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丕賱爻賷賳丕乇賷賵
賱毓賱 賰鬲丕亘 (丕賱爻賷賳丕乇賷賵... 兀爻爻 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵) 丕賱兀賵賱 賲賳 賳賵毓賴貙 賮賱賲 鬲毓乇賮 丕賱賲賰鬲亘丞 丕賱毓乇亘賷丞 賰鬲丕亘丕賸 賲鬲乇噩賲丕賸 丨賵賱 丕賱爻賷賳丕乇賷賵 亘賲孬賱 賴匕丕 丕賱賲賳賴噩 丕賱匕賷 噩賲毓 亘賷賳 丕賱鬲胤亘賷賯 賵丕賱鬲賳馗賷乇 賮賷 丌賳 賵丕丨丿.
兀爻賱賵亘 丕賱賰鬲丕亘 爻賴賱 賵卮賷賯貙 賱賰賳賴 賲賳 噩賴丞 丕禺乇賶 睾夭賷乇 賮賷 賲毓賱賵賲丕鬲賴 賵鬲賮丕氐賷賱賴貙 兀賳賴 賷噩賲毓 亘賷賳 丕賱賲鬲毓丞 賵丕賱鬲毓賱賲貙 賵賮囟賷賱丞 賴匕丕 丕賱賰鬲丕亘 鬲毓賵丿 丕賱賶 賲丐賱賮賴 (爻丿 賮蹖賱丿)貙 丕賱匕賷 賷毓鬲亘乇 丨噩丞 賮賷 賴匕丕 丕賱賲噩丕賱. 賵賰鬲丕亘賴 賴匕丕 禺賱丕氐丞 賯乇丕亍鬲賴 賱兀賱賮賷 賳氐 爻賷賳賲丕卅賷 兀丨丕賱鬲賴 廿賱賷賴 丕賱卮乇賰丕鬲 丕賱爻賷賳賲丕卅賷丞 丕賱兀賲乇賷賰賷丞 丕賱賰亘乇賶貙 賱賯丿 丌孬丕乇 丕賱賰鬲丕亘 丨丕賱 氐丿賵乇賴 亘丕賱賱睾丞 丕賱廿賳賰賱賷夭賷丞 囟噩丞 賰亘乇賶 賮賷 丕賱兀賵爻丕胤 丕賱爻賷賳賲丕卅賷丞 丕賱兀賲乇賷賰賷丞 廿賱賶 丨丿 毓丿賴 丕賱亘毓囟 賲乇噩毓丕賸 賲賴賲丕賸 賱丕 睾賳賶 毓賳賴. 廿賳 賴匕丕 丕賱賰鬲丕亘 賱丕 賷賴賲 丕賱賲禺鬲氐賷賳 賮賷 丕賱爻賷賳丕乇賷賵 賮丨爻亘貙 亘賱 賷賴賲 丕賱賯氐丕氐賷賳 賵丕賱乇賵丕卅賷賷賳 賵丕賱賲爻乇丨賷賷賳貙 廿囟丕賮丞 廿賱賶 丕賱賯丕乇卅 丕賱匕賷 爻賷噩丿 賮賷賴 囟丕賱鬲賴 賮賷 丨賯賱 兀爻爻 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賵氐賳毓鬲賴 賵噩賲丕賱賷丕鬲賴 賵丕禺賷乇丕 丕賳賴 賰鬲丕亘 賷毓賱賲賰 賰賷賮 鬲賰鬲亘 爻賷賳丕乇賷賵 噩賷丿丕賸.
兀爻賱賵亘 丕賱賰鬲丕亘 爻賴賱 賵卮賷賯貙 賱賰賳賴 賲賳 噩賴丞 丕禺乇賶 睾夭賷乇 賮賷 賲毓賱賵賲丕鬲賴 賵鬲賮丕氐賷賱賴貙 兀賳賴 賷噩賲毓 亘賷賳 丕賱賲鬲毓丞 賵丕賱鬲毓賱賲貙 賵賮囟賷賱丞 賴匕丕 丕賱賰鬲丕亘 鬲毓賵丿 丕賱賶 賲丐賱賮賴 (爻丿 賮蹖賱丿)貙 丕賱匕賷 賷毓鬲亘乇 丨噩丞 賮賷 賴匕丕 丕賱賲噩丕賱. 賵賰鬲丕亘賴 賴匕丕 禺賱丕氐丞 賯乇丕亍鬲賴 賱兀賱賮賷 賳氐 爻賷賳賲丕卅賷 兀丨丕賱鬲賴 廿賱賷賴 丕賱卮乇賰丕鬲 丕賱爻賷賳賲丕卅賷丞 丕賱兀賲乇賷賰賷丞 丕賱賰亘乇賶貙 賱賯丿 丌孬丕乇 丕賱賰鬲丕亘 丨丕賱 氐丿賵乇賴 亘丕賱賱睾丞 丕賱廿賳賰賱賷夭賷丞 囟噩丞 賰亘乇賶 賮賷 丕賱兀賵爻丕胤 丕賱爻賷賳賲丕卅賷丞 丕賱兀賲乇賷賰賷丞 廿賱賶 丨丿 毓丿賴 丕賱亘毓囟 賲乇噩毓丕賸 賲賴賲丕賸 賱丕 睾賳賶 毓賳賴. 廿賳 賴匕丕 丕賱賰鬲丕亘 賱丕 賷賴賲 丕賱賲禺鬲氐賷賳 賮賷 丕賱爻賷賳丕乇賷賵 賮丨爻亘貙 亘賱 賷賴賲 丕賱賯氐丕氐賷賳 賵丕賱乇賵丕卅賷賷賳 賵丕賱賲爻乇丨賷賷賳貙 廿囟丕賮丞 廿賱賶 丕賱賯丕乇卅 丕賱匕賷 爻賷噩丿 賮賷賴 囟丕賱鬲賴 賮賷 丨賯賱 兀爻爻 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賵氐賳毓鬲賴 賵噩賲丕賱賷丕鬲賴 賵丕禺賷乇丕 丕賳賴 賰鬲丕亘 賷毓賱賲賰 賰賷賮 鬲賰鬲亘 爻賷賳丕乇賷賵 噩賷丿丕賸.
239 pages, Paperback
First published January 1, 1979
1738 people are currently reading
11210 people want to read
About the author
Syd Field
37听books212听followersSydney Alvin Field was an American screenwriting guru who wrote several books on the subject of screenwriting. He also conducted workshops and seminars on the subject of producing salable screenplays. Hollywood film producers have increasingly used his ideas on structure as a guideline to a proposed screenplay's potential.
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Displaying 1 - 30 of 587 reviews
November 25, 2016
If Save the Cat is like arithmetic, Screenplay is like algebra.
What鈥檚 fascinating to me is the type of person each of these books was written for, which can be gleaned from the movies recommended by the authors. Blake Snyder loves Legally Blonde and Four Christmases while Syd Field is more of an American Beauty and The Shawshank Redemption guy. Snyder wants to cash in on the mostly clueless get-rich-quick crowd whereas Field aims at aficionados who have good concepts but no idea how to execute; he harbors no illusions about the field鈥檚 financial outlook, instead focusing on the love of the work itself. As Field and I are much closer in terms of taste, I obviously recommend his book over Snyder鈥檚.
What does it do well? For one, it breaks down several scripts line-by-line and explains not only why they work, but how they work. Turns out that the screenplay form has magical properties that novels, plays, and poems lack (vice versa, of course), and that understanding them is key to animating your text. The technical, visual, and emotional aspects are all covered, as are the common pitfalls that trap novice screenwriters. Field tells of F. Scott Fitzgerald鈥檚 failed foray into Hollywood, his students鈥� successes and failures, and interviews with prominent screenwriters. All of which are great fun.
David Foster Wallace offers: 鈥淢ovies are an authoritarian medium. They vulnerabilize you and then dominate you. Part of the magic of going to a movie is surrendering to it, letting it dominate you.鈥� Which is absolutely true. And from Spiderman: 鈥淲ith great power comes great responsibility.鈥� So you see what cinema we watch is vital, and it is people like Field who have a hand in shaping its future. I, for one, prefer films that allow audiences to come to terms with our common humanity, as opposed to those which shape our worldview into something simple and zombified.
As such, the creation of a film is wrought with ethics through and through. Field gets extra brownie points for centering his philosophy around Hegel, who 鈥渕aintained that the essence of tragedy derives not from one character being right and the other being wrong, or from the conflict of good versus evil, but from a conflict in which both characters are right, and thus the tragedy is one of 鈥榬ight against right,鈥� being carried to its logical conclusion. [p.132]鈥� Example films that fit the bill include Hayao Miyazaki鈥檚 repertoire and, recently, Captain Fantastic.
You might ask why I only give this four stars, and the reason, ironically, has to do with form. Field practically invented the three-act structure, but it certainly isn鈥檛 the only paradigm (to use his term) through which a story can be told. While this was broadly true of Hollywood when the first edition of the book came out, it seems disingenuous to fit Memento and Pulp Fiction into the model 鈥� round pegs into square holes 鈥� much less the art cinema of Rive Gauche and Haneke or mind-benders like Primer. Movies, constrained by time, must have a beginning and ending, but how they are structured in between is not nearly as fixed as Field suggests.
