50 Best Books on Screen Writing

http://www.amazon.com/gp/richpub/syltguides/fullview/r86fjyb8ovh1d
Other books:
Non-Fiction for Drama Writers
Flourish by Martin E. P. Seligman
Games People Play: The Psychology of Human Relationships by Eric Berne
The Hero of a Thousand Faces by Joseph Campbell
A History of Narrative Film by David Cook
History of Film [Wikipedia]
The Power of Myth by Joseph Campbell
The Art of Dramatic Writing by Lajos Egri
A Theory of Human Motivation (Psychological Review) by Abraham Maslow
Writing Drama by Yves Lavandier

Read this post:

http://theblackboard.blcklst.com/forums/forum/genre-essentials/drama/
John Truby's "Anatomy of Story" is really the only book that has made
meaningful lasting impact on me. Can't praise it enough.
Read post by this author:
http://theblackboard.blcklst.com/forums/users/shaula-evans/
Read this book again: http://theblackboard.blcklst.com/forums/topic/yourholiday-wishlist/
If Blake Snyder oversimplifies screenwriting (he does), then Robert McKee
over-complicates it (he most certainly does).
If anything, both of these books are merely good food for the brain.
Take what you want and leave the rest, but know that they are not the
end all be all answer.
Go read The Screenwriter's Bible, How Not to Write a Screenplay, and
Writer's Movies for Fun and Profit. Those are the only three books you
SHOULD be reading. They focus on the guidelines and expectations.
Beyond that, your concepts, your stories, your characters, your writing

style, and the fates themselves will decide whether or not you've written
a successful screenplay.
http://kenlevine.blogspot.com/2007/03/beware-of-this-man.html
If you only read one book on screenwriting read John Yorke's 'Into the Woods'
it's a fabulous examination of 'story' in it's purest sense and he has an
enviable track record of success, but you might also get Writing Drama
by Yves Lavandier or The Art of Dramatic Writing by Lajos Egri they
are all great books on how to tell a story, and that's the important thing to
learn, how to tell a story, everything else is just mechanics.
Re: What are your top three favorite books on writing
Inside Story by Dara Marks
Wired for Story by Lisa Cron
Emotion Thesaurus
__________________

6 books to read:
John Yorke Into the Woods: http://www.ebooks.com/1144334/into-thewoods/yorke-john/
Writing Drama Yves Lavandier
The Art of Dramatic Writing Lajos Egri
David Trottier "The Screenwriter's Bible"=> Good and For Formatting
Chapter
How Not to Write a Screenplay
Writing Movies for Fun and Profit
Audition by Michael Shurtleff => Everything actor must know so everyone
else including writers must know.
Out of the books that I've read, I would say that David Trottier's "The
Screenwriter's Bible" had the best section on formatting. In fact, I would

say that if you read Yves Lavandier's "Writing Drama:", and David
Trottier's "The Screenwriter's Bible", you could probably skip reading
the other eleven books on screenwriting that I have read.
Blink of an Eye (2001) by Walter Murch

Robert Grant
2 upvotes by Quora User and Sharath Bhat.
As someone who has actually written a screenwriting book I can tell you that there
absolutely is a formula/structure, not just to screenplays, but to EVERY STORY EVER
TOLD! Anyone who disagrees knows nothing about storytelling.
Now you can argue the relative merits of every book under the sun but the fact is that
'stories' always follow a basic pattern, that's why we love them, and that pattern was
around long before cave paintings, movable type, film or any other method of recording
them existed. All that the vast library of books do is show you what that structure is, how
it works and, if it's any good, why it works that way. It's not about page counts or number
of scenes or where the act breaks come - although those things are eerily similar in lots of
films - it's about a person, the things that happen to them, how they change to overcome
those things and what they learn along the way. The important thing about structure or
formula is the order in which those things happen - and that's because audiences need to
be able to focus or you lose them.
If you only read one book on screenwriting read John Yorke's 'Into the Woods' it's a
fabulous examination of 'story' in it's purest sense and he has an enviable track record of
success, but you might also get Writing Drama by Yves Lavandier or The Art of Dramatic
Writing by Lajos Egri they are all great books on how to tell a story, and that's the
important thing to learn, how to tell a story, everything else is just mechanics.

