Showing posts with label screenwriting. Show all posts
Showing posts with label screenwriting. Show all posts

Your Writing Coach: From Concept to Character, From Pitch to Publication Review

Your Writing Coach: From Concept to Character, From Pitch to Publication
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This is a great book for aspiring writers as well as established writers looking to branch out into new areas. A lot of writing books seem to be by a novelist writing only about novels, by a screenwriter writing only about screenplays, etc., but Wolff explores both of those genres, as well as non-fiction books, magazine articles and more. He assumes you're serious, and while he doesn't fill you with delusions of grandeur, he doesn't insult you by selling some fantasy of instant riches, either. He makes it clear that writing for a living requires dedication and hard work, just like any other career, and then he shows you how to go about making it happen.
The title is important and telling - Wolff's tone is professional and authoritative, yet friendly and quite cordial, and you get enjoyable little glimpses into his own successful career and personality as he provides anecdotes from his own published/produced works in all the fields he discusses. It's obvious that he's speaking from his own experiences in all aspects of the business(es), not just the writing, but also the marketing, pitching, ethics, etc. In addition to drawing on his own background, he also brings in snippets and examples from lots of other writers and creative types, most of whom are very well-known.
Actually, there is a lot of good information in here for creative business people of all sorts, like copywriters, marketing staff, and even product development types, anybody who needs to manage time, inspire others, hatch ideas or promote a vision, all of which are facets of the writing business and life. The book and table of contents are nicely organized and detailed in such a way that you can easily cherry-pick the information you're looking for. Of course, if you're a "regular" writer you will want to read every page, but the organization makes it easy to revisit various topics without cluttering up the sturdy, finely printed book with unsightly Post-It Notes.
Finally, the thing I liked best about this book is that it's a lot more than just a book. Every chapter includes an access code you can enter at one of Wolff's websites, where you can view bonus content and video interviews with Wolff and many of the people he mentions in each chapter. Wolff even makes himself available via his website, like a true coach would, as a source of advice and inspiration. It's a brilliant blend of old and new media, and access to the website makes the book a real 2-for-1 bargain.
As you might guess, I'd highly recommend this book. I've got a copy of my own and bought another for a friend, because this is the kind of book that if you loan it out, you may not get it back!


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Your Writing Coach: From Concept to Character, From Pitch to Publication goes beyond other books that only discuss style or selling. Jurgen Wolff, a highly successful author with vast experience and credits from Hollywood to the BBC, shows aspiring writers how to overcome fear, get past excuses, and start writing! Featuring exercises and quotes for encouragement, Wolff explains how to hook readers and keep them engaged. He offers powerful tips on how to be productive while still being creative and how to transform your inner critic into a constructive guide to get past the dreaded writer's block. Finally, he offers advice on marketing yourself and your work and the tremendous opportunities offered by new media like the Internet and podcasts. More than just a how-to book, Your Writing Coach is a friendly companion and mentor, providing all the strategies needed to build a career as a full-time writer.

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Save The Cat The Last Book on Screenwriting You'll Ever Need Review

Save The Cat The Last Book on Screenwriting You'll Ever Need
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OK, maybe not the last book you'll ever need, but if you are a screenwriter or play one on TV, this just may be the BEST book you'll ever need, or read, on the subject of how to break into the big screen big time as a writer of tall tales.
Blake Snyder is a working, selling writer himself, so that gives the reader a true inside glimpse into what it's like, what it takes, and what to expect on the long road to screenwriting stardom. Many screenwriting how-to tomes are written by guys and gals who have few or no real studio credits, so with this book you can be sure you are getting the info direct from the source of a successful member of the Hollywood elite.
Snyder starts out with a bang, describing how important a good title, pitch and concept are, and giving tons of useful advise for whipping those log lines into shape, the best shape ever in fact, for as the author points out, many industry powerbrokers won't even look beyond a log line...so it better be good. Damned good. He then discusses how to make your story like everything else out there, only different, and if you can come to understand that paradox, you will be a success indeed.
We also learn about the importance of creating characters that fit certain archetypes, like the hero and the villain, and how the use of Jungian archetypes can help you shape and mold real people that resonate with the audience. Also covered is the importance of knowing your genre and how to best amplify the style of that genre.
Another chapter deals with the author's own system of breaking a script down to 15 beats, and how every successful movie fits this same beat system. We also learn the art of building scenes and the use of those wonderful index cards for moving and changing scene progression, as well as following the basic rules of a great story, rewriting and reshaping the script, and of course, what the heck to do with the darned thing once you've finished. I really appreciated the glossary of screenwriting and industry terminology, something every writer should know (or at least pretend to know in meetings).
Although this book does follow the mold of many other screenwriting books before it, focusing both on writing and marketing the script and including summaries and exercises for the reader to expand their understanding, the difference that makes this book stand out is the honesty and directness of the author in giving the reader every best chance to comprehend and conquer the inner and outer workings of screenwriting. "Save the Cat" (I'll let you find out what the title means on your own!) doesn't hold back on doling out the solid advise, and presents it in a way that will not only inspire screenwriters, but also make them more aware of just how hard it really is to succeed. No sugar-coating here, but plenty of motivation and great info packed into one book.
So, "Save the Cat" may not be the final screenwriting book you will ever need, should for some reason the entire industry change and adopt some bizarro new standard of screenwriting that will require you to learn the metric system and Pig-Latin. But barring a drastic reshaping of the industry standard (I think most execs are too lazy to change much of anything), this is no doubt the one book that will do more to help you achieve success and get your two-brad-bound puppy through the door than any other I've read so far. And believe me, folks, I've read them all.
FADE OUT.

