Next level screenwriting: insights, ideas and inspiration for the intermediate screenwriter
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2019
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Inhaltsverzeichnis |
| Beschreibung: | xii, 152 Seiten |
| ISBN: | 9780367151584 9780367151515 |
Internformat
MARC
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents Introduäion 1 Don’t be afraid of genre Enjoying the genre 1 Crossing genres 2 Honor comedy 4 Genre expectations and bending them 6 Afinal note 9 What did we leant? 9 Exercise 9 2 The write approach Motivated style 12 The internal approach 13 Maintaining an established style 14 Style thatfits the genre 16 What did we leant? 16 Exercise 16 3 Character depth Motivating your characters 18 Unmasking your characters 21 Humor is character 23 The other character change 24 Television characters 27 What did we learn? 29 Exercise 30
viii 4 Contents Dialogue that does more than further the plot 31 A distinct voice 32 Attitude dialogue 35 Period dialogue 37 Dialogue that reveals character 39 Poetic dialogue 41 Contemporary dialogue 43 When talk is action 46 What did we кат? 48 Exercise 48 5 Poetic description 49 Choosing your words 49 Describingfor the mind’s eye 51 Writingfor the reader 52 Humorously said 54 What did we leam? 55 Exercise 56 6 Finding the theme 57 Popular movies have themes 57 Shared themes of westerns and honor 59 We have met the enemy and they are us 59 The stronger the theme, the stronger the story 60 Even comedy has a theme 61 The naked theme 62 What did we leam? 64 Exerdse 65 7 First-person narrative screenwriting 66 Nanation that isn’t a cmtch 66 Hard-boiled witty nanation 69 Foundfootage as first person 71 Mockumentary 73 What did we кат? 77 Exercise 77 8 Managing multiple-protagonist syndrome or ensembles Ensemble vs. episodic 78 Linking stories 79 78
Contents ix Playiųg with time 80 Ensemble characters 81 Recurring locations 82 The ensemble anchor 83 Ensemble in the park 84 The trouble with ensemble 85 Ensemble in television 87 A note on television dialogue 91 What did we karn? 95 Exercise 95 9 Based on true events and research 97 Adapting history 97 Free yourselffrom the truth 99 Find a spedai event in history 102 Find a spedai place in history 103 Research that works for you 106 This all applies to television 108 This all applies to everything you write 108 What did we leam? 109 Exerdse 109 10 Set-up, pay-off and the twist 110 The Twilight Zone set-up/pay-off 111 Twist ending set-up/pay-offs 112 Character, character, character 112 Twists in TV 115 Comedy set-up/pay-off 116 The Aristotle connection 116 What did we leam? 117 Exerdse 117 Bonus exerdse 118 11 Writing for a budget Micro-budgetfeature 119 Independent low budget 121 Hollywood low budget 123 Limited-budget TV 124 What did we learn? 124 Exerdse 125 119
x 12 Contents Rewriting: The pain and the gain 126 Working in backstory 128 The development rewrite 129 The production rewrite 131 The post-produäion rewrite 133 A note on taking notes 133 Three tricks to taking notes 134 What did we learn? 135 Exerdse 135 13 Wrote the script, now what? 136 Copyright 137 Feedback 137 Contests 139 Producers and agents 140 They call it Hollywood 142 Pitching 143 How hard is pitching? 144 Goodbye Hollywood 144 Make it yourself 145 Low-budget independents 146 How and how much? 146 Show me the money — in the movies 146 Show me the money - in television 147 Don’t undo your sale 148 What did we кат? 148 Exerdse 149 Index 151
Contents Introduction 1 Don’t be afraid of genre Enjoying the genre 1 Crossing genres 2 Honor comedy 4 Genre expectations and bending them 6 Afinal note 9 What did we leant? 9 Exercise 9 2 The write approach Motivated style 12 The internal approach 13 Maintaining an established style 14 Style thatfits the genre 16 What did we leant? 16 Exercise 16 3 Character depth Motivating your characters 18 Unmasking your characters 21 Humor is character 23 The other character change 24 Television characters 27 What did we leant? 29 Exercise 30