My perennial recommendation is Audition by Michael Shurtleff. Its a great book for

actors but the insights for writers are also invaluable. (And come to think of it Im
overdue to re-read it. Maybe I can find a second-hand copy around here somewhere.)
Im looking forward to getting In the Blink of an Eye (2001) by Walter Murch for myself,
and it has come so highly recommended that Im confident in passing on the
recommendation without having read it yet. (Others here can vouch for it.)

In fact, I would say that if you read Yves Lavandier's "Writing Drama:", and
David Trottier's "The Screenwriter's Bible", you could probably skip
reading the other eleven books on screenwriting that I have read.
http://www.amazon.com/The-Emotion-Thesaurus-CharacterExpression/dp/1475004958/ref=pd_bxgy_b_text_z
http://www.amazon.com/Story-Physics-Harnessing-UnderlyingStorytelling/dp/1599636891/ref=pd_bxgy_b_text_y
Love your book. Succinct. Straight-to-the-point. Belongs right next to "Inside
Story" by Dara Marks, Blake Snyder's "Save the Cat"; and Vogler's
"Writer's Journey. --Stephen W., Writer
The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and
Selling Your Script By Dave Trottier, "Dr. Format". This huge book will
teach you what you need to know about proper Hollywood screenwriting
format. If your screenplay isn't properly formatted, it won't get read. Period.
But don't confuse format with structure. While The Screenwriter's Bible
touches on story structure, it's only the tip of the iceberg. Many
tout Screenplay: The Foundations of Screenwriting by Syd Field as the
best screenwriting structure book on the market. It's good, but I'd hardly call
it the best. In fact, I don't think there is a "best" book on screenwriting
structure. Why? Because they each have strengths, weaknesses, uniqueness,
and select repetition. I've read many of them, but certainly not all. To learn
how to properly structure a screenplay, I would highly recommend, in addition
to Mr. Field's book, Save The Cat! The Last Book on Screenwriting You'll
Ever Need and Save the Cat! Goes to the Movies: The Screenwriter's
Guide to Every Story Ever Told by Blake Snyder, The Writers Journey:
Mythic Structure for Writers, 3rd Edition by Christopher Vogler, and The
Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John
Truby.
Once you know how to structure your story, you need to make sure you've
got solid characters and depth to your story. Be sure to read The Art of
Dramatic Writing by Lajos Egri and INSIDE STORY by Dara Marks.
With the knowledge from these books in your head, now is the time to read
some of the more popular, all-in-one screenwriting books. These are the
books that touch briefly on all facets of the screen trade. I wouldn't start with
these, because the tendency is to read the least to gain the most. Some of
these books claim to contain just about everything you need to know about
screenwriting, but that couldn't be further from the truth. There isn't one
book out there that will fully prepare you for writing a screenplay. But
together, these books can be invaluable in your budding screenwriting career:

Free eBooks on Screenwriting and Writing Screenplays

In my quest to hone my screenwriting skills and learn how to become a better
screenwriter, I've encountered several useful eBooks. Many of these eBooks are written
by professional screenwriters or creative story writers whose purpose is to distill their
own tips and advice to succeed at screenwriting.
Some of these eBooks are short (up to 30 pages) and focus on one or a few specific topics
related to screenwriting, such as: 1) formatting a new screenplay, 2) writing a treatment to
sell your screenplay, 3) writing action blocks and character descriptions, 4) creating lifelike characters, 5) developing plots and sub-plots, and 6) what film producers want from
screenwriters.
You canas I haveread one eBook a day. Just set 30 minutes aside. By the end of the
week, you will have a better knowledge of writing a screenplay and understanding what
makes a story so great. Each eBook is in .pdfsimply click on the link and you can read
the eBook on your computer, iPad, iPhone, Kindle, Nook, or any mobile device.

eBook #1: A Crash Course in Screenwriting

This is a free 100-plus page eBook on teaching the techniques of successful

screenwriting [ read it here ]. Main chapters include:

1) What a screenwriter does and does not do; how to create a strong story for the big
screen; and understanding log-lines to help sell your script or finance the movie.
2) Understanding Drama, Comedy and Tragedy to create an engaging plot and story.
3) Choosing a genre such as horror, thriller, love stories, mythical, biographical, etc.
4) How to create fascinating and engaging characters. You will learn how to create a main
character who moves your story forward, as well as how to describe your characters.
5) How to develop a story using the 3-Act Structure developed by master storytellers Syd
Field, Michael Hauge, and Robert McKee.
The author makes it clear that when you are writing a screenplay, you are not writing a
short story or a novel; rather you are writing individual scenes that connect coherently to
produce a story for the big screen. You will learn: 1) Scene Headings, 2) Action Blocks,
3) Character Names, 4) Writing Dialogue, and 5) using Parentheticals (directions on how
the actor should speak the lines). The author provides concrete examples on story
structure, screenplay formatting, and writing scenes.