I eagerly await the day someone makes a film whose ending is not the actual ending and whose actual ending must be deduced by the audience after the fact. I guarantee the first person to do this will be hailed as a genius. Oh wait, I've just read a couple screenwriting books. That could be me!
P.S. Watching Chinatown is required before you start reading; Field references it extensively.
Favorite quotes
鈥淚 once taught a workshop in Germany for some fifty writers, and out of fifty stories, forty-six of them ended in death, suicide, mayhem, and destruction. [p.86]鈥�
鈥淎ll drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story; and without story, you have no screenplay. [p.25]鈥�
鈥淧oint of view shades and colors the way we see the world. Have you ever heard phrases like: 鈥楲ife is unfair,鈥� 鈥榊ou can鈥檛 fight City Hall,鈥� 鈥楢ll life is a game of chance,鈥� 鈥榊ou can鈥檛 teach an old dog new tricks,鈥� 鈥楲ife is unlimited opportunity,鈥� 鈥榊ou make your own luck,鈥� 鈥榦r 鈥楽uccess is based on who you know鈥�? These are all points of view. We all have points of view, singular and unique, individual to the personal experience and expression of each person. It should be mentioned that a point of view is acquired through personal experience. [p.65]鈥�
鈥淔ilm is behavior; action is character and character, action; what a person does is who he is, not what he says. [p.69]鈥�
What鈥檚 fascinating to me is the type of person each of these books was written for, which can be gleaned from the movies recommended by the authors. Blake Snyder loves Legally Blonde and Four Christmases while Syd Field is more of an American Beauty and The Shawshank Redemption guy. Snyder wants to cash in on the mostly clueless get-rich-quick crowd whereas Field aims at aficionados who have good concepts but no idea how to execute; he harbors no illusions about the field鈥檚 financial outlook, instead focusing on the love of the work itself. As Field and I are much closer in terms of taste, I obviously recommend his book over Snyder鈥檚.
What does it do well? For one, it breaks down several scripts line-by-line and explains not only why they work, but how they work. Turns out that the screenplay form has magical properties that novels, plays, and poems lack (vice versa, of course), and that understanding them is key to animating your text. The technical, visual, and emotional aspects are all covered, as are the common pitfalls that trap novice screenwriters. Field tells of F. Scott Fitzgerald鈥檚 failed foray into Hollywood, his students鈥� successes and failures, and interviews with prominent screenwriters. All of which are great fun.
David Foster Wallace offers: 鈥淢ovies are an authoritarian medium. They vulnerabilize you and then dominate you. Part of the magic of going to a movie is surrendering to it, letting it dominate you.鈥� Which is absolutely true. And from Spiderman: 鈥淲ith great power comes great responsibility.鈥� So you see what cinema we watch is vital, and it is people like Field who have a hand in shaping its future. I, for one, prefer films that allow audiences to come to terms with our common humanity, as opposed to those which shape our worldview into something simple and zombified.
As such, the creation of a film is wrought with ethics through and through. Field gets extra brownie points for centering his philosophy around Hegel, who 鈥渕aintained that the essence of tragedy derives not from one character being right and the other being wrong, or from the conflict of good versus evil, but from a conflict in which both characters are right, and thus the tragedy is one of 鈥榬ight against right,鈥� being carried to its logical conclusion. [p.132]鈥� Example films that fit the bill include Hayao Miyazaki鈥檚 repertoire and, recently, Captain Fantastic.
You might ask why I only give this four stars, and the reason, ironically, has to do with form. Field practically invented the three-act structure, but it certainly isn鈥檛 the only paradigm (to use his term) through which a story can be told. While this was broadly true of Hollywood when the first edition of the book came out, it seems disingenuous to fit Memento and Pulp Fiction into the model 鈥� round pegs into square holes 鈥� much less the art cinema of Rive Gauche and Haneke or mind-benders like Primer. Movies, constrained by time, must have a beginning and ending, but how they are structured in between is not nearly as fixed as Field suggests.
I eagerly await the day someone makes a film whose ending is not the actual ending and whose actual ending must be deduced by the audience after the fact. I guarantee the first person to do this will be hailed as a genius. Oh wait, I've just read a couple screenwriting books. That could be me!
P.S. Watching Chinatown is required before you start reading; Field references it extensively.
Favorite quotes
鈥淚 once taught a workshop in Germany for some fifty writers, and out of fifty stories, forty-six of them ended in death, suicide, mayhem, and destruction. [p.86]鈥�
鈥淎ll drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story; and without story, you have no screenplay. [p.25]鈥�
鈥淧oint of view shades and colors the way we see the world. Have you ever heard phrases like: 鈥楲ife is unfair,鈥� 鈥榊ou can鈥檛 fight City Hall,鈥� 鈥楢ll life is a game of chance,鈥� 鈥榊ou can鈥檛 teach an old dog new tricks,鈥� 鈥楲ife is unlimited opportunity,鈥� 鈥榊ou make your own luck,鈥� 鈥榦r 鈥楽uccess is based on who you know鈥�? These are all points of view. We all have points of view, singular and unique, individual to the personal experience and expression of each person. It should be mentioned that a point of view is acquired through personal experience. [p.65]鈥�
鈥淔ilm is behavior; action is character and character, action; what a person does is who he is, not what he says. [p.69]鈥�
September 18, 2012
I thought this book was going to be a technical guide to formatting a screenplay.
I finished this book having no idea how to do that. Field spends half a chapter on formatting. Thank God for software like CeltX.
But I finished this book with a greater appreciation of the writing process. I now have a better idea of how movies are written, and thus a much more technical appreciation of the writer's creative decisions when I watch movies.
All movies are structured identically: 3 acts -- first, a kick-off incident which leads to a major turning point to set up the conflict; then problem after problem ratchets the tension to a serious turning point; then the movie plays out and all life happily ever after (most of the time). That frees your creativity: hang your screenplays on that structure and you can't go wrong.
I got more than I bargained for with this one, and it was worth every penny.
I finished this book having no idea how to do that. Field spends half a chapter on formatting. Thank God for software like CeltX.
But I finished this book with a greater appreciation of the writing process. I now have a better idea of how movies are written, and thus a much more technical appreciation of the writer's creative decisions when I watch movies.
All movies are structured identically: 3 acts -- first, a kick-off incident which leads to a major turning point to set up the conflict; then problem after problem ratchets the tension to a serious turning point; then the movie plays out and all life happily ever after (most of the time). That frees your creativity: hang your screenplays on that structure and you can't go wrong.
I got more than I bargained for with this one, and it was worth every penny.
December 11, 2007
i'm going to say i've finished this book, though i skipped a lot of chapter 14 & left 15 for some other day, or need of reference.
syd field is a no-nonsense, bridle no shit, formulaic bastard - but this book is an indispensable reference to those who are, actually writing a screenplay. granted, this is more for those who are "writing to sell a screenplay to Hollywood" than those who want to experiment with the form. mr. field is relentlessly capitalist about his notion of a 'good script,' and backs up his theory & formula with examples from classic films like Chinatown, The Wild Bunch, Casablanca, Citizen Kane, and, if you're reading this new updated version, many modern films as well. this book has supposedly been the industry standard for decades.
this is not the kind of book that will work for everyone. his tone in the ... manual, i've come to call it ... is overarching and sort of snobby, what with repeating key points in BOLD and in CAPITALS. then, in the section where he actually talks about actually 'writing' the screenplay, he says things like "Your dialogue will be bad at first."
i'm really torn on it, though. the theory of his 'paradigm,' which basically informs the entire book, is repeated to you, over & over again - but at the same time, it's an undeniable paradigm. it just seems like syd field has been patting himself on the back, lo these thirty-some-odd past years, for discovering it. the Columbus of Hollywood, and indeed, of Screenwriting.
syd field is a no-nonsense, bridle no shit, formulaic bastard - but this book is an indispensable reference to those who are, actually writing a screenplay. granted, this is more for those who are "writing to sell a screenplay to Hollywood" than those who want to experiment with the form. mr. field is relentlessly capitalist about his notion of a 'good script,' and backs up his theory & formula with examples from classic films like Chinatown, The Wild Bunch, Casablanca, Citizen Kane, and, if you're reading this new updated version, many modern films as well. this book has supposedly been the industry standard for decades.
this is not the kind of book that will work for everyone. his tone in the ... manual, i've come to call it ... is overarching and sort of snobby, what with repeating key points in BOLD and in CAPITALS. then, in the section where he actually talks about actually 'writing' the screenplay, he says things like "Your dialogue will be bad at first."
i'm really torn on it, though. the theory of his 'paradigm,' which basically informs the entire book, is repeated to you, over & over again - but at the same time, it's an undeniable paradigm. it just seems like syd field has been patting himself on the back, lo these thirty-some-odd past years, for discovering it. the Columbus of Hollywood, and indeed, of Screenwriting.
April 15, 2020
This book was just what I needed to further clarify the screenplay structure. The more one searches about writing screenplays the more it seems everyone has their own "formula" for how a screenplay MUST be written. All the "experts" want to sell their course, book, or "rules" on the ultimate, "guaranteed" way to write a screenplay that Hollywood will buy. This book was refreshing because it was light on rules and only laid out the basic structure while reassuring that the "rules" can be bent and even broken. Interestingly, this book is written in a Three Act Structure. It starts off slow and too basic then gets into the meat of the material in the middle. The last chapters are mostly about professional situations and not about screenplay structure at all. I particularly found the part of the book about screenplay structure along with example screenplay inserts helpful as reading successfully-made Hollywood critically-acclaimed screenplays best illustrates a masterful execution of the subject material. After reading this book I feel better equipped to write a screenplay, which was my whole purpose for reading it. I can see why this book is considered the "gold standard" for screenplay writers. This is not a book that is best read in one sitting from cover to cover as parts of it need to be digested and internalized over a period of time.
