Unlike other screenwriting books, this unique storytelling guide pushes you to break free of tired, formulaic writing by bending or breaking the rules of storytelling as we know them. This new edition dives into all the key aspects of scriptwriting, including structure, genre, character, form, and tone.
Unlike other screenwriting books, this unique storytelling guide pushes you to break free of tired, formulaic writing by bending or breaking the rules of storytelling as we know them. This new edition dives into all the key aspects of scriptwriting, including structure, genre, character, form, and tone.
Ken Dancyger is a Professor of Film and Television at Tisch School of the Arts at New York University as well as the author of numerous books on screenwriting, editing, and production. Jessie Keyt is a writer and Assistant Arts Professor in the Department of Dramatic Writing at Tisch School of the Arts at New York University as well as a story and script consultant for independent filmmakers and production companies in the US, UK, and Europe. Jeff Rush is an Associate Professor at Temple University's Department of Film & Media Arts as well as the author of numerous articles on screenwriting and narrative theory.
Inhaltsangabe
Foreword INTRODUCTION 1. Beyond the Rules STRUCTURE 2 Structure 3 Critique of Restorative Three-Act Form 4 Counter-Structure 5 The Three-Act Spectrum 6 Strategies for Plot and Character: Surprise, Triangulation, and Subtext 7 Multiple Threaded, Long-Form Episodic Scripts GENRE 8 Why Genre? 9 Working with Genre 10 Working with Genre II: The Melodrama and the Thriller 11 Working with Genre III: Billy Wilder and Preston Sturges 12 Working Against Genre 13 The Flexibility of Genre 14 Genres of Voice 15 The Nonlinear Film 16 The Fable, a Case Study of Darkness: The Wizard of Oz and Pan's Labyrinth CHARACTER 17 Reframing the Active/Passive Character Distinction 18 Stretching the Limits of Character Identification 19 Main and Secondary Characters 20 Subtext, Action, and Character 21 Exceptional but Opaque Characters in Flattened Scripts FORM, TONE, AND THEORY 22 The Subtleties and Implications of Screenplay Form 23 Theatricality on Screen 24 Tone: The Inescapability of Irony 25 Dramatic Voice/Narrative Voice 26 Writing the Narrative Voice 27 Regionalism vs Commercialism: Kelly Reichardt, Eugene Martin, and Kathryn Bigelow 28 Adaptations from Literature 29 Rewriting CONCLUSION 30 Personal Scriptwriting: The Edge 31 Personal Scriptwriting: The Short Film
Foreword INTRODUCTION 1. Beyond the Rules STRUCTURE 2 Structure 3 Critique of Restorative Three-Act Form 4 Counter-Structure 5 The Three-Act Spectrum 6 Strategies for Plot and Character: Surprise, Triangulation, and Subtext 7 Multiple Threaded, Long-Form Episodic Scripts GENRE 8 Why Genre? 9 Working with Genre 10 Working with Genre II: The Melodrama and the Thriller 11 Working with Genre III: Billy Wilder and Preston Sturges 12 Working Against Genre 13 The Flexibility of Genre 14 Genres of Voice 15 The Nonlinear Film 16 The Fable, a Case Study of Darkness: The Wizard of Oz and Pan's Labyrinth CHARACTER 17 Reframing the Active/Passive Character Distinction 18 Stretching the Limits of Character Identification 19 Main and Secondary Characters 20 Subtext, Action, and Character 21 Exceptional but Opaque Characters in Flattened Scripts FORM, TONE, AND THEORY 22 The Subtleties and Implications of Screenplay Form 23 Theatricality on Screen 24 Tone: The Inescapability of Irony 25 Dramatic Voice/Narrative Voice 26 Writing the Narrative Voice 27 Regionalism vs Commercialism: Kelly Reichardt, Eugene Martin, and Kathryn Bigelow 28 Adaptations from Literature 29 Rewriting CONCLUSION 30 Personal Scriptwriting: The Edge 31 Personal Scriptwriting: The Short Film
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