eBook #2: The 25 Habits of Highly Successful Writers

This 25-chapter eBook offers advice, tips and inspiration on both writing and work ethics
from professional writers and screenwriters [ read it here ]. The publisher presents each
writer's anecdotes in a logical sequence to mirror the linear progression of achieving
success as a writer.
The eBook includes:

1) Believing You Are Talented

2) Writing Through Your Fears
3) Evoking Emotional Responses from Readers
4) Setting Writing Goals
5) Creating Believable Characters, and
6) Write About What You Love
7) Face The Blank Page
8) Write Through Your Fears
9) Record Your Ideas As Soon As They Appear
10) Write Terrible First Drafts
11) Find Time To Recharge
12) Realize The Importance Of Characters
13) Evoke An Emotional Response
14) Overcome Writer's Block
15) Don't Be Paranoid About Your Ideas Being Stolen
16) Learn From Other Writers
17) and many more topics

eBook #3: How to Write a Documentary Script

This 50-plus page eBook will teach you how to write a successful script for a
documentary film [ read it here ]. Although the author will teach you the similarities and
differences between writing a movie screenplay and writing a documentary, you will
mostly learn writing, research and story structure techniques found only in creating
documentaries.
Documentaries, as you will learn, are naturally tied to their topic. Since their objective is
so topic-specific and their events are non-fictional, the topic is the uppermost expression

of documentaries. There are no standard story structures for documentary films. Every
topic and event unfolds on film in its own unique way.
Five things I learned from this eBook:
1) Writing a screenplay is much different than writing for print: film is visual, shows
action, transcends time and space, and evokes different emotional reactions from the
audience.
2) Every movie, particularly a documentary, has a relevance value attached to it. This
might be cultural, bureaucratic, historical, metaphysical, imaginative or some other
attribute. The amount of research that you do is closely connected to the relevance of the
film.
3) Theoretically, we can classify a scene as a formalistic unit of film communication, but
what it incorporates is more vitalaction. Scenes consist of A-C-T-I-O-N. Action must
occur in a scene for the audience to see and react to it. It's insufficient just to have
occasional action on screen. The visuals, the action, and the events must all carry
meaning.
4) The beginning of a story must establish the events that will gradually unfold before the
viewers' eyes. An engaging beginning should set the mood and vibe for the film, as well
as solicit surprises along the way. In a documentary, the story must introduce the topic of
the film and the subject (the principal person or persons) to the viewers.
5) The advancement of sequences typically increases momentum. Viewers expect a story
to imitate life, to have action, pulse, and pace. A sequence carried on for too long in a
scene begins to feel superfluous.

eBook #4: The Missing Ingredient

This eBook is written exclusively to help screenwriters write a compelling screenplay

that producers and agents would want to read [ read it here ]. The author teaches you: 1)
the importance of developing a promising log-line to sell your screenplay, 2) knowing
what producers want and don't want, and 3) how to make sure you are delivering the best
screenplay.
The premise of this eBook is summed up with what the author says on page 21: "99% of
screenplays fail to meet producers' basic needs. The producer's basic need is to find a
great screenplay that exceeds a compelling promise." You will learn how to deliver a
"compelling promise" to producers.

eBook #5: How to Write a Screenplay

This eBook teaches high school students how to write their first screenplays [ read it
here ]. The author reveals how to: 1) write an interesting story, 2) create intriguing story
plots, 3) build memorable characters, and 4) write engaging dialogue. Students also learn
the basics of formatting a screenplay and the importance of the rewriting process. The
author provides examples of dramatic story structure using the 3-Acts of Storytelling.

