's top honors. His "Story Seminar" is the world's ultimate seminar for screenwriters, filmmakers, and novelists. Now, Robert McKee's Story: Substance, Structure, Style, and the Principles of Screenwriting reveals the award-winning methods of the man universally regarded as the world's premier teacher on screenwriting and story. With Hollywood and publishing companies paying record sums for great stories, and audiences clamoring for originality, McKee's Story gives you the strategies you need to win the war on clichés.
Story is about form, not formula. McKee's insights cut to the hidden sources…