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Understanding Screenwriting: Learning from Good, Not-Quite-So-Good, and Bad Screenplays Review

Understanding Screenwriting: Learning from Good, Not-Quite-So-Good, and Bad Screenplays
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Screenwriter manuals can be potentially great resources, but the best advice is the simplest: read the damn scripts yourself, taking care to identify what you like and what you don't. A close reading of "Michael Clayton" or "Chinatown" yields more insight into the art of screenwriting than anything in Syd Field. In that sense, "Understanding Screenwriting" is more helpful than most screenwriting books because it challenges its audience to glean lessons from good, mediocre and bad screenplays.
Unfortunately, the book itself is filled with largely banal and mostly unhelpful tips and pointers. Each chapter reads like a book report on a particular screenplay; superficial recaps of the movie's plot are combined with loose observations about glaring plot holes or character inconsistencies (amusingly, when Stempel offers suggestions for smoothing over the clumsy plotting that undermines the final third of "Collateral," his suggestions are even more outlandish, like adding a conniving, bloodthirsty prosecutor). Throughout, the tone is more descriptive than analytical, and on the few occasions when Stempel pauses to address larger concerns about rhythm, structure, pacing or theme, his conclusions are just plain wrong.
Perhaps the best example is his analysis of the Coen Brothers' (or "Cohen Brothers," as he sometimes spells it) movie "Fargo." The most challenging aspect that "Fargo" poses to a screenwriting instructor is how to grapple with the curious (and controversial) scene midway through when Marge Gunderson talks with her former high school classmate Mike Yanagita. Mike makes a hilariously awkward attempt at hitting on Marge, which she politely rebuffs. He then tearfully confesses that he's been lonely since his wife and former classmate Linda Cooksey died of cancer. Later in the film Marge discovers that this story was a lie, and that Mike was actually harassing Linda, who is still alive.
As Stempel points out, viewers have a lot of questions about this scene. Why is it in there? What is its purpose? The conventional wisdom is that it's simply a funny scene that underscores how nice Marge is. Stempel repeats this idea: "Marge is so smart, so nice, so warm, so perfect, that we need to see a little human weakness, vanity in this case, to make her as well rounded as she is."
A deeper, better explanation (and one I confess I found on a discussion thread on a movie web site) is that when Marge later learns about Mike's lies, she decides to again interview Jerry Lundegaard, played by William H. Macy. It's at that point that she begins to believe that Jerry, whom she didn't otherwise suspect, was lying to her. Mike's connection to the rest of the film is subtle, but it underscores Marge's dawning realization of just how deceptive and selfish people can be. The scene is also a beautiful illustration of how the Coen Brothers calibrate and structure their scripts. Unfortunately, this is the kind of insight that's otherwise lacking in this thoroughly pedestrian book.

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Aristotle's Poetics for Screenwriters: Storytelling Secrets From the Greatest Mind in Western Civilization Review

Aristotle's Poetics for Screenwriters: Storytelling Secrets From the Greatest Mind in Western Civilization
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Many screenwriting gurus say "Everything you need to know about how to write good drama is in Aristotle's Poetics," but then they never explain what's actually in that work! I've tried reading Aristotle's original text, but it is really tough going. Tierno's book is a real find - it boils down a rambling, classics text into concise concepts, tips and techniques that I could understand and use. Tierno provides examples of how all this stuff really works in a variety of films, too. This book is not only practical, but pretty inspiring, too. It gets to the "heart" and "roots" of good drama, something you can forget about when you get bogged down with a script. After reading this, I was excited and motivated to return to my own work.

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