Screenwriting is Storytelling: Creating an A-List Screenplay that Sells!While most screenwriting books focus on format and structure, Kate Wright explains how to put story at the center of a screenplay. A compelling story, complete with intriguing characters and situations created with these screenwriting tricks of the trade can become a box office blockbuster film. Screenwriters will learn: - Developing themes within the plot - Using structure to define the story - Creating memorable characters - Establishing moral dilemmas and conflicts - Achieving classic elements of storytelling in a three-act dramatic structure - Mastering different genres |
Contents
3 | |
Movies Are Entertainment | 13 |
The Big Idea | 32 |
The Four Story Questions | 40 |
Form 3Act Paradigms | 45 |
Spine The Process | 65 |
Integrating Form and Spine | 79 |
Critical Thinking and Creative Tools 86 888 | 86 |
Creating the Antagonist | 118 |
Supporting Characters Who Tell the Story | 123 |
Following the Emotional Story | 146 |
The Step Outline | 160 |
Creating the Scene | 174 |
Where Good Scripts Go Wrong | 190 |
Writing Is Rewriting | 203 |
Breaking In | 221 |
How does my story make the audience feel? | 93 |
Genre | 95 |
Plot vs Story | 106 |
Creating the Main Character | 112 |
Becoming a Storyteller | 239 |
251 | |
Other editions - View all
Screenwriting is Storytelling: Creating an A-List Screenplay that Sells! Kate Wright Limited preview - 2004 |
Screenwriting is Storytelling: Creating an A-List Screenplay that Sells! Kate Wright Limited preview - 2004 |
Screenwriting is Storytelling: Creating an A-List Screenplay that Sells! Kate Wright No preview available - 2004 |
Common terms and phrases
action agent American antagonist attract audience become begins behavior break called challenge choice concept conflict create creative defining develop dialogue director discover Dorothy elements emotional especially establishing experience external fact feel film final forces FUGITIVE genre Gerard give goal Hannibal Lecter hero human ideas important inner interest internal Jack Julie keep Kimble lead lives main character main character's major means Michael mind mission moral dilemma motivation move movie opens opposing original plot possible powerful presented producers protagonist questions represents requires reveal rewrite Rose scene screen screenplay screenwriters script sequence sometimes spine star step step outline Steven Spielberg story beats storytelling structure struggle supporting takes tell theme thinking throughout Titanic Tootsie truth unconscious understand unique usually visual voice woman writers