Five things I learned from this eBook:

1) Stories include three Acts, commonly referred to as the 3-Act Structure. Act I captures
our interests by introducing the main characters and the plot. Act II unravels the conflict
and obstacles. Act III carries the viewers to the climax.
2) Every compelling story, including sci-fi and comedy, has to do with life. The best
stories show us an element about the human condition. To write an interesting story, add a
human touch.
3) The best method to create a story is knowing what your characters want and the
obstacles they will face.
4) A screenplay is made up of individual scenes. A scene is a successive section of
expressive action that happens in one setting. Whenever time or location changes in your
story, you need to create a new scene for it.
5) The slugline always follows the description of the scene. A slugline is one line which
reveals the setting, time of day, and the location of the characters.

eBook #6: A Guide to Feature Film Writing

This 95-page eBook shows you how to write your screenplay from initial idea to a final
draft [ read it here ]. The author gleans the best screenwriting theories, tips and advice
from seasoned screenwriters and summarizes them in topic-specific chapters. You will
learn about Blake Snyder's "Story Beat Sheet," Robert McKee's Screenplay Structure,
"The Hero's Journey," and Polti's "36 Dramatic Situations."
Five things I learned from this eBook:
1) A screenplay treatment, running 20-40 pages, is basically a short story. It is a fleshed
out rendition of the Outline, except that it includes more character detail and different
dramatic events.
2) The four stages of a writer's creative process are: 1) Preparation, 2) Incubation, 3)
Illumination, and 4) Verification.
3) Near 350 B.C., Greek philosopher Aristotle set forth theories of dramatic structure
which many seasoned screenwriters still use today.
4) A screenplay typically has five different types of conflict; they include:
PERSONAL - skepticism or insecurity;
RELATIONAL - romantic, personal, friendly;
SOCIETAL - character's social surroundings;
SITUATIONAL - the physical atmosphere; and
COSMIC - versus God, Satan or other deity.
5) Anthropologist Joseph Campbell analyzed thousands of world beliefs and refined them
to one narrative diagram called "the monomyth" or "The Hero's Journey."

eBook #7: How to Be a Hollywood Script Writer

This eBook is one aspiring screenwriter's point-of-view on how to succeed [ read it

here ]. The author offers his own insights and viewpoints on what a beginning
screenwriter needs to know to write a screenplay.
Chapters include:
1) The Write Tools: advice on screenwriting programs to handle formatting.
2) Correct Formatting: a sample screenplay format. It shows you the various elements
that make up a typical screenplay.
3) Bad Films Can Be Good: learning what to omit from your screenplay by studying
poorly-written movies.
4) Write What You Know: advice on generating story ideas to write a compelling script.
5) Reading Other Scripts: reading free sample movie scripts online to learn about story
structure and formatting.
6) Story: writing a story in three acts, within a specific page length.
7) Characters: creating memorable characters that move the story forward.
8) An Over Excess of Boring Words: how to use exciting words to make a screenplay
more interesting to read.
9) The First Draft: what to do next once you have finished your first draft.

eBook #8: Joe's Guide to a Professional Looking Screenplay

This eBook teaches you about the major elements that make up a spec screenplay and
how to format each one, such as Scene Headers, Character Names, Dialogue, and
Parentheticals [ read it here ]. You will also learn how and when to use page break
footers, such as "(CONTINUED)," and "(MORE)", as well as how to include Music,
Voice Overs, and Character Point of Views as part of a scene.
Five things I learned from this eBook:
1) Single space between Character Name and Dialogue or Parenthetical. Double line
space between Action Blocks and Dialogue. Double line space between Sluglines
belonging to the same scene. Triple line space between Master Scene Headings.
2) A screenplay is between 90 and 120 pages in length, typed on 8.5" X 11" paper with a
3-hole punch in the left margin for binding with two brad fasteners.
3) A title page consists of the Title, your byline, and contact information. Center the Title
horizontally and vertically on the page and uppercase it.
4) Start a screenplay with FADE IN: flushed against the left margin. End your screenplay
with FADE OUT: flushed against the right margin.
5) Keep Action Blocks and Descriptions under four lines. Producers dislike perusing
through bulky paragraphs.

eBook #9: The Secret Skill of the Truly Professional Screenwriter

This is a short eBook about fine-tuning your skills to work more quickly and effectively
at writing a screenplay [ read it here ]. A screenwriter must harness many skills to write a
screenplay that producers will love. A few of these skills include:
1) Create a powerful premise that lures the interest of an audience;
2) Create lifelike characters with genuine traits and mannerisms;
3) Establish themes, and properly rouse them;
4) Devise engaging dialogue that advances the story and characters;
5) Extend, pick and combine ideal subplots with the main plot.

eBook #10: Screenwriting for Dummies

This eBook shows you how to become a successful screenwriter, whether you decide to
write a movie script or adapt a novel [ read it here ]. The authors provide their own expert
advice to help you plan and plot your story and construct lifelike characters. More
importantly, the authors show you how to write a treatment for your screenplay and how
to pitch your script and sell it to a Hollywood producer or film agent.