March 14, 2025
My first time learning structure as a non film degree holder and what a rewarding read. His ideas seem to reflect first principles and his writing is clear with plenty of examples to teach not only structure but film literacy.
Most striking to me was watching art film darling Kieslowski鈥檚 Three Colors Trilogy between reading sessions and seeing Field鈥檚 approach applied even there. He鈥檚 not just talking about soulless studio driven drivel. He鈥檚 talking about that thing that T2 has in common with Chinatown.
For any writers like myself who equate structure with selling out, yeah that鈥檚 still true in highly formulaic contexts, but Field is not advocating for that type of film. Even if you reject his ideas you鈥檒l be glad you learned them. If you want to make films that are meaningfully ambiguous, for instance, you鈥檒l still want to know this salient approach to rendering clarity that might inform your own subversion. If you want to tell stories with unique kinetics, you鈥檒l need to know this approach to driving plot to understand how high the bar is that you鈥檙e trying to beat.
Most striking to me was watching art film darling Kieslowski鈥檚 Three Colors Trilogy between reading sessions and seeing Field鈥檚 approach applied even there. He鈥檚 not just talking about soulless studio driven drivel. He鈥檚 talking about that thing that T2 has in common with Chinatown.
For any writers like myself who equate structure with selling out, yeah that鈥檚 still true in highly formulaic contexts, but Field is not advocating for that type of film. Even if you reject his ideas you鈥檒l be glad you learned them. If you want to make films that are meaningfully ambiguous, for instance, you鈥檒l still want to know this salient approach to rendering clarity that might inform your own subversion. If you want to tell stories with unique kinetics, you鈥檒l need to know this approach to driving plot to understand how high the bar is that you鈥檙e trying to beat.
July 8, 2010
賰鬲丕亘 賲賴賲 賱賷爻 賮賯胤 賱賲賳 賷爻毓賶 賱鬲毓賱賲 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 貙 賱賰賳 亘乇卮丨丞 賱賰賱 丨丿 亘賷丨亘 丕賱爻賷賳賲丕 賰賲卮丕賴丿 賵毓丕丿賶 賵賱丕賶 賰丕鬲亘 貙 丕賱賰鬲丕亘 賮賷丞 亘毓囟 丕賱賮氐賵賱 丕賱賲賴賲丞 毓賱賶 賲爻鬲賵賶 丕賱毓賱丕賯丕鬲 丕賱丕賳爻丕賳賷丞 賵賮氐賵賱 丕禺乇賶 賲賴賲 亘丕賱賳爻亘丞 賱賱賰丕鬲亘 賵乇丨賱鬲丞 賲毓 丕賱賰鬲丕亘丞 賲賳 丕爻鬲賰卮丕賮 賱賱匕丕鬲 賵賳噩丕丨丕鬲 賵賮卮賱
丕賱賰鬲丕亘 賱丞 鬲乇噩賲丞 亘丕賱賱睾丞 丕賱毓乇亘賷丞 賱賵丕丨丿 毓乇丕賯賶 賲卮 賲鬲匕賰乇 丕爻賲丞 賱賰賳 丕賱鬲乇噩賲丞 氐丕丿乇丞 賮賶 丕賱爻亘毓賷賳丕鬲 賲卮賰賱丞 丕賱鬲乇噩賲丞 丕賳 丕爻賲丕亍 丕賱丕賮賱丕賲 丕賱賱賶 賲匕賰賵乇丞 賮賶 丕賲孬賱丞 丕賱賰丕鬲亘 賮賶 丕賱賳爻禺丞 丕賱賯丿賷賲 丕睾賱亘賴丕 賲卮 賲毓乇賵賮 丿賱賵賯鬲賶 賱賰賳 賮賶 丕賱賳爻禺丞 丕賱噩丿賷丿丞 丕睾賱亘 丕賱丕賮賱丕賲 賲毓乇賵賮丞
丕賱賰鬲丕亘 賱丞 鬲乇噩賲丞 亘丕賱賱睾丞 丕賱毓乇亘賷丞 賱賵丕丨丿 毓乇丕賯賶 賲卮 賲鬲匕賰乇 丕爻賲丞 賱賰賳 丕賱鬲乇噩賲丞 氐丕丿乇丞 賮賶 丕賱爻亘毓賷賳丕鬲 賲卮賰賱丞 丕賱鬲乇噩賲丞 丕賳 丕爻賲丕亍 丕賱丕賮賱丕賲 丕賱賱賶 賲匕賰賵乇丞 賮賶 丕賲孬賱丞 丕賱賰丕鬲亘 賮賶 丕賱賳爻禺丞 丕賱賯丿賷賲 丕睾賱亘賴丕 賲卮 賲毓乇賵賮 丿賱賵賯鬲賶 賱賰賳 賮賶 丕賱賳爻禺丞 丕賱噩丿賷丿丞 丕睾賱亘 丕賱丕賮賱丕賲 賲毓乇賵賮丞
June 8, 2023
丕诏賴 亘賴 賳賵蹖爻賳丿诏蹖 爻蹖賳賲丕 毓賱丕賯賴 丿丕乇蹖賳 爻賲鬲 讴鬲丕亘 賴丕蹖 爻蹖丿 賮蹖賱丿 賳乇蹖丿. 亘丕 賵噩賵丿 卮賴乇鬲 夭蹖丕丿 爻蹖丿 賮蹖賱丿 鬲賵 讴鬲丕亘 賴丕卮 亘賴 噩夭 賯賱賲 賮乇爻丕蹖蹖 丿乇 賲賵乇丿 亘丿蹖賴蹖丕鬲 爻蹖賳賲丕貙 賵丨蹖 讴乇丿賳 蹖賴 爻乇蹖 丿爻鬲賵乇丕賱毓賲賱 賴丕蹖 讴賱蹖貙 賮禺乇 賮乇賵卮蹖 丕夭 禺丕胤乇丕鬲 卮禺氐蹖卮 夭賲丕賳 讴丕乇 鬲賵 丕爻鬲賵丿蹖賵 賴丕蹖 賴丕賱蹖賵賵丿蹖 賵 亘乇诏夭丕乇蹖 賵乇讴卮丕倬 賴丕卮 趩蹖夭 丿蹖诏賴 丕蹖 丿爻鬲诏蹖乇鬲賵賳 賳賲蹖卮賴. 鬲賳賴丕 賳讴鬲賴 賲孬亘鬲 讴鬲丕亘 鬲賲乇蹖賳 賴丕蹖蹖賴 讴賴 丌禺乇 賴乇 賮氐賱 賲蹖丿賴.
November 12, 2020
賰鬲丕亘 噩賲賷賱 噩丿丕 賱賰鬲丕亘 丕賱爻賷賳丕乇賷賵 丕賱賲亘鬲丿卅賷賳貙 乇睾賲 丕賳 丕賱鬲乇噩賲丞 賱賷爻鬲 亘兀賮囟賱 丨丕賱丕鬲賴丕 賵賱賰賳 丕賱賲毓賳賶 丕爻鬲胤丕毓 丕賳 賷氐賱 賱賷.
爻賷丿賮賷賱丿 賰丕鬲亘 賲鬲賲賰賳 賲賳 丕賳賴 賷卮丿 丕賱賯丕乇卅 賱賴 賵賷噩毓賱賴 賷爻鬲賲鬲毓 丨鬲賶 賵賴賵 賷賯乇兀 丕爻胤乇 賲賳 丕賱鬲毓賱賷賲丕鬲 丨賵賱 丕賱賰鬲丕亘丞 賵丕賱賯氐氐.
爻賷丿賮賷賱丿 賰丕鬲亘 賲鬲賲賰賳 賲賳 丕賳賴 賷卮丿 丕賱賯丕乇卅 賱賴 賵賷噩毓賱賴 賷爻鬲賲鬲毓 丨鬲賶 賵賴賵 賷賯乇兀 丕爻胤乇 賲賳 丕賱鬲毓賱賷賲丕鬲 丨賵賱 丕賱賰鬲丕亘丞 賵丕賱賯氐氐.
March 25, 2022
醿愥儧 醿欋儛醿儭 醿♂儶醿斸儨醿愥儬醿樶儭 醿掅儛醿溼儠醿樶儣醿愥儬醿斸儜醿樶儭醿椺儠醿樶儭 醿愥儢醿犪儭 醿斸儥醿樶儣醿償醿戓儩醿撫儨醿斸儨 醿樶儭醿斸儣醿� 醿掅儤醿掅儛醿溼儮醿斸儜醿�, 醿犪儩醿掅儩醿犪償醿戓儤醿� 醿愥儬醿樶儛醿� 20th century fox, disney, paramount 醿撫儛 醿欋儤醿撫償 醿愥儬醿愥償醿犪儣醿� 醿♂儺醿曖儛.
醿涐儩醿欋儦醿斸儞, 醿п儠醿斸儦醿愥儭 醿掅儤醿犪儵醿斸儠醿�.
