Invisible Ink
Written by Brian McDonald
Narrated by Matt Armstrong
4.5/5
()
Currently unavailable
Currently unavailable
About this audiobook
Acclaimed by successful screenwriters and authors, Invisible Ink is a helpful, accessible guide to the essential elements of the best storytelling. Brian McDonald, an award winning screenwriter who has taught his craft at several major studios, supplies writers with tools to make their work more effective and provides readers and audiences a deeper understanding of the storyteller's art. When people think of a screenplay, they usually think about dialogue-the "visible ink" that is readily accessible to the listener, reader, or viewer. But a successful screenplay needs Invisible Ink as well, the craft below the surface of words. Invisible Ink lays out the essential elements of screenplay structure, using vivid examples from famous moments in popular movies as well as from one of his own popular scripts. You will learn techniques for building a compelling story around a theme, making your writing engage audiences, creating appealing characters, and much more. Praise for Invisible Ink: "...If I manage to reach the summit of my next story it will be in no small part due to having read Invisible Ink." -Andrew Stanton (cowriter Toy Story, Toy Story 2, A Bug's Life, Monsters, Inc., and cowriter/director Finding Nemo and WALL-E) "...Brian McDonald uses his deep understanding of story and character to pass on essential truths about dramatic writing. Ignore him at your peril." -Jim Taylor (Academy Award-winning screenwriter of Sideways and Election) "... I recommend this fine handbook on craft to any writer, apprentice or professional, working in any genre or form." -Dr. Charles Johnson (National Book Award-winning author of Middle Passage) "If you want to write scripts, listen to Brian. The guy knows what he's talking about." -Paul Feig (creator of NBC's Freaks and Geeks, co-executive producer The Office) "With Invisible Ink Brian McDonald has written us a book to keep and heed forever because through the simple, graceful, graspable, original wisdom of it, we might just save our screenwriting lives." -Stewart Stern (Screenwriter of Rebel Without a Cause)
Brian McDonald
Brian McDonald contributes frequently to New York City newspapers, including The New York Times. His first book, My Father's Gun, won critical raves and became the subject of a major History Channel documentary series. McDonald is also the author of Last Call at Elaine's, Indian Summer, and Safe Harbor: A Murder in Nantucket. He lives in Manhattan.
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Reviews for Invisible Ink
84 ratings10 reviews
- Rating: 5 out of 5 stars5/5Excellent break-down of story structure. Very simple explanations and examples. I will refer to this often to remind myself of the basics.
- Rating: 5 out of 5 stars5/5I am much more prepared to tell my stories with the foundations on this book.
- Rating: 5 out of 5 stars5/5Amazing book! Loved it! Not enough to listen to it once, it has to be studied.
- Rating: 4 out of 5 stars4/5Really good read. I highly enjoyed it he used great examples- I gave it one star because it was so short - would recommend
- Rating: 5 out of 5 stars5/5This book is killer!
The explanation of the femenine and masculine attributes are genius.
Thanks - Rating: 5 out of 5 stars5/5The first book I ever completed and reread about story
- Rating: 5 out of 5 stars5/5Clearly explains and illustrates what makes a good story. A lot of examples from well known works are also provided. Good for aspiring writers wanting to learn the craft of writing.
- Rating: 5 out of 5 stars5/5Fantastic, very well explained. I appreciate the layout of the topics that make up such and easy listening experience.
- Rating: 5 out of 5 stars5/5One of the most interesting and insightful books I have heard of read in ages. Worth listening to again. Well read too: hadn't realised the reader was not the author until I got to the end. Read with integrity and feeling.
- Rating: 3 out of 5 stars3/5There's some interesting information in this book, but for some reason in the middle the author goes on a screed about how male and female brains are different, all to justify a naming scheme for his concepts. In his opinion the interior aspects of a story, such as character arcs and theme, are "feminine" and exterior parts, such as plot and action, are "masculine" and goes on at length about how he's totally reflecting the reality, honest! Just call them interior and exterior and leave the neuroscience to neuroscientists.