Books about Screenwriter from Amazon.com

How does a spec script differ from a shooting script? What kind of fasteners should one use to bind a script? How did the term MOS come to mean without sound? You'll find the answers to these pressing questions and much more in David Trottier's eminently usable Screenwriter's Bible. The avuncular Trottier--a writer-producer, script consultant, and seminar leader--has written a friendly guide through the Hollywood morass. He touts it as six books in one: it's "a screenwriting primer, a screenwriting workbook, a formatting guide, a spec writing guide, a sales and marketing guide, [and] a resource guide."

Much of Trottier's advice is common sense: "Don't write anything that cannot appear on the screen"; to keep casting options open, don't make your physical descriptions too specific; "don't say Ron Howard is looking at the project if he is not." But there are things to know about Hollywood that are, well, quirkier. Don't write the title of your script on the front cover or side binding; present action sequences using the "stacking action" style; in query letters and scripts alike, avoid "big blocks of black ink." Trottier's guidance--from character development and revision to queries and pitches--is invaluable. Getting in the door can seem impossible, but it's not, necessarily. "If you write a script that features a character who has a clear and specific goal," says Trottier, "where there is strong opposition to that goal leading to a crisis and an emotionally satisfying ending, your script will automatically find itself in the upper five percent."

(By the way, MOS is said to have "originated with German director Eric von Stroheim, who would tell his crew, 'Ve'll shoot dis mid out sound'"). --Jane Steinberg.
Price: $14.82 [Notify me when price goes down.]

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 M*A*S*H to Crash, from Alien to Saw, from 10 to Eternal Sunshine of the Spotless Mind, Snyder reveals how screenwriters who came before you tackled the same challenges you are facing with the film you want to write ? or the one you are currently working on..
Price: $15.24 [Notify me when price goes down.]

How Not to Write a Screenplay is an invaluable addition to any aspiring screenwriter's shelf--and you'd best make the shelf within arm's reach of the computer Author Dean Martin Flinn, an experienced script reader, details the common rookie mistakes that drive script readers crazy. Flinn makes no pretense of being able to teach anyone how to write the next Great American Film--or for that matter the next Stupid Summer Blockbuster. Instead he offers information that will help keep the novice screenwriter's opus from being immediately tossed on the trash pile (arguably a more valuable service). As Flinn says in his introduction, if you follow the advice in this book, "you may not write a particularly good screenplay, but you won't write a bad one." Flinn offers practical advice on formatting, such as the proper form for a slugline and where to set your margins, and more general rules of thumb on giving the actors room to interpret their roles and avoiding dictating camera angles to the director (who will ignore them anyway). The second half of the book deals with content, also in a remarkably pragmatic way--structure, pacing, plot resolution, and dialogue that really stink are all handily dealt with. Flinn illustrates almost all his points with excerpts from screenplays both good and bad (names have been changed to protect the guilty), giving the reader concrete examples of the difference between poorly and well-structured scenes. Not sucking is an unusual goal for a screenwriting manual, but any script reader will agree it is a noble one. --Ali Davis.
Price: $7.64 [Notify me when price goes down.]

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Price: $9.47 [Notify me when price goes down.]

Anything but boring, the creator of Jay and Silent Bob shares his x-rated thoughts in his diary, telling all in his usual candid, heartfelt and irreverent way!

Lewd, crude and hilariously rude, Kevin Smith pulls no punches in this hard-hitting, in-your-face exposé of, er, his rather dull and uneventful life… well, not always dull. In between watching his TiVo, he manages to make and release Clerks II, relate the story of his partner-in-crime Jason Mewes’ heroin addiction, get a tattoo, serve on a jury... and get caught stealing donuts from Burt Reynolds

Thrown in are his views on the perils of strip clubs, the drawback of threesomes, the pain of anal fissures, his love-affair with Star Wars and so much more! Adults Only!.
Price: $5.40 [Notify me when price goes down.]

