Screenwriter's Compass : Character As True North.

Screenwriter's Compass : Character As True North.

Ever watch a movie, and despite great production value, fantastic action sequences, a great cast, etc, you come away thinking-I just didn't buy it. Chances are it was because you didn't care about the characters. Screenwriter's Compass presents a new way of approaching screenwriting,...

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Bibliographic Details
Main Author: Gallo, Guy
Format: eBook
Language:English
Published: Burlington : Elsevier Science, 2012.
Subjects:
Motion picture authorship.
PERFORMING ARTS > Film & Video > Screenwriting.
Motion picture authorship
Drehbuch
Online Access:Click for online access
Table of Contents:
  • Front Cover; Screenwriter's Compass; Copyright Page; Contents; Preface; Acknowledgments; 1 First Things; Screenwriter's Compass; Big Deal--You're Writing a Screenplay; Gear Up; Screenwriting Is Writing; Craftsmanship; 2 Groundwork; Reading Theory; Character Up, Not Plot Down; Screenplays Are Structure; Upsetting Aristotle; The Poetics; Plot and Character; Action; Putting Aristotle to Work; Character as Aspect; Character as Agency; Drama as Choice; Character Completes Plot; Character-Driven versus Plot-Driven; Fable and Construct; Story; Event; Plot; Turning Theory to Task; 3 Getting Ready.
  • Master Shot ScreenplayReading Screenplays; Composition Creates Story; On Outlines; On Character Histories; On Treatments; On Adaptation; Types of Adaptation; Fidelity; Transformation; Narrative Time versus Story Time; Film Storytelling; Tasks of Adaptation; 4 First Draft; The Blank Page; Jump In; Show Up; Genre; Experience versus Imagination; Don't Be Precious; Posterity; Topicality; Revising As You Go; Slow Down; Innocent Reader; Scene and Action Description; Setting; Details; Details versus Specificity; Sentence and Paragraph Structure; Geography; Mimetic Description.
  • Camera Gestures and ParagraphingThe Camera versus We See versus Paragraphing; Editorial Description; Colloquial Narration; Tone of Narration Fit to Tone of Piece; Show, Don't Tell; Push versus Pull; No Apologies; Being God; Making Character; Backstory; Introducing a Character; Individuating the Waitress; Character Logic; Believability; Hearing Voices; Who's Talking?; Differentiating Voices; Speech into Voice; Speech Is an Action; Exposition; Long Speeches; Voice-Over Narration; Empathy; Character Is What We Remember; Identification; Character Want; Character Need; Want and Empathy.
  • Arc versus TrajectoryRaising Stakes; Thinking of Structure; The Pieces; Image; Shot; Scene; Sequence; The Well-Made Play; Back to Aristotle; Harmatia; Peripeteia; Anagnorisis; Journey; Breaking a Block; Revisit the Fable; Reread What You've Written; Change the Tools; New Location; Do the Opposite; Write What You Remember; The Sister Ann Francis Solution; Do Nothing; 5 Revision; First Reader; Looking Again for Logic; Character Logic; Plot Logic; Visual Logic; Questions; Active and Accurate Verb?; Is It Varied?; Is It Immediate?; Is It Visceral?; First Time or Ritual?; Considered the Space?
  • Seen from All Sides?Challenges and Pitfalls; Nothing Is Sacred; Padding; Question and Answer; Eye Drama; Emotional Geography; Fill Time or Ignore It; Enter Late, Leave Early; Let the Scene Play; Write the Love Scene; Needs of the Scene versus Needs of the Story; On Expectation; Expectation and Reversal; The Axis of Good and Bad; Nudity and Violence; Endings; 6 Finishing; Wrighting a Screenplay; Wrighting versus Writing; Control What You Can; Screenplay Format; Rules Have Purpose; Screenplay Processors; One Page/One Minute; Font; Bold and Italic; Typewriter versus Typeset; Two Spaces; Dash.

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