Writing & Selling Screenplays

Advice from an expert, ranging from learning the subgenres to approaching financial partners Aimed at screenwriters, producers, development executives, and educators interested in the crime genre, this book provides an invaluable basis for crafting a film story that considers both audience and market expectations without compromising originality. A brief historical overview of the crime genre is presented for context along with an analysis of various crime sub-genres and their key conventions, including: police, detective, film noir, gangster, heist, prison, and serial killer. The book focuses on the creative use of these conventions and offers strategies for focusing theme and improving characterization, story design, structure, and dialogue. Paradigms, story patterns, and writing exercises are provided to assist the script development process, and strategies for revision are discussed along with key questions to consider before approaching creative or financial partners.

All aspects of drama screenwriting, with such case studies as Erin Brockovich, The King's Speech, Juno, and many more Breaking down the nuts and bolts of what differentiates drama from genre, this book considers questions such as What is "emotional truth?" What separates stereotypical and authentic characters? What are the different types of drama feature screenplay? How do we make these films, when there's "no money?" and What are the distribution opportunities for dramas? Exploring the ways in which drama and authenticity work, it empowers screenwriters to make their own story and character choices, so they can write and also package, finance, and even make their own drama features. Detailed case studies of dramas made on both shoestring and bigger budgets offer insights from their writers, directors, and producers. Films discussed include Brokeback Mountain, American Beauty, Saving Mr. Banks, Changeling, and Girl, Interrupted.

The many ways that "happy after ever" can come about-case studies and analyses include Due Date, I Give it a Year, Midnight in Paris, Ted, and Tamara Drewe Contemporary film audiences want and need sophisticated, authentic films that show how we now live and love-so what does this mean for the screenwriter developing a romcom? And how does one write heart-warming stories for a genre that is constantly evolving, from bromcom to zomcom to famcom? This guide offers a fresh approach to creating narratives for this ever-changing genre. Moving away from rigid and limited definitions that have evolved out of mainstream genre films, the book embraces a working definition that crosses cultural and national boundaries to give screenwriters a truly international perspective on writing comedic love stories. It will be the first screenwriting guide to reflect the diversity of approaches in today's films that deal with the human need for emotional and physical intimacy using humor-the contemporary romantic comedy.

The lowdown on not only getting a thriller feature script on the page, but also getting it in front of producers and investors From premise to resolution, this book guides writers through the craft of thriller writing, citing classic thrillers such as Psycho, The Shining, The Sixth Sense, and Fatal Attraction, and lesser-known gems like Red Eye, Desperate Measures, Impostor, and Drive. The book also considers how the screenplay might be sold to investors, looking at high concept ideas, pitching, packaging, and the realities of film finance. It answers such common questions as What is flight vs. fight? What is the difference between horror and thriller? What are the different sub genres of thriller? What part do actors play in film finance? How can limited locations create new opportunities in storytelling and financing? Why is the lone protagonist so in demand? and Why are female characters so popular in thriller?