Screenplays, according to Field, are not so much written as they are built, and in this book he provides a clear explanation of what raw materials are needed to assemble the modern Hollywood movie script.In this cogently constructed workbook--one of the standards in the industry--Field elucidates the strict three-act structure of screenplays, talks about the nature of character, describes what plot points are and where they must fall, and provides exercises to help the screenwriter take an idea from the first germ of a concept, to outline, to rewritten script..
Price: $9.00 [Notify me when price goes down.]

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Price: $7.89 [Notify me when price goes down.]

Aspiring screenwriters don't need another book on how to write a screenplay, says Karl Iglesias. What they need is a book on how to be a screenwriter. Voilà: The 101 Habits of Highly Successful Screenwriters, featuring interviews with 14 screenwriters, arranged by subject. The result reads like a panel discussion, touching on such subjects as collaboration, schmoozing, discipline, Hollywood, and story pitching. The dream of winning a Hollywood jackpot has lured everyone and his gardener into the screenwriting game. Still, despite the unencouraging odds, "all you need to do is write a good script," says Scott Rosenberg (Beautiful Girls). Some of the book's best advice concerns one of the screenwriter's most formidable hurdles: getting a screenplay read. Submit it to film festivals and screenwriting competitions, or follow Tom Schulman's (Dead Poet's Society) advice and hire an entertainment attorney. After all, "most of them know a lot of agents." --Jane Steinberg.
Price: $6.95 [Notify me when price goes down.]

Write a great script and get it into the hands of the Hollywood players!

So you want to be a screenwriter? Whether you want to write a feature film or a TV script or adapt your favorite book, this friendly guide gives you expert advice in everything from creating your story and developing memorable characters to formatting your script and selling it to the studios. You get savvy industry tips and strategies for getting your screenplay noticed!

• The screenwriting process from A to Z — from developing a concept and thinking visually to plotline, conflicts, pacing, and the conclusion

• Craft living, breathing characters — from creating the backstory to letting your characters speak to balancing dialogue with action

• Turn your story into a script — from developing an outline and getting over writer's block to formatting your screenplay and handling rewrites

• Prepare for Hollywood — from understanding the players and setting your expectations to polishing your copy and protecting your work

• Sell your script to the industry — from preparing your pitch and finding an agent to meeting with executives and making a deal

Open the book and find:

• The latest on the biz, from entertainment blogs to top agents to box office jargon

• New story examples from recently released films

• Tips on character development, a story's time clock, dramatic structure, and dialogue

• New details on developing the nontraditional screenplay — from musicals to animation to high dramatic style

• Expanded information on adaptation and collaboration, with examples from successful screenwriting duos

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Price: $11.06 [Notify me when price goes down.]

Thank goodness Antwone Fisher's story has a happy ending--otherwise, his searing memoir would be nearly unbearable to read. His father was killed by a gunshot blast shortly before he was born in 1959; his 17-year-old mother gave him up for foster care. Unfortunately for Antwone, his foster mother was as successful at browbeating and demeaning her many wards as she was at lying to the Child Welfare authorities. His working-class African American neighborhood in Cleveland became purgatory for a sensitive, intelligent boy who quickly turned into a withdrawn underperformer at school. In Fisher's blow-by-blow account of his childhood, his sexual abuse at the hands of a female neighbor is hardly more horrifying than his foster mother's relentless cruelty--especially because respectable, churchgoing Mrs. Pickett justifies it all as due to the boy's wicked faults. Readers will be relieved when she dumps 15-year-old Antwone back at the Child Welfare office, even though he will endure homelessness and a scary spell of criminal employment, before an 11-year stint in the Navy provides him with a way forward. Grim though his tale is, Fisher displays throughout it the grit and stubborn integrity that kept him sane. He musters up some understanding (not forgiveness) for the dreadful Mrs. Pickett, and his eventual meeting with his burned-out mother is painfully poignant. He certainly deserves the beautiful wife and cute two-year-old daughter, cooking pancakes for him in the book's closing and redemptive scene. --Wendy Smith.
Price: $3.80 [Notify me when price goes down.]