醿涐儩醿欋儦醿斸儞, 醿п儠醿斸儦醿愥儭 醿掅儤醿犪儵醿斸儠醿�.
February 11, 2012
I鈥檒l preface by saying I鈥檓 a novelist, not a screenwriter. But I enjoyed and gleaned from this book on so many levels, not least in quenching my curiosity about some of the behind-the-scenes crafting of movies. Strictly from a novelist鈥檚 point of view, however, I found the book worthwhile for two primary reasons. 1) Its stripped-down, simple view of structure is fabulous. It allows you to see the basics of structure at a glance, break it down to manageable chunks, and realize the big picture. 2) It鈥檚 also valuable in its ability to help film-saturated authors (such as myself) realize the important differences in story on the screen and story on the page. Worth reading whether you鈥檙e a screenwriter, a novelist, or a short story writer. Or even just a film buff.
December 17, 2021
賲丨亘賵亘鈥屫臂屬� 讴鬲丕亘賽 爻蹖丿 賮蹖賱丿 亘賴 賲亘丕丨孬 賲禺鬲賱賮蹖 丿乇 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 賲蹖鈥屬矩必ж操� 讴賴 禺蹖賱蹖鈥屬囏ж促堎� 賲蹖鈥屫堎嗁嗀� 亘乇丕蹖 賳賵蹖爻賳丿诏丕賳蹖 讴賴 丿乇 賮乇賲蹖 睾蹖乇 丕夭 賮蹖賱賲賳丕賲賴 賲蹖鈥屬嗁堐屫迟嗀� 賴賲 賲賮蹖丿 亘丕卮賳丿.
爻蹖丿 賮蹖賱丿 亘賴 诏賮鬲賴鈥屰� 禺賵丿卮 丿乇 丨丿賵丿 丿賵 爻丕賱貙 亘蹖卮 丕夭 丿賵 賴夭丕乇 賮蹖賱賲賳丕賲賴 禺賵賳丿賴 賵 丕夭 亘蹖賳 丕賵賳鈥屬囏ж� 賮賯胤 趩賴賱鈥屫� 乇賵 亘乇丕蹖 鬲賵賱蹖丿 丕丨鬲賲丕賱蹖 賮蹖賱賲 亘賴 卮乇讴丕蹖 賲丕賱蹖 鬲丨賵蹖賱 丿丕丿賴. 趩賵賳 丕夭 賮蹖賱賲賳丕賲賴鈥屰� 禺賵亘 賲賲讴賳賴 賮蹖賱賲 亘丿 爻丕禺鬲貙 丕賲丕 丕夭 賮蹖賱賲賳丕賲賴鈥屰� 亘丿 賳賲蹖鈥屫促� 賮蹖賱賲 禺賵亘 爻丕禺鬲. 亘丕夭蹖诏乇丕賳 賲丨亘賵亘貙 噩賱賵賴鈥屬囏й� 賵蹖跇賴 賵 亘賵丿噩賴鈥屰� 夭蹖丕丿 賳賲蹖鈥屫堎嗁� 丕蹖賳 賲賵囟賵毓 乇賵 倬賳賴丕賳 讴賳賳 讴賴 賮蹖賱賲 賳禺爻鬲 亘賴 賮蹖賱賲賳丕賲賴 賵 丿丕爻鬲丕賳 禺賵亘 賳蹖丕夭 丿丕乇賴.
爻蹖丿 賮蹖賱丿 丿乇亘丕乇賴 丕賯鬲亘丕爻貙 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 卮乇蹖讴蹖貙 乇賮毓 爻丿 賳賵卮鬲賳貙 讴倬蹖鈥屫必й屫� 賮囟丕蹖 賴丕賱蹖賵賵丿貙 爻丕禺鬲丕乇 賮蹖賱賲賳丕賲賴貙 馗丕賴乇 賲鬲賳 賮蹖賱賲賳丕賲賴貙 卮禺氐蹖鬲鈥屬囏ж� 讴卮賲讴卮鈥屬囏� 賵... 趩蹖夭賴丕蹖蹖 乇賵 賲蹖鈥屬嗁堐屫迟� 讴賴 亘丕 鬲噩乇亘賴 亘賴卮賵賳 乇爻蹖丿賴 賵 丕夭 丌孬丕乇 丿乇禺卮丕賳 爻蹖賳賲丕 賲孬賱 丕乇亘丕亘 丨賱賯賴鈥屬囏ж� 賲丨賱賴 趩蹖賳蹖鈥屬囏ж� 夭蹖亘丕蹖 丌賲乇蹖讴丕蹖蹖貙 讴賵賴爻鬲丕賳 爻乇丿貙 爻蹖鈥屫ㄛ屫弛┵堐屫� 亘乇鬲乇蹖 亘賵乇賳貙 鬲賱賲丕 賵 賱賵卅蹖夭 賵... 賲孬丕賱 賲蹖鈥屫操嗁� 賵 賴賲趩賳蹖賳 賲丕噩乇丕賴丕蹖蹖 乇賵 鬲毓乇蹖賮 賲蹖鈥屭┵嗁� 讴賴 亘丕 卮丕诏乇丿丕賳 賵 賲禺丕胤亘丕賳卮 丿丕卮鬲賴.
爻蹖丿 賮蹖賱丿 亘賴 诏賮鬲賴鈥屰� 禺賵丿卮 丿乇 丨丿賵丿 丿賵 爻丕賱貙 亘蹖卮 丕夭 丿賵 賴夭丕乇 賮蹖賱賲賳丕賲賴 禺賵賳丿賴 賵 丕夭 亘蹖賳 丕賵賳鈥屬囏ж� 賮賯胤 趩賴賱鈥屫� 乇賵 亘乇丕蹖 鬲賵賱蹖丿 丕丨鬲賲丕賱蹖 賮蹖賱賲 亘賴 卮乇讴丕蹖 賲丕賱蹖 鬲丨賵蹖賱 丿丕丿賴. 趩賵賳 丕夭 賮蹖賱賲賳丕賲賴鈥屰� 禺賵亘 賲賲讴賳賴 賮蹖賱賲 亘丿 爻丕禺鬲貙 丕賲丕 丕夭 賮蹖賱賲賳丕賲賴鈥屰� 亘丿 賳賲蹖鈥屫促� 賮蹖賱賲 禺賵亘 爻丕禺鬲. 亘丕夭蹖诏乇丕賳 賲丨亘賵亘貙 噩賱賵賴鈥屬囏й� 賵蹖跇賴 賵 亘賵丿噩賴鈥屰� 夭蹖丕丿 賳賲蹖鈥屫堎嗁� 丕蹖賳 賲賵囟賵毓 乇賵 倬賳賴丕賳 讴賳賳 讴賴 賮蹖賱賲 賳禺爻鬲 亘賴 賮蹖賱賲賳丕賲賴 賵 丿丕爻鬲丕賳 禺賵亘 賳蹖丕夭 丿丕乇賴.
爻蹖丿 賮蹖賱丿 丿乇亘丕乇賴 丕賯鬲亘丕爻貙 賮蹖賱賲賳丕賲賴鈥屬嗁堐屫驰� 卮乇蹖讴蹖貙 乇賮毓 爻丿 賳賵卮鬲賳貙 讴倬蹖鈥屫必й屫� 賮囟丕蹖 賴丕賱蹖賵賵丿貙 爻丕禺鬲丕乇 賮蹖賱賲賳丕賲賴貙 馗丕賴乇 賲鬲賳 賮蹖賱賲賳丕賲賴貙 卮禺氐蹖鬲鈥屬囏ж� 讴卮賲讴卮鈥屬囏� 賵... 趩蹖夭賴丕蹖蹖 乇賵 賲蹖鈥屬嗁堐屫迟� 讴賴 亘丕 鬲噩乇亘賴 亘賴卮賵賳 乇爻蹖丿賴 賵 丕夭 丌孬丕乇 丿乇禺卮丕賳 爻蹖賳賲丕 賲孬賱 丕乇亘丕亘 丨賱賯賴鈥屬囏ж� 賲丨賱賴 趩蹖賳蹖鈥屬囏ж� 夭蹖亘丕蹖 丌賲乇蹖讴丕蹖蹖貙 讴賵賴爻鬲丕賳 爻乇丿貙 爻蹖鈥屫ㄛ屫弛┵堐屫� 亘乇鬲乇蹖 亘賵乇賳貙 鬲賱賲丕 賵 賱賵卅蹖夭 賵... 賲孬丕賱 賲蹖鈥屫操嗁� 賵 賴賲趩賳蹖賳 賲丕噩乇丕賴丕蹖蹖 乇賵 鬲毓乇蹖賮 賲蹖鈥屭┵嗁� 讴賴 亘丕 卮丕诏乇丿丕賳 賵 賲禺丕胤亘丕賳卮 丿丕卮鬲賴.
January 21, 2023
A solid stater for screenwriters.
