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Screenwriting for Teens: The 100 Principles of Screenwriting Every Budding...
by Hamlett, Christina | PB | Acceptable
US $4.82
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“Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend ”... Read moreabout condition
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Located in: Aurora, Illinois, United States
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eBay item number:374876190381
Item specifics
- Condition
- Acceptable
- Seller Notes
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9781932907186
- Book Title
- Screenwriting for Teens : the 100 Principles of Screenwriting Every Budding Writer Must Know
- Item Length
- 7.4in
- Publisher
- Wiese Productions, Michael
- Publication Year
- 2006
- Format
- Book, Paperback, Perfect
- Language
- English
- Item Height
- 0.6in
- Genre
- Performing Arts, Juvenile Nonfiction
- Topic
- Language Arts / Composition & Creative Writing, Film / Screenwriting
- Item Width
- 11in
- Item Weight
- 21.3 Oz
- Number of Pages
- 228 Pages
About this product
Product Information
This books gives teens -who go to the movies more than any age group in the world - the tools to do more than just watch those movies. It gives them the tools to write their own films.
Product Identifiers
Publisher
Wiese Productions, Michael
ISBN-10
1932907181
ISBN-13
9781932907186
eBay Product ID (ePID)
63718768
Product Key Features
Book Title
Screenwriting for Teens : the 100 Principles of Screenwriting Every Budding Writer Must Know
Format
Book, Paperback, Perfect
Language
English
Topic
Language Arts / Composition & Creative Writing, Film / Screenwriting
Publication Year
2006
Genre
Performing Arts, Juvenile Nonfiction
Number of Pages
228 Pages
Dimensions
Item Length
7.4in
Item Height
0.6in
Item Width
11in
Weight
21.3 Oz
Height
0.6in
Width
11in
Length
7.4in
Item Weight
21.3 Oz
Additional Product Features
Age Range
12-17
Lc Classification Number
Pn1996.H289 2006
Publication Date
2006-11-01
Grade from
7, Seventh Grade
Grade to
12, Twelfth Grade
Reviews
"Screenwriting for Teens is not just for teens; anyone interested in learning more about screenwriting will find this helpful, whether youre fifteen or fifty. It's format makes it easy to read, while relevant examples and helpful resources aid in comprehension, and will make this book one you can continue to use long after the initial reading. This would also be an excellent as a textbook for a high school screenwriting class." - www.microfilmmaker.com For any writer looking for a different approach, this book offers dozens of possibilities true and tested principles which millions of writers in the past have employed unconsciously, myself included. John Collee, Screenwriter, Master and Commander: The Far Side of the World "This priceless jewel harbors the treasured secrets of how great screenplays are written and jumpstarts your writing career with clear and truthful insight. It gives you a significant edge over other writers in this very competitive market. Buy two copies so that when one copy is worn out from constant use and reference, you still have a spare. Jennifer Farmer, Director, Producer, Pumpkin Man, Naturally Native, Boomerang, Patience Christina Hamletts book is a marvel of clarity and helpfulness. Always simple, never simplistic: Complex topics are succinctly set forth at a level that todays sophisticated teens can easily understand, but never with a hint of condescension. Screenwriting for Teens shows a keen understanding both of the topic of screenwriting and of the unique needs of the audience to which it is targeted. I recommend it highly for anyone teen OR adult who wants not simply to play at making movies, but to create quality, cinematic art. Robert Parker, MM, DMA (High-School Teacher since 1985)
Table of Content
Film tells a different story than a book or a play; Classic story structure; A 'story' is not the same thing as a 'plot'; A story's content determines its length; A commercial is the ultimate short; A short is just a slice of life and not a whole life story; 'Reel' time moves differently than 'real' time; Casting call; The audience and the box office; Knowledge = credibility; What do you want your film to say?; Speaking the language of screenwriters; Linear versus nonlinear storytelling; Story beats; A theme is the glue that holds your story together; Relatable characters are what give a story an audience; Relatable characters come from... everywhere!; Compelling ideas come from... everywhere else!; Ideas that work best as shorts; A conflict is what drives a plot forward; Show us who (and what) wer'e rooting for; Substance versus style; who's in the driver's seat?; All conflicts derive from reward, revenge and escape; Aiming for high concept; Catchy loglines; Synopses shouldn't read like book reports; Location, location, location; Master scenes; How to be multiple places at once; Conflict is a collision course of multiple layers; A conflict is ignited by an inciting incident; Objective acceptance and subjective engagement; Action = reaction; To make a conflict convincing, the opponents need to be evenly matched; When 'losing' isn't an option; A conflict can't be resolved until the end of the film; Surprise is on your side; Conflict grows out of character; Character and conflict comprise the hero's journey; Crossing the point of no return; A character arc is a transformation; Heroes aren't 100% good and villains aren't 100% bad; Sidekicks, confidantes and confederates; Extraordinary characters need extraordinary situations; Hooks, foreshadowing and uh-oh's; A character should do more than just take up space; Minor characters don't need major introductions; Designer genes; Names should be a reflection of character; A character's actions say more than his or her words; Sometimes the audience needs to more than the characters; Sometimes the characters need to know more than the audience; Motivation and redemption; A script is no place for words that just ramble; Dining at the speed of light; Fancy footwork and fisticuffs; For 'reel' talk to sound 'real', you need vocal variety; Characters shouldn't use dialogue to explain things to each other that they already know; Don't use a voice over if a visual would say much more; Topic: dreams and flashbacks; Mood-setting montages; Save the big speeches for when they'll really count; Actors should never be left to ad-lib; What we see isn't always what we get; Stereotypes and character reversals; Context + subtext = delivery; Always keep the 'accent' on readability; Every story needs a point of view; First on in, last one out; Treatments; Splati hitting the wall with writer's block; Genres are to film what menus are to restaurants; The perils of genre zeitgeist; Genre dictates structure; Genre bling-bling; A comedy is something that makes us laugh; A drama is something that makes us sad, mad, disturbed or contemplative; A sci-fi film takes us out of this world; A western film is always about a showdown; A fantasy film is a ticket to all things magical; A horror film will make you sleep with the lights on; A thriller keeps you guessing from start to finish; Action/adventure films are an 'e' ticket to fun; Taking a page from real life; The magic of animation; Music, music, music; Family fare and coming of age; Genre is a reflection of attitude and intention; Elvis may have left the building but his heirs are alive and kicking; Rules of the (formatting) game; Bulletproofing your script; What's mine is mine; Screenwriting competitions; Fast pitch; Screenwriter's etiquette; You hate me, you really hate me; Filmography; Recommended reading
Copyright Date
2006
Lccn
2006-025952
Dewey Decimal
808.2/3
Intended Audience
Young Adult Audience
Dewey Edition
22
Item description from the seller
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eBay item number:374876190381
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- Aug 22, 2018
For Adults as well as for Teens
Verified purchase: YesCondition: Pre-OwnedSold by: thrift.books