Reading Screenplays

Script Readers play a crucial role in the film industry, often responsible for determining whether a script is even looked at by a producer or development executive; yet those accountable for reading can be on the first rung of the industry ladder and have had little or no training for the task. This user-friendly 'how-to' guide written by one of the UK's leading script analysis specialists, lays bare the process of analysing film scripts. This is invaluable to anyone looking to work as a script reader, anyone who wants to work in development with writers, and for screenwriters themselves who are seeking guidance on how the industry might respond to their work. An essential reference tool, the book includes information on: - How to write a brilliant script report - Storytelling and screen genres - Treatments and other short documents - Writing clear and detailed analysis of the craft of storytelling for film - Best practice in reading and reporting on scriptsIt also includes a full Resource Section listing useful print and online publications, organisations and associations. 'It is such a worthwhile read' - Lucy V Hay - bang2write 'Lucy Scher seeks to explain the skills needed to take on the vital role of script reader in the film industry' - Kamera Film Salon 'An ideal reference tool for anyone considering a career as a script reader or in film development' - Moviescope

Screenwriting Tip #99 Voice-over usually feels like scaffolding. You know-something you left in there when you were constructing the first draft, but really should have torn out after it served its purpose. Screenwriting Tip #120 Always remember that funny trumps everything. Your script could be written in crayon with your name spelled wrong on the cover, but if it's genuinely funny, none of that matters. Screenwriting Tip #156 The easiest way to write kick-ass protagonists is to make them incredibly good at what they do. Confused at the outline stage? Stuck in the swamp of Act Two? Don't know who your protagonist is or where she's going? You might feel like a hack. But don't worry-you're not alone. Even the most experienced writers feel like this at times. Sometimes we just need a few short pointers and reminders to set us on the path again. Xander Bennett worked as a script reader in the trenches of Hollywood, reading and covering hundreds of mediocre screenplays. After months of reading about heroic Sea World trainers, transgendered circus detectives and crime-fighting chupacabras, he couldn't take it any more. Xander started a blog called 'Screenwriting Tips, You Hack', a place designed to provide short, witty tips on screenwriting for amateur writers all the way up to journeymen scribes. This book is the evolution of that blog. Dozens of the best scripts (along with many brand-new ones) have been expanded into bite-sized chapters full of funny, insightful, highly usable advice. Let Xander's pain be your gain as you learn about the differences between film and television structure, how to force yourself to write when you really don't want to, and why you probably shouldn't base your first spec script around an alien invasion.

Provides advice for aspiring screenwriters on how to write scripts for television and motion pictures, including what topics are popular, how to rework scenes, and how to sell screenplays in Hollywood.

Selling Your Screenplay is a step-by-step guide to getting your screenplay sold and produced. Learn how to get your script into the hands of the producers and directors who can turn your story into a movie.

"A hilarious and helpful insider's guide to launching a successful writing career in Hollywood. . . . The only compass readers will ever need to navigate the treacherous waters of filmmaking"--("Kirkus Reviews," starred review).

Providing examples from well-known movies, Field explains the structural and stylistic elements as well as writing techniques basic to the creation of a successful film script.

As director Gus Van Sant observes in the introduction to Matt Damon's and Ben Affleck's screenplay Good Will Hunting, the two young actors somewhat resemble the characters they play in the film: they're best friends, and Affleck (who plays Chuckie) habitually chauffeurs Damon (Will), who doesn't drive. Van Sant says we can see how badly Damon drives by watching the film's last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.

This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!