Writing And Selling Thriller Screenplays

Writing and Selling Thriller Screenplays has the lowdown not only on getting your thriller feature script on the page, but getting it in front of producers and investors. From premise to resolution, Lucy V. Hay guides you through the craft of thriller writing, citing classic thrillers such as Psycho, The Shining, The Sixth Sense and Fatal Attraction and lesser-known gems like Red Eye, Desperate Measures, Impostor and Deviation. The book also considers how the screenplay might be sold to investors, looking at high concept ideas, pitching, packaging and the realities of film finance. Lucy V. Hay asks: what is flight vs. fight? What is the difference between horror and thriller? What are the different sub genres of thriller? What part do actors play in film finance? How can limited locations create new opportunities in storytelling and financing? Why is the lone protagonist so in demand? Why are female characters so popular in thriller? And much, much more... 'Really hones in on the specific genre of thrillers with expertise' - Write So Fluid 'A must-read for any writer, producer or director looking to create (or in the process of creating) a thriller production. It could also be immensely useful for those generally curious about the genre or looking to learn more' - Film Doctor 'This book should form part of the armoury for any screenplay writers bookshelf' - Stephen Hall Check out Lucy V. Hay's other screenwriting books: Writing & Selling Drama Screenplays and Writing Diverse Characters for Fiction, Film and TV

The lowdown not only on getting your thriller feature script on the page, but getting it in front of producers and investors. From premise to resolution, the book guides you through the craft of thriller writing, citing classic thrillers such as Psycho, The Shining, The Sixth Sense and Fatal Attraction and lesser-known gems like Red Eye, Desperate Measures, Impostor and Deviation.

It may be drama features that win the most awards and kudos from critics, but in the current marketplace you're unlikely to sell a drama screenplay in the way you would a genre script. Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays considers questions such as: - What is 'emotional truth'? - What separates stereotypical and authentic characters? - What are the different types of drama feature screenplay? - How do we make these films, when there's 'no money'? - What are the distribution opportunities for dramas? - Exploring the ways in which drama and authenticity work, it will empower screenwriters to make their own story and character choices, so they can write and also help to package, finance and even make their own drama features. Writing and Selling Drama Screenplays includes detailed case studies of produced dramas made on both shoestring and bigger budgets, and industry insights from their writers, directors and producers. It looks in-depth at Scottish BAFTA-winning Night People, the iconic coming out movie Beautiful Thing, the touching New Orleans drama Hours, starring the late Paul Walker, and the ambitious true story of Saving Mr Banks, based on the battle of wills between Mary Poppins author PL Travers and Walt Disney himself. It also discusses films such as Brokeback Mountain, American Beauty, The King's Speech, Juno, Erin Brockovich, Changeling and Girl, Interrupted. 'A top-notch, cutting-edge guide to writing and selling, not just practical but inspirational. Lucy's distinctive voice infuses the entire journey. Quite brilliant. Here's the woman who'll help you make things happen' - Barbara Machin, award-winning writer & creator of Waking the Dead 'Delivers the stirring call to arms that writers must not only write, but take their work to the next level themselves, making sacrifices and taking risks if they want to see their stories on screen' - Chris Jones, Filmmaker, Screenwriter & Creative Director at the London Screenwriters Festival Check out Lucy V. Hay's other screenwriting books: Writing & Selling Thriller Screenplays and Writing Diverse Characters for Fiction, Film and TV

Not loaded with theory, Skip's invaluable book contains concise, easily understood and applied advice for both writing and marketing any kind of book, article, story, play, screen-play, report, proposal or anything else you can think of.How to Write What You Want and Sell What You Write is for every writer or wannabe who needs to sort out his or her desires, capabilities and strengths and, even more importantly, learn the particular formats for the kind of writing in which he or she is interested.

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.

We're living in a time of unprecedented diversity in produced media content, with more characters appearing who are Black, Asian and Minority Ethnic (BAME), Lesbian, Gay, Bisexual and Transgender (LGBT), disabled, or from other religions or classes. What's more, these characters are increasingly appearing in genre pieces, accessible to the mainstream, instead of being hidden away in so-called 'worthier' pieces, as in the past. How to Write Diverse Characters discusses issues of race, disability, sexuality and transgender people with specific reference to characterisation - not only in movies and TV, but also novel writing. Taking in blockbuster movies such as Mad Max Fury Road, Russell T Davies' ground-breaking TV series Cucumber and and the controversial novel Gone Girl, the book explores: - How character role function really works - What is the difference between stereotype and archetype? - Why 'trope' does not mean what Twitter and Tumblr think it means - How the burden of casting affects both box office and audience perception - Why diversity is not about agendas, buzzwords or being 'politically correct' - What authenticity truly means and why research is so important - Why variety is key in ensuring true diversity in characterisation Writers have to catch up. Knowing not only what makes a 'good' diverse character doesn't always cut it; they need to know what agents, publishers, producers, filmmakers and commissioners are looking for - and why. This book gives writers the tools to create three dimensional, authentic characters ... who just happen to be diverse. 'A timely guide to creating original characters and reinvigorating tired storylines' - Debbie Moon, creator and showrunner, Wolfblood (BBC) 'Lucy V. Hay nails it' - Stephen Volk, BAFTA-winning screenwriter: Ghostwatch, Afterlife, The Awakening 'Packed with practical and inspirational insights'- Karol Griffiths, development consultant and script editor, clients include ITV, BBC, Warner Brothers

Aimed at screenwriters, producers, development executives and educators interested in the crime genre, this book provides an invaluable basis for crafting a film story that considers both audience and market expectations without compromising originality. A brief historical overview of the crime genre is presented for context along with an analysis of various crime sub-genres and their key conventions, including: police, detective, film noir, gangster, heist, prison and serial killer. Karen Lee Street focuses on the creative use of these conventions and offers strategies for focusing theme and improving characterisation, story design, structure and dialogue. Paradigms, story patterns and writing exercises are provided to assist the script development process and strategies for revision are discussed along with key questions to consider before approaching creative or financial partners.

It's simple: films need to have commercial value for the studios to produce them, distributors to sell them, and theater chains to screen them. While talent definitely plays a part in the writing process, it can be the well-executed formulaic approaches to the popular genres that will first get you noticed in the industry. Genre Screenwriting: How to Write Popular Screenplays That Sell does not attempt to probe in the deepest psyche of screenwriters and directors of famous or seminal films, nor does it attempt to analyze the deep theoretic machinations of films. Duncan's simple goal is to give the reader, the screenwriter, a practical guide to writing each popular film genre. Employing methods as diverse as using fairy tales to illustrate the 'how to' process for each popular genre, and discussing these popular genres in modern television and its relation to its big screen counterpart, Duncan provides a one-stop shop for novices and professionals alike.