May 13, 2013
丕賱賰鬲丕亘 乇丕卅毓 賵賰毓丕丿丞 丕賱賰鬲亘 丕賱兀賲乇賷賰賷丞 鬲賴鬲賲 亘丕賱鬲賮丕氐賷賱 賵廿賳 賰丕賳鬲 丿賯賷賯丞 賵賱賰賳賴丕 鬲賲賷夭 丕賱賲丨鬲乇賮 毓賳 丕賱賴丕賵賷.賱賯丿 賵噩丿鬲 兀賳 丕賱兀賲乇 賷禺鬲賱賮 亘胤乇賷賯丞 賰亘賷乇丞 賲丕 亘賷賳 賰鬲丕亘丞 爻賷賳丕乇賷賵 賱賮賷賱賲 賵賰鬲丕亘丞 乇賵丕賷丞 兀丿亘賷丞 賲賳 丨賷孬 丕賱鬲賰賳賷賰 賵丕賱賮賳賷丕鬲 賵賴賵 賲丕 乇賰夭 丕賱賰丕鬲亘 毓賱賷賴 賮賷 賰鬲丕亘賴 廿匕 爻乇丿 兀賲孬賱丞 毓丿丞 賲賳 丕賱兀賮賱丕賲 賵賵囟丨 丕賱胤乇賯 丕賱毓賲賱賷丞 賮賷 賰鬲丕亘丞 爻賷賳丕乇賷賵 賵丨鬲賶 丕賯鬲乇丕丨丕鬲賴 丕賱鬲賷 亘賳丕賴丕 毓賱賶 禺亘乇丞 賵丕爻毓丞 賮賷 丕賱賲噩丕賱.
賷毓丕亘 賮賯胤 毓賱賶 丕賱賰鬲丕亘 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 丕賱睾賷乇 噩賷丿丞 賵兀毓鬲亘乇賴丕 丨乇賮賷丞 賵匕賱賰 兀賲乇 禺丕胤賷亍 禺氐賵氐丕 兀賳 丕賱廿賳噩賱賷夭賷丞 賴賳丕 賴賷 兀賲乇賷賰賷丞 丕賱鬲賷 鬲毓鬲賲丿 毓賱賶 丕賱毓亘丕乇丕鬲 丕賱賲噩丕夭賷丞 丕賱鬲賷 賯丿 賱丕 鬲氐賱丨 賲毓賴丕 丕賱鬲乇噩賲丞 丕賱丿賯賷賯丞 丕賱丨乇賮賷丞 賵賱丕 亘丿 賲賳 丕賷噩丕丿 賲氐胤賱丨丕鬲 賲卮丕亘賴丞 賱賲丕 賷賯氐丿賴 丕賱賰丕鬲亘 賵賴匕丕 賲丕 賷賲賷夭 賲鬲乇噩賲 毓賳 丌禺乇.爻賯胤鬲 賲賳賷 賲毓丕賳 賰孬賷乇丞 賵賱賲 兀鬲毓乇賮 毓賱賶 兀爻賲丕亍 賲毓馗賲 丕賱兀賮賱丕賲 丕賱鬲賷 賵乇丿鬲 賰兀賲孬賱丞 賰賷 賷鬲爻賳賶 賱賷 賲卮丕賴丿鬲賴丕 賵賱賲 兀賮賴賲 賰賱賲丕鬲 毓乇亘賷丞 睾賷乇 卮丕卅毓丞 賰賰賱賲丞 :"噩匕丕匕丞" 丕賱鬲賷 匕賰乇鬲 賮賷 鬲噩乇亘丞 毓賲賱賷丞 賴丕賲丞 卮乇丨賴丕 丕賱賰丕鬲亘.賵賱賳 丕賱賰鬲丕亘 廿噩賲丕賱丕 賷毓丿 賰鬲丕亘丕 賯賷賲丕 賱賲賳 賷賵丿 兀賳 賷鬲毓賱賲 賮賳 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 丕賱爻賷賳賷賲丕卅賷.
賷毓丕亘 賮賯胤 毓賱賶 丕賱賰鬲丕亘 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 丕賱睾賷乇 噩賷丿丞 賵兀毓鬲亘乇賴丕 丨乇賮賷丞 賵匕賱賰 兀賲乇 禺丕胤賷亍 禺氐賵氐丕 兀賳 丕賱廿賳噩賱賷夭賷丞 賴賳丕 賴賷 兀賲乇賷賰賷丞 丕賱鬲賷 鬲毓鬲賲丿 毓賱賶 丕賱毓亘丕乇丕鬲 丕賱賲噩丕夭賷丞 丕賱鬲賷 賯丿 賱丕 鬲氐賱丨 賲毓賴丕 丕賱鬲乇噩賲丞 丕賱丿賯賷賯丞 丕賱丨乇賮賷丞 賵賱丕 亘丿 賲賳 丕賷噩丕丿 賲氐胤賱丨丕鬲 賲卮丕亘賴丞 賱賲丕 賷賯氐丿賴 丕賱賰丕鬲亘 賵賴匕丕 賲丕 賷賲賷夭 賲鬲乇噩賲 毓賳 丌禺乇.爻賯胤鬲 賲賳賷 賲毓丕賳 賰孬賷乇丞 賵賱賲 兀鬲毓乇賮 毓賱賶 兀爻賲丕亍 賲毓馗賲 丕賱兀賮賱丕賲 丕賱鬲賷 賵乇丿鬲 賰兀賲孬賱丞 賰賷 賷鬲爻賳賶 賱賷 賲卮丕賴丿鬲賴丕 賵賱賲 兀賮賴賲 賰賱賲丕鬲 毓乇亘賷丞 睾賷乇 卮丕卅毓丞 賰賰賱賲丞 :"噩匕丕匕丞" 丕賱鬲賷 匕賰乇鬲 賮賷 鬲噩乇亘丞 毓賲賱賷丞 賴丕賲丞 卮乇丨賴丕 丕賱賰丕鬲亘.賵賱賳 丕賱賰鬲丕亘 廿噩賲丕賱丕 賷毓丿 賰鬲丕亘丕 賯賷賲丕 賱賲賳 賷賵丿 兀賳 賷鬲毓賱賲 賮賳 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 丕賱爻賷賳賷賲丕卅賷.
April 21, 2021
Obviously this book was the OG, so respect for that, but I vastly prefer Save the Cat!
Save the Cat! has easily-distinguishable terms, clear concepts, and concise descriptions, whereas this book is verbose, repetitive, and contains lots of overlapping and similar terms for entirely different concepts, making it a much more confusing and less accessible read.
Snyder definitely refined the ideas Field came up with and made them easier to understand. I don't know that this book really added anything to my knowledge of screenwriting beyond what I learned from StC. But it certainly didn't hurt, either.
Save the Cat! has easily-distinguishable terms, clear concepts, and concise descriptions, whereas this book is verbose, repetitive, and contains lots of overlapping and similar terms for entirely different concepts, making it a much more confusing and less accessible read.
Snyder definitely refined the ideas Field came up with and made them easier to understand. I don't know that this book really added anything to my knowledge of screenwriting beyond what I learned from StC. But it certainly didn't hurt, either.
July 13, 2016
This book is considered a bible in the industry -- ALL Hollywood screenwriters now conform rigidly to Field's notions of screenplay structure -- and that's why I consider this book to be the Root of All Evil.
March 31, 2017
A 煤nica coisa que tenho a dizer sobre esse livro 茅 que ele 茅 fant谩stico e seu autor um g锚nio absoluto. Syd Field, n茫o apenas domina a arte (t茅cnica) da escrita de roteiros - t茅cnica esta que, mutatis mutandis, se aplica a toda e qualquer escrita criativa -, como a pr贸pria psicologia da cria莽茫o, ou seja, as ambig眉idades, dilemas, obst谩culos e dramas de todo artista, de todo aquele que tem de criar.
Acres莽a-se a isso o fato de que Syd Field 茅 um expositor de m茫o cheia, um escritor maravilhoso que escancara todos os meandros da arte sem maiores dificuldades, sempre com clareza, sempre com translucidez, entregando todo o trabalho pronto na m茫o do leitor.
脡 imposs铆vel n茫o se apaixonar pela arte de escrever roteiros - ou simplesmente de escrever criativamente - depois de ler esse livro. Se voc锚 n茫o termina a leitura com a id茅ia fixa na cabe莽a de imediatamente come莽ar a escrever o seu primeiro roteiro, das duas uma: ou voc锚 茅 ruim da cabe莽a ou doente do p茅.
Esse livro n茫o merece 5 estrelas. Merece muito mais. E eu as daria se o GoodReads o permitisse.
Acres莽a-se a isso o fato de que Syd Field 茅 um expositor de m茫o cheia, um escritor maravilhoso que escancara todos os meandros da arte sem maiores dificuldades, sempre com clareza, sempre com translucidez, entregando todo o trabalho pronto na m茫o do leitor.
脡 imposs铆vel n茫o se apaixonar pela arte de escrever roteiros - ou simplesmente de escrever criativamente - depois de ler esse livro. Se voc锚 n茫o termina a leitura com a id茅ia fixa na cabe莽a de imediatamente come莽ar a escrever o seu primeiro roteiro, das duas uma: ou voc锚 茅 ruim da cabe莽a ou doente do p茅.
Esse livro n茫o merece 5 estrelas. Merece muito mais. E eu as daria se o GoodReads o permitisse.
