Scriptwriting Updated: New and Conventional Ways of Writing for the ScreenScript writing has changed in the past years and this book shows today's scriptwriter how to write with the new strucutures of flash backs, parallel storytelling and multiple protagonists. "The traditional and new narrative structures are carefully explained and cross referenced. There is arange of helpful analytical aids like charts, quick reference guides and structural breakdowns. Special script development strategies help with plotting. There are highly effective concentration techniques for countering cliche and a wide variety of ways to trigger ideas." - back cover. |
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Contents
| 1 | |
| 13 | |
| 23 | |
Getting good ideas fast from nonnarrative triggers | 31 |
Overview of traditional narrative structure | 39 |
Development Strategies for a traditional threeact film | 51 |
flashback | 105 |
Varieties of flashback narrative | 117 |
Tandem narrative and sequential narrative | 185 |
Multiple protagonists and antagonists | 221 |
films with structural flaws | 237 |
Dialogue | 255 |
Examples of flawed dialogue writing | 265 |
Treatment writing and the script as instruction manual | 279 |
Strategy for writing under pressure | 285 |
Bibliography | 291 |
Quick reference guide to using flashback narrative | 129 |
Structure charts of flashback narrative | 143 |
Common terms and phrases
action line actually answer antagonist appears audience become brainstorming causes Chapter character Cinderella climax closure comedy comes common connections crash create David death define detail Development Strategy dialogue disturbance emotional enigmatic outsider example fact feel Figure film final first-act turning point flashback narrative force genre getting give goes happen ideas important interesting involves journey Kane keep lateral leaves Lives look macro means move movie multiple murder normality occur opening parallel past person Peter physical piano plot possible present problem protagonist provides Pulp Fiction quest questions range relationship line runs says scene screen script second-act turning point seen sequence short start starts Stevens story structure surprise tells thinking third three-act structure thwarted dream told triggering triggering crisis trying understand unusual usually vertical writing
Popular passages
Page 182 - The door in the mountain side shut fast. Did I say, all? No! One was lame, And could not dance the whole of the way; And in after years, if you would blame His sadness, he was used to say— "It's dull in our town since my playmates left!
Page 4 - I was astonished that almost every writer pitched variations of exactly the same plots. The most popular: Maddie and David are trapped together...
Page 41 - Essentially, dramatic high points come at the end of the first act, the end of the second act...
Page 181 - Because we've all lost our children. They're dead to us. They're killing each other in the streets, [Billy leaves.] as they wander comatose through shopping malls.
Page 4 - Each writer pitched this isolation idea with fervour, confident that it was the most original and compelling notion of all time.
Page 139 - The prince announces that he will marry the woman whose foot fits the shoe.
Bibliographic information
| Title | Scriptwriting Updated: New and Conventional Ways of Writing for the Screen |
| Author | Linda Aronson |
| Contributor | Australian Film, Television and Radio School |
| Edition | illustrated |
| Publisher | Allen & Unwin, 2000 |
| ISBN | 1876351039, 9781876351038 |
| Length | 300 pages |
| Export Citation | BiBTeX EndNote RefMan |