Break into Screenwriting: Your complete guide to writing for stage, screen or radio

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This is a comprehensive, jargon-free guide for all budding screenwriters. Its aim is not just to guide you through the techniques and skills you need to write for the screen (film and television), but also to give you guidance on how to approach the industry as a whole. Focusing on every aspect of screenwriting, from how to set about the writing process to how to develop your characters, plot and structure, this book will give you all the guidance you need to break into this highly competitive industry and make a career for yourself as a screenwriter.

NOT GOT MUCH TIME?

One, five and ten-minute introductions to key principles to get you started.


AUTHOR INSIGHTS

Lots of instant help with common problems and quick tips for success, based on the author's many years of experience.


TEST YOURSELF

Tests in the book and online to keep track of your progress.


EXTEND YOUR KNOWLEDGE

Extra online articles at www.teachyourself.com to give you a richer understanding of screenwriting.


FIVE THINGS TO REMEMBER

Quick refreshers to help you remember the key facts.


TRY THIS

Innovative exercises illustrate what you've learnt and how to use it.

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Additional Information

Publisher
Teach Yourself
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Published on
Aug 27, 2010
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Pages
368
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ISBN
9781444132045
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Features
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Language
English
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Genres
Language Arts & Disciplines / Composition & Creative Writing
Performing Arts / Film / Direction & Production
Performing Arts / Film / Screenwriting
Performing Arts / Television / Screenwriting
Performing Arts / Theater / Playwriting
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Content Protection
This content is DRM protected.
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Read Aloud
Available on Android devices
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Eligible for Family Library

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Hollywood’s script guru teaches you how to write a screenplay in “the ‘bible’ of screenwriting” (The New York Times)—now celebrating forty years of screenwriting success!

Syd Field’s books on the essential structure of emotionally satisfying screenplays have ignited lucrative careers in film and television since 1979. In this revised edition of his premiere guide, the underpinnings of successful onscreen narratives are revealed in clear and encouraging language that will remain wise and practical as long as audiences watch stories unfold visually—from hand-held devices to IMAX to virtual reality . . . and whatever comes next. 
 
As the first person to articulate common structural elements unique to successful movies, celebrated producer, lecturer, teacher and bestselling author Syd Field has gifted us a classic text. From concept to character, from opening scene to finished script, here are fundamental guidelines to help all screenwriters—novices and Oscar-winners—hone their craft and sell their work. 
 
In Screenplay, Syd Field can help you discover:
• Why the first ten pages of every script are crucial to keeping professional readers’ interest
• How to visually “grab” these influential readers from page one, word one 
• Why structure and character are the basic components of all narrative screenplays
• How to adapt a novel, a play, or an article into a saleable script
• Tips on protecting your work—three ways to establish legal ownership of screenplays
• Vital insights on writing authentic dialogue, crafting memorable characters, building strong yet flexible storylines (form, not formula), overcoming writer's block, and much more
 
Syd Field is revered as the original master of screenplay story structure, and this guide continues to be the industry’s gold standard for learning the foundations of screenwriting.
From a co-founder of Pixar Animation Studios—the Academy Award–winning studio behind Coco, Inside Out, and Toy Story—comes an incisive book about creativity in business and leadership for readers of Daniel Pink, Tom Peters, and Chip and Dan Heath.

NEW YORK TIMES BESTSELLER | NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Huffington Post • Financial Times • Success • Inc. • Library Journal

Creativity, Inc. is a manual for anyone who strives for originality and the first-ever, all-access trip into the nerve center of Pixar Animation—into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about creativity—but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.”

For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, WALL-E, and Inside Out, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable.

As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his co-founding Pixar in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on leadership and management philosophies that protect the creative process and defy convention, such as:

• Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better.
• If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead.
• It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them.
• The cost of preventing errors is often far greater than the cost of fixing them.
• A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody.
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