Script Partners

Some of the greatest movies and television series have been written by script partners. Script Partners, Second Edition brings together the experience, knowledge, and winning techniques of Hollywood’s most productive partnerships—including Lucy Alibar & Benh Zeitlin (Beasts of the Southern Wild ), Craig Borten & Melisa Wallack (Dallas Buyers Club), and Andrew Reich & Ted Cohen (Friends). Established and aspiring screenwriters will learn how to pick the right partner and the right project, co-create character and story structure, co-draft and revise a script, collaborate in film school and in the film industry, and manage both the creative and business sides of partnerships.

Some of the greatest movies and television series have been written by script partners. Script Partners, Second Edition brings together the experience, knowledge, and winning techniques of Hollywood’s most productive partnerships—including Lucy Alibar & Benh Zeitlin (Beasts of the Southern Wild ), Craig Borten & Melisa Wallack (Dallas Buyers Club), and Andrew Reich & Ted Cohen (Friends). Established and aspiring screenwriters will learn how to pick the right partner and the right project, co-create character and story structure, co-draft and revise a script, collaborate in film school and in the film industry, and manage both the creative and business sides of partnerships.

This handbook brings together the experience, knowledge, techniques, and wisdom of many successful writing teams for film and television.

"We need good screenwriters who understand character." Everywhere Andrew Horton traveled in researching this book—from Hollywood to Hungary—he heard the same refrain. Yet most of the standard how-to books on screenwriting follow the film industry's earlier lead in focusing almost exclusively on plot and formulaic structures. With this book, Horton, a film scholar and successful screenwriter, provides the definitive work on the character-based screenplay. Exceptionally wide-ranging—covering American, international, mainstream, and "off-Hollywood" films, as well as television—the book offers creative strategies and essential practical information. Horton begins by placing screenwriting in the context of the storytelling tradition, arguing through literary and cultural analysis that all great stories revolve around a strong central character. He then suggests specific techniques and concepts to help any writer—whether new or experienced—build more vivid characters and screenplays. Centering his discussion around four film examples—including Thelma & Louise and The Silence of the Lambs—and the television series, Northern Exposure, he takes the reader step-by-step through the screenwriting process, starting with the development of multi-dimensional characters and continuing through to rewrite. Finally, he includes a wealth of information about contests, fellowships, and film festivals. Espousing a new, character-based approach to screenwriting, this engaging, insightful work will prove an essential guide to all of those involved in the writing and development of film scripts.

This guide to screenwriting teaches the craft by guiding the student through writing exercises of increasing length and complexity. The format allows the student to write directly in the book. New to this edition is a DVD containing short films and the screenplays they are based on.

Cognition, Communication, and Romantic Relationships focuses on the role of memory, communication, and social cognition in the development of romantic relationships. The authors review developmental models of communication and examine criticisms of these models. They also explore the stages through which relationships escalate and deteriorate, and consider the processes for such activities as meeting new people, dating, sexual intercourse, and terminating relationships. Differences between men and women are discussed throughout the text, in light of current research supporting systematic gender differences in how people think about romance and relationships. As an extended analysis and research review of how thinking about romance influences and is influenced by communicative processes, this text offers a deeper understanding of the cognitive and communicative factors involved in relationship processes. It is designed for use in courses on interpersonal relationships and intimate relations in social psychology, communication, counseling psychology, clinical psychology, and sociology.

The cooperation test [Apt, Francez & de Roever] was originally conceived to capture the proof theoretical analogue of distributed message exchange between disjoint processes, as opposed to the interference freedom test [Owicki & Gries], being the proof theoretical analogue of concurrent communication by means of interference through jointly shared variables. Some authors ([Levin & Gries, Lamport & Schneider, Schlichting and Schneider]) stress that both forms of communication can be proof theoretically characterized using interference freedom only, since proofs for both ultimately amount to an invariance proof of a big global assertion [Ashcroft], invariance of whose parts amounts to interference freedom. Yet I feel that the characteristic nature of the cooperation test is still preserved in the analysis of these authors, because in their analysis of CSP the part dealing with interference freedom specializes to maintenance of a global invariant, the expression of which requires per process the introduction of auxiliary variables which are updated in that process only, thus preserving the concept of disjointness (as opposed to sharing), since now all variables from different processes are disjoint. The cooperation test has been applied to characterize concurrent communication as occurring in Hoare's Communicating Sequential Processes (CSP) [Hoare 2], Ichbiah's ADA [ARM], and Brinch Hansen's Distributed Processes (DP) [Brinch Hansen]. This characterization has been certified through soundness and completeness proofs [Apt 2, Gerth]. As in the interference freedom test this characterization consists of two stages, a local sequential stage and a global stage.

A new account of the Mediterranean economy in the 10th to 12th centuries, forcing readers to entirely rethink the underlying logic to medieval economic systems. Chris Wickham re-examines documentary and archaeological sources to give a detailed account of both individual economies, and their relationships with each other. Chris Wickham offers a new account of the Mediterranean economy in the tenth to twelfth centuries, based on a completely new look at the sources, documentary and archaeological. Our knowledge of the Mediterranean economy is based on syntheses which are between 50 and 150 years old; they are based on outdated assumptions and restricted data sets, and were written before there was any usable archaeology; and Wickham contends that they have to be properly rethought. This is the first book ever to give a fully detailed comparative account of the regions of the Mediterranean in this period, in their internal economies and in their relationships with each other. It focusses on Egypt, Tunisia, Sicily, the Byzantine empire, Islamic Spain and Portugal, and north-central Italy, and gives the first comprehensive account of the changing economies of each; only Byzantium has a good prior synthesis. It aims to force our rethinking of how economies worked in the medieval Mediterranean. It also offers a rethinking of how we should understand the underlying logic of the medieval economy in general.