Stalking The Story
Working with the idea that writing a screenplay is a process of discovery, Stalking the Story uses the world of the detective, that prototypical master of observation, as the stage for storyplanning. The detective's whole reason for being is to discover bits of seemingly unrelated facts, observations, and hearsay and fashion them into a narrative that lays out 'whodunit'. Replace detective with writer and 'whodunit' with his story, and it's evident that the writer and the detective have more than a little incommon. In this clever and unique writing manual, Jay Douglas puts the reader in the position of a detective, searching for a missing story, then guides him-with the assistance of some classic TV sleuths - through the experience of finding that story, the story that is central to the screenplay he wants to write.
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The Case ofthe Simple Human Truth
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Stalking the Story: How to Find Your Screenplay's Story with Help from TV's ...
No preview available - 2011
Adrian Monk Aunt Francine baggage Banacek Barnaby Jones brainsleuthing can’t career day Carla cause and effect Chapter Columbo commensurate with results confession conflict DAYTODAY ACTIVITIES desk detective’s didn’t doesn’t dossier END OF DENIAL fame famous feel FIELD REPORT WORKSHEET FINAL REPORT ENTRY Francine and Horace Francine seems Francine’s FRIEND/ALLY friends and acquaintances Gil Grissom going Goren Grissom happened hero’s Horace and Francine Horace’s art idea ifthe hero isn’t Jessica Fletcher Joan kids lemonade Let’s looking loose ends move nephew Nicole Wallace ofthe story ofthis ofthose ofyour Peggy person police Profile Summary protagonist question remuneration commensurate robbing banks Rockford scene screenwriting script she’s Simple Human Truth solve his problem someone Stanley Stanley’s story detective tell there’s they’re things turn Uncle Horace Veronica Mars villain voices what’s who’s write you’ll you’re you’ve