Five things I learned from this eBook:

1) Fiction constitutes about 80 percent of what folks read nowadays, but fiction writing
shares only a few similarities with screenwriting. Although both styles encourage an
expression of detail and a preference to introduce multiple characters and settings, fiction
writers must write more elaborately to tell a story, whereas screenwriters can convey the
same scene with a few images.
2) Many of the best movies are recycled and retold because screenwriters approach them
with their own unique viewpoints. Reading the works of seasoned screenwriters can teach
you how to write about similar (proven) stories from a different perspective.
3) Studio executives hunger for the same thinga screenwriter with universal appeal.
Are you that writer whose story will appeal to the masses?
4) Plots and subplots use secondary characters to add depth and dimension to a story.
Movies without subplots tend to make a story stale and predictable. Secondary characters
introduce new experiences, contrasting beliefs, and different viewpoints from the main
characters.
5) In a typical 5-page screenplay treatment, the first page is allotted to Act I; Pages 2
through 4 cover Act II; and Page 5 summarizes Act III. A movie's Act II is twice as long
as Act I or Act III and needs more exposition.

eBook #11: Screenplay Format Guide

This eBook will show how to correctly format a spec screenplay [ read it here ]. The
author gives you the specific measurements for margins, indentations, screenplay
elements, and page numbering. You will also learn how to write proper Scene Headings
(sluglines), Action Blocks, Dialogue, and Transitions. The author provides examples of
each screenplay element so you can see how to do it yourself.
Five things I learned from this eBook:
1) Number Scene Headings in shooting scripts, not in spec scripts.
2) A proper Scene Heading includes either "DAY" or "NIGHT" as a reference to time of
day.
3) In an Action Block, type the character's name in uppercase when you first introduce
the character. After that, type the character's name in Sentence Case.
4) If a character is not present on the screen but viewers can hear his/her voice, then affix
(O.S.) or (V.O.) as part of the character cue. O.S. stands for "off-screen." V.O. stands for
"voice over."
5) Only use all uppercase in an Action Block: 1) when ushering in a new character, 2) to
mark camera instructions, and 3) to underscore sound effects.

eBook #12: After the First Draft

This eBook teaches you 30 essential writing and re-writing tips to improve upon the first
draft of your screenplay [ read it here ]. Although focused more on story writing, the
author helps you: 1) improve your characters and story settings, 2) add emotion to scenes,
and 3) build a better plot.
Five things I learned from this eBook:
1) Canadian-American novelist David Morrell prefers to write compressed chapters, so
that a reader can finish one chapter without interruption. This increases the reader's
attention span because the story has a comfortable pace to it.
2) If you're composing a present-day or a contemporary history narrative, use suitable
character names for that time period.
3) Make your story's environment embody the story plot to add greater depth. This might
involve placing your story in a specific time period, a geographic area, a foreign
landscape, a specific day of year, an awkward social activity, and so on.
4) Great stories consist of characters who are engaged with each other in arguments and
conflict.
5) The beginning of your story should establish the ending. If you introduce a problem at
the beginning, the ending should resolve it.

eBook #13: Character Arcs

Running just 16 pages, this eBook helps you hone one of the most important elements in
writing a story: character arcs [ read it here ]. All seasoned screenwriters build character
arcs before they begin writing their screenplays. A character arc is the position of the
character as it unravels over the course of the story. Characters start a story with a
specific viewpoint, and the events transpiring in the story gradually or suddenly change
the character's viewpoint. The author shows you how to create your own character arcs.
Five things I learned from this eBook:
1) Always know what motivates your main character because motivation is the reason
why your story progresses. Determine your character's occupation, interests, fears, and
passions.
2) Character-based fiction usually focuses on the main character's inner change. External
action usually brings forth this inner change. As the character experiences obstacles and
triumphs, he or she changes internally, thus making for a more interesting story.
3) You can manage character arcs in scenes in two ways: use a scene structure to produce
the change, or use it in a sequel.
4) A character arc is essential in character-based fiction because readers want to know
your character's desires, emotions, thoughts and experiences.
5) A character arc will help you create lifelike characters with whom people can connect
on a personal and emotional level.