May 26, 2020
蹖讴蹖 丕夭 亘賴鬲乇蹖賳 讴鬲丕亘賴丕蹖 丌賲賵夭卮 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖 讴賴 賲賳 爻丕賱賴丕 倬蹖卮 賲胤丕賱毓賴 讴乇丿賲 賵 丿乇爻鈥屬囏й� 禺蹖賱蹖 禺賵亘蹖 丕夭 丕蹖賳 讴鬲丕亘 蹖丕丿 诏乇賮鬲賲
趩丕倬 爻賵賲 丕蹖賳 讴鬲丕亘 爻丕賱 郾鄢鄹鄢 丕爻鬲 賵 賲賳 丿賵丕夭丿賴 爻丕賱 倬蹖卮 丕蹖賳 讴鬲丕亘 乇賵 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 禺賵賳丿賲 賵 蹖讴蹖 丕夭 賳讴丕鬲 賲賴賲蹖 讴賴 賴賳賵夭 賴賲 亘賴 禺丕胤乇 丿丕乇賲 丕蹖賳賴 讴賴 丌賯丕蹖 syd field 丿乇 讴鬲丕亘卮 诏賮鬲賴 賵賯鬲蹖 賮蹖賱賲賳丕賲賴 賴丕 乇賵 賲蹖禺賵丕爻鬲賲 賲胤丕賱毓賴 讴賳賲 讴賴 亘亘蹖賳賲 亘賴 丿乇丿 賮蹖賱賲 卮丿賳 賲蹖禺賵乇賴 蹖丕 賳賴 丕蹖賳 亘賵丿 讴賴 丿賴 丿賯蹖賯賴 丕賵賱 蹖丕 亘賴 毓亘丕乇鬲蹖 丿賴 氐賮丨賴 丕賵賱 乇賵 賲胤丕賱毓賴 賲蹖讴乇丿賲 賵 丕诏乇 賲賳賵 亘賴 禺賵丿卮 噩匕亘 賲蹖鈥屭┴必� 丕丿丕賲賴 賲蹖丿丕丿賲 丿乇 睾蹖乇 丕蹖賳氐賵乇鬲 賲蹖賳丿丕禺鬲賲 鬲賵 爻胤賱 夭亘丕賱賴!
丕賱丕賳 賴賲 賵賯鬲蹖 亘賴 賮蹖賱賲 賴丕蹖 爻蹖賳賲丕蹖蹖 丿賯鬲 讴賳蹖丿 丕诏乇 賮蹖賱賲蹖 丕夭 亘丿賵 卮乇賵毓 鬲賵賳爻鬲 亘亘蹖賳丿賴 乇賵 賲蹖禺讴賵亘 讴賳賴 亘賴 氐賳丿賱蹖 賲丕亘賯蹖 賮蹖賱賲 賴賲 禺賵丕賳賳丿賴 乇賵 噩匕亘 賲蹖鈥屭┵嗁� 丿乇 睾蹖乇 丕蹖賳氐賵乇鬲 丕賵賳 賮蹖賱賲 亘賴 丕丨鬲賲丕賱 夭蹖丕丿 賮蹖賱賲 禺賵亘蹖 賳蹖爻鬲
丕蹖賳 賳讴鬲賴 乇賵 賴賲 匕讴乇 讴賳賲 讴賴 賴乇 氐賮丨賴 賲毓丕丿賱 蹖讴 丿賯蹖賯賴 丕爻鬲 丿乇 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖.
亘乇丕蹖 讴爻丕賳蹖 讴賴 毓賱丕賯賴鈥屬呝嗀� 亘賴 爻蹖賳賲丕 賵 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖 賴爻鬲賳 丕蹖賳 讴鬲丕亘 乇賵 亘賴 卮丿鬲 爻賮丕乇卮 賲蹖讴賳賲
趩丕倬 爻賵賲 丕蹖賳 讴鬲丕亘 爻丕賱 郾鄢鄹鄢 丕爻鬲 賵 賲賳 丿賵丕夭丿賴 爻丕賱 倬蹖卮 丕蹖賳 讴鬲丕亘 乇賵 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 禺賵賳丿賲 賵 蹖讴蹖 丕夭 賳讴丕鬲 賲賴賲蹖 讴賴 賴賳賵夭 賴賲 亘賴 禺丕胤乇 丿丕乇賲 丕蹖賳賴 讴賴 丌賯丕蹖 syd field 丿乇 讴鬲丕亘卮 诏賮鬲賴 賵賯鬲蹖 賮蹖賱賲賳丕賲賴 賴丕 乇賵 賲蹖禺賵丕爻鬲賲 賲胤丕賱毓賴 讴賳賲 讴賴 亘亘蹖賳賲 亘賴 丿乇丿 賮蹖賱賲 卮丿賳 賲蹖禺賵乇賴 蹖丕 賳賴 丕蹖賳 亘賵丿 讴賴 丿賴 丿賯蹖賯賴 丕賵賱 蹖丕 亘賴 毓亘丕乇鬲蹖 丿賴 氐賮丨賴 丕賵賱 乇賵 賲胤丕賱毓賴 賲蹖讴乇丿賲 賵 丕诏乇 賲賳賵 亘賴 禺賵丿卮 噩匕亘 賲蹖鈥屭┴必� 丕丿丕賲賴 賲蹖丿丕丿賲 丿乇 睾蹖乇 丕蹖賳氐賵乇鬲 賲蹖賳丿丕禺鬲賲 鬲賵 爻胤賱 夭亘丕賱賴!
丕賱丕賳 賴賲 賵賯鬲蹖 亘賴 賮蹖賱賲 賴丕蹖 爻蹖賳賲丕蹖蹖 丿賯鬲 讴賳蹖丿 丕诏乇 賮蹖賱賲蹖 丕夭 亘丿賵 卮乇賵毓 鬲賵賳爻鬲 亘亘蹖賳丿賴 乇賵 賲蹖禺讴賵亘 讴賳賴 亘賴 氐賳丿賱蹖 賲丕亘賯蹖 賮蹖賱賲 賴賲 禺賵丕賳賳丿賴 乇賵 噩匕亘 賲蹖鈥屭┵嗁� 丿乇 睾蹖乇 丕蹖賳氐賵乇鬲 丕賵賳 賮蹖賱賲 亘賴 丕丨鬲賲丕賱 夭蹖丕丿 賮蹖賱賲 禺賵亘蹖 賳蹖爻鬲
丕蹖賳 賳讴鬲賴 乇賵 賴賲 匕讴乇 讴賳賲 讴賴 賴乇 氐賮丨賴 賲毓丕丿賱 蹖讴 丿賯蹖賯賴 丕爻鬲 丿乇 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖.
亘乇丕蹖 讴爻丕賳蹖 讴賴 毓賱丕賯賴鈥屬呝嗀� 亘賴 爻蹖賳賲丕 賵 賮蹖賱賲賳丕賲賴 賳賵蹖爻蹖 賴爻鬲賳 丕蹖賳 讴鬲丕亘 乇賵 亘賴 卮丿鬲 爻賮丕乇卮 賲蹖讴賳賲
April 7, 2023
That was a huge help.
I'm not planning to write a screenplay anytime soon, but I'm often struggling with structuring my storytelling in fiction and non fiction writing and Syd Field's book is pretty much a step-by-step breakdown of how to tell a story. His model is the basic model of how every screenplay is written, but his philosophy makes for a myriad of declinations. Truly I'm glad to have read it. If you are brimming with good storytelling ideas, but struggle to put them out as they all seem to peter out as you're writing, this is a book for you.
I'm not planning to write a screenplay anytime soon, but I'm often struggling with structuring my storytelling in fiction and non fiction writing and Syd Field's book is pretty much a step-by-step breakdown of how to tell a story. His model is the basic model of how every screenplay is written, but his philosophy makes for a myriad of declinations. Truly I'm glad to have read it. If you are brimming with good storytelling ideas, but struggle to put them out as they all seem to peter out as you're writing, this is a book for you.
