Writing Screenplays That Sell: The Complete Guide to Turning Story Concepts into Movie and Television Deals (New Twentieth Anniversary Edition)
Michael Hauge
Language: English
Pages: 266
ISBN: 2:00180965
Format: PDF / Kindle (mobi) / ePub
For more than twenty years, Writing Screenplays That Sell has been hailed as the most complete guide available on the art, craft, and business of writing for movies and television. Now fully revised and updated to reflect the latest trends and scripts, Hollywood story expert and script consultant Michael Hauge walks readers through every step of writing and selling successful screenplays. If you read only one book on the screenwriter's craft, this must be the one.
“hate” what you liked before because you’re subconsciously avoiding moving forward and finishing the draft. Those voices that keep telling you that your writing is shit are simply trying to block you from some deeper fear—of judgment, of change, of failure, of success, or of facing a new rewrite. If this is the case, you must take a different approach: reread what you’ve written if you want, just to get in the flow each day, but don’t rewrite anything until the draft is done. This means your
forgetting who she really is. Tess is unlike her reflection in that she won’t stand up for who she truly is. Only in the climax, when Tess finally reveals how she came up with the idea for the radio network buyout, is she acting out of her truth rather than out of some image of herself. And only then is she able to achieve her outer motivation, because that is when she has found the courage to complete her arc. Putting this all together, the theme of Working Girl is: To be the best person you
fictional characters and universe must be clearly stated for the audience. This is why fantasy movies are so tough to pull off. It is very difficult to clearly explain the rules of your make-believe universe and the limits to your hero’s powers and still keep the story from becoming confusing. But if the limits to your hero’s powers and abilities aren’t clear, there will be no tension or conflict, since it will seem that your hero can come up with whatever superhuman skill is necessary to
interesting, real, true to the characters? Was it funny? (A good clue to the success of a comedy is this: if your friends laughed during the reading, it was funny. If your friends didn’t laugh but they tell you it was funny, they’re just being nice.) Next ask the actors their opinions of the script and get any suggestions they have for improving it. Finally, if the actors are trained and willing, ask them to put the pages away and, knowing what they now know about the story and characters,
which is published by Newmarket Press and is available (along with countless other invaluable books, programs, and tools for writers) at my absolutely favorite resource center, the Writers Store (thewritersstore.com). As you will see, you want to take whatever liberties you like with this chart, and mold it into a tool that will be most helpful to you, and most suitable to your screenplay. Because the script rapidly intercuts among the opening scenes, we’re up to scene #10 by the time the