eBook #14: FADE IN: From Idea to Final Draft

This eBook provides a remarkable in-depth exploration of the writing process that
screenwriter Michael Piller used to write the screenplay for Star Trek Insurrection from
start to finish [ read it here ]. Besides the writing process, the eBook includes internal
memos, correspondences between film executives, script pitches, story rewrites, and on
so.
Five things I learned from this eBook:
1) Michael Piller was the primary writer from beginning to end on the screenplay. Many
movies and Indie films are written by several writers, most of whom do not receive
credit. Freelance writers and "for hire" screenwriters are recruited like members of a tagteam wrestling team. A story writer is followed by an action writer, then followed by a
character writer, then followed by a dialogue writer, and then followed by other writers,
and so on.
2) Michael Piller recommended reading Tim Gallwey's The Inner Game of Tennis. It has
nothing to do with screenwriting. Instead the book covers how to improve your tennis
game. Michael used the principals in this book to help screenwriters working for him
improve the quality their creative work.
3) Michael recommended writing seven days a week on a project, but limit the amount
you write to about six pages per day. The comfortable pacing helps screenwriters relieve
mental pressure and avoid writer's block.
4) Michael approached each act as a one-act in itself, ensuring it has a strong starting
point, a middle and an end. Every line of dialogue needs to perform some function, even
the casual "yes" or "no" replies. The way in which a character says "yes" or "no" can
reveal much about the inner sanctuary of that character.

5) In writing dialogue you never want a character to say exactly what he/she is feeling.
Instead you want your characters to communicate their feelings via action, no matter how
slight.

eBook #15: From Script to Screen

This eBook [ read it here ] acquaints the aspiring screenwriter and filmmaker to many of
the legal issues and challenges in the film and entertainment industry, such as
understanding: 1) copyright laws and public domain works, 2) option, music and
distribution agreements, 3) copyright clearance procedures, 4) court litigation, and
5) rights transfers and transactions. The authors provide extensive analysis of the
conventions and requirements that the film industry observes on a national and
international scope. The eBook provides sample agreements and contracts, as well as case
studies on various laws on licensing, distribution, and copyright.
Five things I learned from this eBook:
1) A movie is a compilation of copyrights. It consists of the screenplay (perhaps adapted
from a novel), music, sound effects, talent, directing, as well as set designers, fashion
designers, and a technical crew.
2) The distribution channel is classified on three levels: 1) large movie production
companies with national releases and million-dollar budgets; 2) major Indie films with
local or international releases and limited budgets; and 3) misc. outlets such as local
releases, direct-to-DVD, made-for-TV series, streaming video, etc.
3) You can use without a license anything that occurs in public or is reported in the news.
However, you must be sure you do not defame a person or public figure because it could
trigger a lawsuit.

4) If transferring or assigning a copyright, you and the party must have the agreement in
writing because it involves compensation in some way.
5) To use music in a movie, you must purchase two rights: 1) "synchronization rights"
and "master use rights."

eBook #16: The Coverage, Ink Spec Format & Style Guide

This eBook is a comprehensive style guide that aspiring and professional can use to learn
how to format a screenplay, obey specific writing rules, and create engaging scenes with
dialogue and action [ read it here ]. The author teaches you about common screenplay
terminology, writing correct sluglines, and creating a title page.
Five things I learned from this eBook:
1) Spec screenplays and TV drama scripts are single spaced, whereas multi-camera TV
scripts are double spaced.
2) Use the parenthetical (CONTINUOUS) if you want to tell the reader that some action
is continued immediately after the action before it. Use (MORE) when a character's
dialogue breaks at the bottom of the page and begins on the next page. Use
(CONTINUED) when Action breaks at the bottom of the page and continues on the next
page.
3) Capitalize the character's name when he or she first appears in the scene description.
This tells the reader that you are introducing a new character. After that, use standard
mixed case for the character's name. Describe a new character in one to three sentences,
revealing his or her personality and age.