May 8, 2023
丕賱爻賷賳丕乇賷賵
賰鬲丕亘 賷毓丿 亘丿丕賷丞 噩賷丿丞 賱賱鬲毓乇賮 毓賱賷 賮賳 丕賱爻賷賳丕乇賷賵 賵賴賵 賮賳 丕賱丨賰賷 亘丕賱氐賵乇丞
鬲鬲毓乇賮 賴賳丕 毓賱賷 賲亘丕丿賷亍 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 亘卮賰賱 賲亘爻胤 賵爻賴賱 賲毓 匕賰乇 兀賲孬賱丞 賲賳 爻賷賳丕乇賷賵賴丕鬲 賲賳 兀賮賱丕賲 賴賵賱賷賵賵丿 賵禺氐賵氐丕 爻賷賳丕乇賷賵 丕賱丨賷 丕賱氐賷賳賷 丕賱匕賷 丕毓鬲亘乇賴 丕賱賰丕鬲亘 賲孬丕賱賷丕 賵鬲賳丕賵賱 賲賳 禺賱丕賱賴 賲賮丕賴賷賲 丕賱亘丿丕賷丞 賵丕賱賵爻胤 賵丕賱賳賴丕賷丞 賵丕賱丨亘賰丞 賵亘賳丕亍 丕賱卮禺氐賷丞 賵丕賱賲囟賲賵賳 賵丕賱爻賷丕賯
丕賱賰鬲丕亘 賲賮賷丿 賱賲賳 賷乇賷丿 賮賴賲 丕賱兀賮賱丕賲 丕賱爻賷賳賲丕卅賷丞 賵丕丿乇丕賰 丕賱賮賷賱賲 丕賱噩賷丿 賲賳 丕賱爻賷亍 毓賱賷 賲爻鬲賵賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賵兀賷囟丕 賱賲賳 兀乇丕丿 兀賳 賷亘丿兀 賮賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵
賰鬲丕亘 賷毓丿 亘丿丕賷丞 噩賷丿丞 賱賱鬲毓乇賮 毓賱賷 賮賳 丕賱爻賷賳丕乇賷賵 賵賴賵 賮賳 丕賱丨賰賷 亘丕賱氐賵乇丞
鬲鬲毓乇賮 賴賳丕 毓賱賷 賲亘丕丿賷亍 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 亘卮賰賱 賲亘爻胤 賵爻賴賱 賲毓 匕賰乇 兀賲孬賱丞 賲賳 爻賷賳丕乇賷賵賴丕鬲 賲賳 兀賮賱丕賲 賴賵賱賷賵賵丿 賵禺氐賵氐丕 爻賷賳丕乇賷賵 丕賱丨賷 丕賱氐賷賳賷 丕賱匕賷 丕毓鬲亘乇賴 丕賱賰丕鬲亘 賲孬丕賱賷丕 賵鬲賳丕賵賱 賲賳 禺賱丕賱賴 賲賮丕賴賷賲 丕賱亘丿丕賷丞 賵丕賱賵爻胤 賵丕賱賳賴丕賷丞 賵丕賱丨亘賰丞 賵亘賳丕亍 丕賱卮禺氐賷丞 賵丕賱賲囟賲賵賳 賵丕賱爻賷丕賯
丕賱賰鬲丕亘 賲賮賷丿 賱賲賳 賷乇賷丿 賮賴賲 丕賱兀賮賱丕賲 丕賱爻賷賳賲丕卅賷丞 賵丕丿乇丕賰 丕賱賮賷賱賲 丕賱噩賷丿 賲賳 丕賱爻賷亍 毓賱賷 賲爻鬲賵賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賵兀賷囟丕 賱賲賳 兀乇丕丿 兀賳 賷亘丿兀 賮賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵
September 11, 2020
I remember reading this in a previous form a few decades ago. It still holds up as a great tool for either starting in on a new idea to be put into a screenplay format or, like me, to take an existing idea that may have existed in another format (book, article, &c...) and fashion it into a screenplay. This is a must have for anyone with an interest in completing their first work.
December 31, 2024
Fajn谩 kni啪ka...urobila mi pekn媒 preh木ad a upokojila ma v tom, 膷o je n谩pl艌ou mojej bud煤cej profesie.. When in doubt, I'll read some motivational quotes from this and things should be just fine馃榿.
December 27, 2020
袩褉邪泻褌懈褔械褋泻芯械 褉褍泻芯胁芯写褋褌胁芯 锌芯 褋褌芯褉懈褌械谢谢懈薪谐褍 芯褌 锌褉芯褎械褋褋懈芯薪邪谢邪 胁 写邪薪薪芯泄 芯斜谢邪褋褌懈.
August 1, 2024
from practical advice to personal encouragement, on a second read, just as endlessly helpful.
November 1, 2020
There's one very good chapter here, no. 14, dealing with the psychological challenges of writing day-to-day. The rest of the chapters are faintly engaging but not particularly insightful. The front cover's promise of "A step-by-step guide from concept to finished script" is nonsense. Field rambles discursively about a bunch of screenwriting concepts in no particular order, and refuses to give any concrete advice on the first step, let alone any subsequent steps. It's the typical mumbo-jumbo of "have an idea, think about a character for a bit, sketch out some scenes, and then just write the thing. Duh!" The most often repeated scrap of advice is "Don't worry about it." Which is... worrying.
The centrepiece of Field's book and reputation is what he calls "the paradigm," which is simply three-act structure. Yes, that vessel for story refined in Ancient Greece that is yet to be improved. Yet unlike competitor Robert McKee, Field gives no justification for the three-act structure. There's no musing on how many turning points the human brain can handle before it gets bored. Instead, the paradigm just is. "Don't worry about it."
What little advice Field offers on "the paradigm" is bland and not very helpful. Confusingly, he also deploys different terminology from other writers. McKee's "Inciting Incident" is usually Field's "Key Incident" (the turning point into Act 2), and Field's "Inciting Incident" (the first scene of Act 1) is usually setup and not directly related to the story, so "Inciting Incident" seems a misnomer. Both McKee and Field are missing Blake Snyder's "Catalyst," which is actually a much more subtle and important moment (5-15 pages into Act 1; McKee sometimes calls this the Inciting Incident, but most of his examples come around page 30).
Worse, while Field gives you four key points in your story (the opening, ending, and the turning points terminating Acts 1 and 2), he has vanishingly little to say about what to put between those points. There is much talk (admittedly correct) about how Act 1 is Setup, Act 2 is Confrontation, and Act 3 is Resolution. But how do you sustain "Confrontation" over 60 pages (or 50% of your word count, in a novel)? Both Field and McKee, the leading lights in screenplay education, completely fail here, leaving a vacuum improbably colonised by Blake Snyder, of Save The Cat! fame. Snyder cops a lot of flak, perhaps because of his chirpy infomercial writing style. But he's by far the most astute student of film structure. He gives great advice, encompassing act breaks, sure, but also the structural function and tonal goal of all that empty space between pages 1 and 30, pages 30 and 90, and so on. He breaks down the daunting 60-page expanse of "Act 2" into several smaller units that are much easier to approach. His books on screenwriting are far more valuable than this offering of Field's. He somehow packs twice as much advice into half the word count. "Don't worry about it," I guess.
Aside from Chapter 14, there are some helpful and interesting excerpts from filmed screenplays (there's also a lengthy excerpt from one of Field's own screenplays that is...not very good - but that's irrelevant). But as Field repeatedly stresses, this is no substitute for finding and reading the screenplays themselves. Once you grok three-act structure (read Snyder, and if you're hankering for a more respectable teacher, throw in Campbell), the next best thing to do is read as many screenplays as you can, and / or watch as many movies as you can. That, plus writing, will be a much more valuable education than this book can provide.
In summary, do not read this if you want to learn how to understand and write story. 2/5 stars.
The centrepiece of Field's book and reputation is what he calls "the paradigm," which is simply three-act structure. Yes, that vessel for story refined in Ancient Greece that is yet to be improved. Yet unlike competitor Robert McKee, Field gives no justification for the three-act structure. There's no musing on how many turning points the human brain can handle before it gets bored. Instead, the paradigm just is. "Don't worry about it."
What little advice Field offers on "the paradigm" is bland and not very helpful. Confusingly, he also deploys different terminology from other writers. McKee's "Inciting Incident" is usually Field's "Key Incident" (the turning point into Act 2), and Field's "Inciting Incident" (the first scene of Act 1) is usually setup and not directly related to the story, so "Inciting Incident" seems a misnomer. Both McKee and Field are missing Blake Snyder's "Catalyst," which is actually a much more subtle and important moment (5-15 pages into Act 1; McKee sometimes calls this the Inciting Incident, but most of his examples come around page 30).
Worse, while Field gives you four key points in your story (the opening, ending, and the turning points terminating Acts 1 and 2), he has vanishingly little to say about what to put between those points. There is much talk (admittedly correct) about how Act 1 is Setup, Act 2 is Confrontation, and Act 3 is Resolution. But how do you sustain "Confrontation" over 60 pages (or 50% of your word count, in a novel)? Both Field and McKee, the leading lights in screenplay education, completely fail here, leaving a vacuum improbably colonised by Blake Snyder, of Save The Cat! fame. Snyder cops a lot of flak, perhaps because of his chirpy infomercial writing style. But he's by far the most astute student of film structure. He gives great advice, encompassing act breaks, sure, but also the structural function and tonal goal of all that empty space between pages 1 and 30, pages 30 and 90, and so on. He breaks down the daunting 60-page expanse of "Act 2" into several smaller units that are much easier to approach. His books on screenwriting are far more valuable than this offering of Field's. He somehow packs twice as much advice into half the word count. "Don't worry about it," I guess.
Aside from Chapter 14, there are some helpful and interesting excerpts from filmed screenplays (there's also a lengthy excerpt from one of Field's own screenplays that is...not very good - but that's irrelevant). But as Field repeatedly stresses, this is no substitute for finding and reading the screenplays themselves. Once you grok three-act structure (read Snyder, and if you're hankering for a more respectable teacher, throw in Campbell), the next best thing to do is read as many screenplays as you can, and / or watch as many movies as you can. That, plus writing, will be a much more valuable education than this book can provide.
In summary, do not read this if you want to learn how to understand and write story. 2/5 stars.
January 3, 2022
After months of owning this book, I finally finished it this morning and I am so glad I did.
In the beginning it took me a while to get into it, but around the chapter on characters, I started making it a goal to read a chapter a day. For such a little book, it is packed with tons of information from starting off to finishing a screenplay.
"Screenplay - the foundations of screenwriting" is exactly what it says it is. It's a book about the foundations of screenwriting. It gives you a strong base to begin your writing process, whilst also giving you insight into the life of professional screenwriters. The book focusses a lot on the story and making sure you keep it moving in order to keep the reader (and future audience) engaged throughout it all. With each step in this step-by-step guide you learn various techniques you can use, along with examples from some great movies, albeit some lesser known ones nowadays, including many screenplay excerpts the author then uses to showcase and further explain his point. Overall a very informative read.
Syd Field writes very condensed at times, to then repeat certain aspects again and again throughout chapters, to push the importance of those topics. He references certain movies a lot, possibly spoiling an ending or two here and there, which is why I recommend watching them beforehand, as following along and being able to compare script to film will also be more fun.