viii 4 Contents Dialogue that does more than further the plot 31 A distinct voice 32 Attitude dialogue 35 Period dialogue 37 Dialogue that reveals character 39 Poetic dialogue 41 Contemporary dialogue 43 When talk is action 46 What did we learn? 48 Exercise 48 5 Poetic description 49 Choosing your words 49 Describingfor the mind’s eye 51 Writingfor the reader 52 Humorously said 54 What did we learn? 55 Exercise 56 6 Finding the theme 57 Popular movies have themes 57 Shared themes of westerns and honor 59 We have met the enemy and they are us 59 The stronger the theme, the stronger the story 60 Even comedy has a theme 61 The naked theme 62 What did we learn? 64 Exercise 65 7 First-person narrative screenwriting 66 Nanation that isn’t a crutch 66 Hard-boiled witty nanation 69 Foundfootage as first person 71 Mockumentary 73 What did we learn? 77 Exercise 77 8 Managing multiple-protagonist syndrome or ensembles Ensemble vs. episodic 78 Linking stories 79 78
Contents ix Playing with time 80 Ensemble characters 81 Recurring locations 82 The ensemble anchor 83 Ensemble in the park 84 The trouble with ensemble 85 Ensemble in television 87 A note on television dialogue 91 What did we learn? 95 Exercise 95 9 Based on true events and research 97 Adapting history 97 Free yourselffrom the truth 99 Find a special event in history 102 Find a special place in history 103 Research that works for you 106 This all applies to television 108 This all applies to everything you write 108 What did we learn? 109 Exercise 109 10 Set-up, pay-off and the twist 110 The Twilight Zone set-up/pay-off 111 Twist ending set-up/pay-offs 112 Character, character, character 112 Twists in TV 115 Comedy set-up/pay-off 116 The Aristotle connection 116 What did we learn? 117 Exercise 117 Bonus exerdse 118 11 Writing for a budget Micro-budgetfeature 119 Independent low budget 121 Hollywood low budget 123 Limited-budget TV 124 What did we learn? 124 Exerdse 125 119
x 12 Contents Rewriting: The pain and the gain Working in backstory 128 The development rewrite 129 The production rewrite 131 The post-production rewrite 133 A note on taking notes 133 Three tricks to taking notes 134 What did we learn? 135 Exercise 135 13 Wrote the script, now what? Copyright 137 Feedback 137 Contests 139 Producers and agents 140 They call it Hollywood 142 Pitching 143 How hard is pitching? 144 Goodbye Hollywood 144 Make it yourself 145 Low-budget independents 146 How and how much? 146 Show me the money - in the movies 146 Show me the money - in television 147 Don’t undo your sale 148 What did we learn? 148 Exercise 149
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| author | Landau, David 1956- Carren, David Bennett |
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| language | English |
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| spelling | Landau, David 1956- Verfasser (DE-588)1140619772 aut Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter David Landau and David Bennett Carren London ; New York Routledge, Taylor & Francis Group 2019 xii, 152 Seiten txt rdacontent n rdamedia nc rdacarrier Schreiben (DE-588)4116418-0 gnd rswk-swf Literaturproduktion (DE-588)4167882-5 gnd rswk-swf Drehbuch (DE-588)4127976-1 gnd rswk-swf Drehbuch (DE-588)4127976-1 s Literaturproduktion (DE-588)4167882-5 s DE-604 Schreiben (DE-588)4116418-0 s 1\p DE-604 Carren, David Bennett Verfasser (DE-588)1190605635 aut Erscheint auch als Online-Ausgabe 978-0-429-05538-6 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031303868&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031303868&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Landau, David 1956- Carren, David Bennett Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter Schreiben (DE-588)4116418-0 gnd Literaturproduktion (DE-588)4167882-5 gnd Drehbuch (DE-588)4127976-1 gnd |
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| title | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter |
| title_auth | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter |
| title_exact_search | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter |
| title_full | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter David Landau and David Bennett Carren |
| title_fullStr | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter David Landau and David Bennett Carren |
| title_full_unstemmed | Next level screenwriting insights, ideas and inspiration for the intermediate screenwriter David Landau and David Bennett Carren |
| title_short | Next level screenwriting |
| title_sort | next level screenwriting insights ideas and inspiration for the intermediate screenwriter |
| title_sub | insights, ideas and inspiration for the intermediate screenwriter |
| topic | Schreiben (DE-588)4116418-0 gnd Literaturproduktion (DE-588)4167882-5 gnd Drehbuch (DE-588)4127976-1 gnd |
| topic_facet | Schreiben Literaturproduktion Drehbuch |
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