4) Use all uppercase for introducing new characters, to emphasize sounds or special
effects, and to underscore important action verbs.
5) Your screenplay should not run over 120 pages, otherwise industry pros will think you
lack self-editing skills and do not know how to tell a story in under two hours of viewing
time.

eBook #17: The Death of the Screenwriter

This eBook shows you how to become a successful screenwriter in a lackluster economy
based on the experience of a CEO and President of a well-known film production
company [ read it here ]. The author reveals a simple formula to succeed in the so called
"Hollywood 2.0" age of multimedia, streaming video, adaptations of novels, rewrites of
older movies, and significantly scaled-down studio resources.
The author helps you cope with the unsettling changes in the the film industry, how to get
your screenplay read, optioned, and produced into a movie, regardless of the economy's
status.
Five things I learned from this eBook:
1) Once considered "recession-proof," the movie industry has suffered in this economy in
many ways, especially the way in which investors loan money and invest in movies.
2) Current trends point to viewers who want to see big budget action films, comedies and
horror films.
3) In a crisis of of change, successful screenwriters always return to the basics, and adapt

to the new changes from there.

4) Always know what your target audience wants to see. Do not rely on basic instincts or
gut feelings. Conduct extensive research before you begin a screenplay. You must know
what producers are buying right now, what movies are being produced, and what's in
development.
5) You need to develop strong selling and marketing skills to get your screenplay in the
hands of producers. If you lack such skills, find an agent who can market your screenplay
to his or her own industry connections.

eBook #18: Top 10 Screenplay Rewrite Tips

This eBook is a collection of problem-solving strategies to help aspiring screenwriters tap
into their full potential for writing a story-driven screenplay [ read it here ]. The author
offers advice on rewriting and editing, creating conflict, adding traits and mannerisms to
characters, setting up locations for your story, and stirring up interest and emotions.
Five things I learned from this eBook:
1) To control the pacing of your screenplay as a reader peruses it, you can use a technique
called "shot spacing." During the rewriting process, let your screenplay play out in your
mind as it would on a movie screen, and simply strike the "Enter" key on your keyboard
each time you see the shot in your mind change.
2) A story's theme is the viewpoint about the subject matter of your screenplay, which the
lead character "validates" over the duration of the story.
3) Scouting for a location is essential in pre-production film-making. "Virtual scouting" is
equally important to a screenwriter in which you can visually describe the surroundings
that you will place your characters in.
4) Optimize your characters' dialogue by speaking it aloud.
5) Character tags are physical characteristics or dialogue peculiarities which are distinct
to a specific character.
Wishing you great success in all of your screenwriting ventures,
Brian Scott
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I'd second Quora User's answer regarding the UCLA Extension Writing Programs. I
wouldn't recommend a single other program out there. Stay far away from any gurus or
reported "screenwriting colleges/universities" or anything else.
What UCLA offers is viable film industry involvement and contact, essential for any
budding screenwriter.
That said, to be perfectly honest, what tools you need to become a screenwriter are right
at your fingertips.
Education-wise, I'd strongly recommend that you pick up The Screenwriter's Bible, How
Not to Write a Screenplay, and Writing Movies for Fun and Profit.

The first two books focus on the general guidelines and expectations of the film industry.
A wealth of information WITHOUT any film theory, secret answers and formulas for
success (There aren't any), etc.
The last one is written by two of the hottest Hollywood studio writers. It's a really fun
read with some humor, but it also really captures the life of a working screenwriter, at
least in their case of being of that top 1% that make millions.
Now, you'll research and learn about books by the likes of Robert McKee, the late Blake
Snyder, and many other "gurus". I will say that both offer some good food for the brain,
but please do yourself a favor and don't fall to your knees and follow their every word...
or even a large portion of them.

So those three books are great education to teach you the basics.
Secondly, I'd strongly recommend reading a lot of produced screenplays. You can find
them online at many places. Avoid transcripts. Avoid ones that are not offered in PDF
format. You can go to my old stomping grounds at Wisconsin Screenwriters Forum and
click on Scripts. I had a four year term as the president of this non-profit screenwriter's
support group (Which was also mentioned in The Screenwriter's Bible) and developed
this website and also created their script database. Lots of great scripts there.
Reading scripts is essential.
Beyond that, watch movies. Study them. Once you learn the basics from the above
books and get a general understanding of the structure and format of a screenplay, you
can go and watch movies similar in subject, genre, theme, and tone to what you would
like to write.
After that, just write, write, write.
These details will be your best education, and I'd argure that they'd be even better than
taking the UCLA Extension course, however it would do you good to do it all.