The little summary at the end of each chapter makes it easy to use the book as a reference or for advice whenever you should stumble during the writing process. I mostly enjoyed the chapters on how to create appealing characters and a technique on how to start organizing your ideas into an order that will work for a ca.120 page screenplay. The book touches upon adapting a screenplay from a novel or theatre performance as well, as creating one from scratch is a bit different than having pre-existing source material written by someone else.
Field focuses a lot on feature film ready scripts for hollywood, meaning there isn't a single chapter on how to work towards a short film, though I assume most ideas would remain the same. Where most topics are fully fleshed out, they do adhere to a standard 3 Act story structure, as most films fit into that category. Other possibilities are not mentioned, so if you want more of an open view on writing itself, I recommend buying this book together with another.
One thing I personally missed was more structural information. The author shows you a basic set up containing 4 essentials to create a story, and while I am now fully convinced it is possible to only work with these 4 points, I would have liked the extra information about where the Climax should sit, Confrontation points and more structure points in general, in a way like Dan Harmons Story Circle (with 8 points that describe most movies).
In the end, I repeat that I am glad I read this book. It has everything you need to begin writing a professional film screenplay, and actually manages to inspire and motivate you to do so throughout each chapter. From the first page onward you can tell that Syd Field is passionate about the world of writing and his love can be very contagious if you let it. Though I personally would have wished for more depth in certain aspects, in retrospect this book gives you everything you need to begin your journey to professionalism. The rest is just practice and learning from failure.
I recommend anyone with a passion for film or screenwriting to read this book. For anyone wanting to delve into this profession, this book is a must-have.
I am glad I bought this book, and as an aspiring filmmaker, I know I will be coming back to it time and time again.
In the beginning it took me a while to get into it, but around the chapter on characters, I started making it a goal to read a chapter a day. For such a little book, it is packed with tons of information from starting off to finishing a screenplay.
"Screenplay - the foundations of screenwriting" is exactly what it says it is. It's a book about the foundations of screenwriting. It gives you a strong base to begin your writing process, whilst also giving you insight into the life of professional screenwriters. The book focusses a lot on the story and making sure you keep it moving in order to keep the reader (and future audience) engaged throughout it all. With each step in this step-by-step guide you learn various techniques you can use, along with examples from some great movies, albeit some lesser known ones nowadays, including many screenplay excerpts the author then uses to showcase and further explain his point. Overall a very informative read.
Syd Field writes very condensed at times, to then repeat certain aspects again and again throughout chapters, to push the importance of those topics. He references certain movies a lot, possibly spoiling an ending or two here and there, which is why I recommend watching them beforehand, as following along and being able to compare script to film will also be more fun.
The little summary at the end of each chapter makes it easy to use the book as a reference or for advice whenever you should stumble during the writing process. I mostly enjoyed the chapters on how to create appealing characters and a technique on how to start organizing your ideas into an order that will work for a ca.120 page screenplay. The book touches upon adapting a screenplay from a novel or theatre performance as well, as creating one from scratch is a bit different than having pre-existing source material written by someone else.
Field focuses a lot on feature film ready scripts for hollywood, meaning there isn't a single chapter on how to work towards a short film, though I assume most ideas would remain the same. Where most topics are fully fleshed out, they do adhere to a standard 3 Act story structure, as most films fit into that category. Other possibilities are not mentioned, so if you want more of an open view on writing itself, I recommend buying this book together with another.
One thing I personally missed was more structural information. The author shows you a basic set up containing 4 essentials to create a story, and while I am now fully convinced it is possible to only work with these 4 points, I would have liked the extra information about where the Climax should sit, Confrontation points and more structure points in general, in a way like Dan Harmons Story Circle (with 8 points that describe most movies).
In the end, I repeat that I am glad I read this book. It has everything you need to begin writing a professional film screenplay, and actually manages to inspire and motivate you to do so throughout each chapter. From the first page onward you can tell that Syd Field is passionate about the world of writing and his love can be very contagious if you let it. Though I personally would have wished for more depth in certain aspects, in retrospect this book gives you everything you need to begin your journey to professionalism. The rest is just practice and learning from failure.
I recommend anyone with a passion for film or screenwriting to read this book. For anyone wanting to delve into this profession, this book is a must-have.
I am glad I bought this book, and as an aspiring filmmaker, I know I will be coming back to it time and time again.
This entire review has been hidden because of spoilers.
July 8, 2020
Every character has a dramatic need, something that drives them forward into action. As someone raised in the Hollwood foothills, I've long wondered how you can make a multi-million dollar movie and forget to have a story (Rise of Skywalker cough cough). Screenplays are the least expensive part of a film, probably below the craft services table, so why are they so frequently incoherent and mediocre?
Well, I'm still not sure, and having read Syd Field's classic guide, Hollywood has even less of an excuse. A screenplay is an odd beast of a genre, a written description of moving images. They're short, 120 pages with a lot of white space, which puts then in the novella range, and have a distinct format of scene descriptions, character dialog, and action. Field mentions that successful screenplays 'look right', with a nice balance, but his concern is with form and structure.
Field prototype, his favorite movie, is Chinatown. And while he's no fan of formulaic movies, for him a movie needs form. Much like a coat has two sleeves, a collar, and a front a back, a screenplay has certain requirements. A screenplay is built of scenes arranged into sequences. There's a main character, who is thrust into conflict at Plot Point I, and then resolves the conflict at Plot Point II. The best parts of the book concern the writing and research process, working up a full biography of your characters, figuring out the context and content of the incidents that illuminate who they are (and incidentally make up the pages of your screenplay), and then the harsh work of removing all the cruft to leave a tight, lean story that grabs the reader from page one. The technique of using 52 3x5 notecards for scenes, and then laying them out, has some inspired parallels with some futurist work I've done.
Field's tone is a friendly elder letting you in on the secrets of the guild. He wants you to succeed, and he has few illusions about your low odds in Hollywood. But with this book, you're at least forewarned. It's a lot better and more professional than The Writer's Journey, which I read ages ago.
Here's looking at you, kid.
Well, I'm still not sure, and having read Syd Field's classic guide, Hollywood has even less of an excuse. A screenplay is an odd beast of a genre, a written description of moving images. They're short, 120 pages with a lot of white space, which puts then in the novella range, and have a distinct format of scene descriptions, character dialog, and action. Field mentions that successful screenplays 'look right', with a nice balance, but his concern is with form and structure.
Field prototype, his favorite movie, is Chinatown. And while he's no fan of formulaic movies, for him a movie needs form. Much like a coat has two sleeves, a collar, and a front a back, a screenplay has certain requirements. A screenplay is built of scenes arranged into sequences. There's a main character, who is thrust into conflict at Plot Point I, and then resolves the conflict at Plot Point II. The best parts of the book concern the writing and research process, working up a full biography of your characters, figuring out the context and content of the incidents that illuminate who they are (and incidentally make up the pages of your screenplay), and then the harsh work of removing all the cruft to leave a tight, lean story that grabs the reader from page one. The technique of using 52 3x5 notecards for scenes, and then laying them out, has some inspired parallels with some futurist work I've done.
Field's tone is a friendly elder letting you in on the secrets of the guild. He wants you to succeed, and he has few illusions about your low odds in Hollywood. But with this book, you're at least forewarned. It's a lot better and more professional than The Writer's Journey, which I read ages ago.
Here's looking at you, kid.
November 13, 2013
I first wrote shadow of Eden as a Screenplay and this book is on the must read list for screenwriters. Well, I must say, it is extremely useful for novelists as well. I learned several key things from this book: first: get in late, get out early. Second: make the scenes visual Third: every story had bones, structure. Know your structure and build on it. Otherwise you'll have no direction, no form and the reader will sense it in three pages and bolt - or give you a bad review.
Bonus: every movie worth its sale focuses the build up on one or two scenes. Create this buildup and have it payoff during the key scene(s).
Second bonus: create contrast. It make a photograph, incorporate it into your novels. Your hero must have ups and down, like life. Make your reader feel it. Even in Thrillers. Especially in Thrillers.
Bonus: every movie worth its sale focuses the build up on one or two scenes. Create this buildup and have it payoff during the key scene(s).
Second bonus: create contrast. It make a photograph, incorporate it into your novels. Your hero must have ups and down, like life. Make your reader feel it. Even in Thrillers. Especially in Thrillers.
June 18, 2021
Well I wasn't goin to read the book cause I'd heard rumors about how simple the book is. But I decided to give it a try and there we go... the book is actually good, explaining the whole process very well especially to those who search for something fundamental about screenwriting and are about to write the two first feature scripts.
April 7, 2021
No book can help you churn out another Chinatown, but this was worth the time. I really hate books that preach "how to [insert action] " and was happily surprised this was not one of them.
So, you think you have what it takes to be a screenwriter? Good. Read this book.
It details the process in a concise, engaging way, unlike this review.
So, you think you have what it takes to be a screenwriter? Good. Read this book.
It details the process in a concise, engaging way, unlike this review.
July 1, 2021
If you've ever taken a creative writing class, like, even in high school, then you don't need to read this book. And if you do read this book, be warned that it's extremely repetitive and could probably have given you everything you need in about sixty pages. I also got the companion Workbook, so we'll see if that's any more useful.
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