Pilar Alessandra's popular book, The Coffee Break Screenwriter, taught writers how to outline quickly, write efficiently, and rewrite creatively. It is the "go-to" book for getting one's story on the page. But now that same writer may be doing a final pass on a project, working with a producer, or coming up with a new project only to be hit with . . . RULES! Should the writer respond to this random list of do's and don'ts pertaining to structure, characters, dialogue, and formatting? Nope. Who says you have to follow the screenwriting rules? In this book Pilar reviews the rules writers assume they should follow, discusses why they're there in the first place, and then shows you ways to creatively break them! Rules evaluated include those addressing: storytelling devices like flashback and voiceover character rules such as empathy and backstory dialogue faux pas such as writing on the nose structural issues such as nonlinear writing and act-break placement formatting sticking points involving emotion and visuals For every "rule" that's discussed, Pilar covers: 1. Why the rule exists. 2. Why writers should break the rule. 3. How writers can break the rule. 4. How breaking the rule can break bad (so break with care).

The writer receives guidance and tips at every stage of the often intimidating writing process with a relaxed, "ten minutes at a time" method that focuses the writer and pushes him or her forward. At each step, writers are encouraged to "Take Ten" and tackle an element of their script using the templates and tools provided. "What You've Accomplished" sections help writers review their progress. And "Ten-Minute Lectures" distill and demystify old school theory, allowing the writer to unblock and get writing.

Learn the rules of scriptwriting, and then how to successfully break them.Unlike other screenwriting books, this unique guide pushes you to challenge yourself and break free of tired, formulaic writing--bending or breaking the rules of storytelling as we know them. Like the best-selling previous editions, seasoned authors Dancyger and Rush explore alternative approaches to the traditional three-act story structure, going beyond teaching you "how to tell a story" by teaching you how to write against conventional formulas to produce original, exciting material. The pages are filled with an international range of contemporary and classic cinema examples to inspire and instruct. New to this edition. New chapter on the newly popular genres of feature documentary, long-form television serials, non-linear stories, satire, fable, and docudrama. New chapter on multiple-threaded long form, serial television scripts. New chapter on genre and a new chapter on how genre’s very form is flexible to a narrative. New chapter on character development. New case studies, including an in-depth case study of the dark side of the fable, focusing on The Wizard of Oz and Pan’s Labyrinth.

Hollywood's premier teacher of screenwriting shares the secrets of writing and selling successful screenplays in this perfect gift for aspiring screenwriters. Anyone fortunate enough to win a seat in Professor Richard Walter's legendary class at UCLA film school can be confident their career has just taken a quantum leap forward. His students have written more than ten projects for Steven Spielberg alone, plus hundreds of other Hollywood blockbusters and prestigious indie productions, including two Oscar winners for best original screenplay—Milk (2008) and Sideways (2006). In this updated edition, Walter integrates his highly coveted lessons and principles from Screenwriting with material from his companion text, The Whole Picture, and includes new advice on how to turn a raw idea into a great movie or TV script-and sell it. There is never a shortage of aspiring screenwriters, and this book is their bible.

Selling Your Screenplay is a step-by-step guide to getting your screenplay sold and produced. Learn how to get your script into the hands of the producers and directors who can turn your story into a movie.

Bestselling author Suzanne Brockmann knows exactly what makes hearts race and pulses pound: peril and passion. No one succeeds more brilliantly at blending these exhilarating elements in breathtaking novels of men and women forced to grapple with the deepest emotions and the highest risks. And there’s no better proof than Hot Target. Like most men of action, Navy SEAL Chief Cosmo Richter never learned how to take a vacation. So when he finds himself facing a month’s leave, he offers his services to Troubleshooters Incorporated. Founded by a former SEAL, the private-sector security firm is a major player in the ongoing war against terrorism, known for carrying out covert missions too volatile for official U.S. military action. But the first case Richter takes on is anything but under the radar. High-profile maverick movie producer Jane Mercedes Chadwick hasn’t quite completed her newest film, but she’s already courting controversy. The World War II epic frankly portrays the homosexuality of a real-life hero–and the storm of advance media buzz surrounding it has drawn the fury of extremist groups. But despite a relentless campaign of angry E-mails, phone calls, and smear tactics, Chadwick won’t be pressured into abandoning the project. Then the harassment turns to death threats. While the FBI appears on the scene, nervous Hollywood associates call in Troubleshooters, and now Chadwick has an army of round-the-clock bodyguards, whether she likes it or not. And she definitely doesn’t. But her stubbornness doesn’ t make FBI agent Jules Cassidy’s job any easier. The fiercely independent filmmaker presents yet another emotional obstacle that Cassidy doesn’t need–he’s already in the midst of a personal tug-of-war with his ex-lover, while fighting a growing attraction to Chadwick’s brother. Determined to succeed–and survive–on her own terms, Chadwick will face off with enemies and allies alike. But she doesn’t count on the bond she forms with the quiet, capable Cosmo Richter. Yet even as their feelings bring them closer, the noose of deadly terror all around them draws tighter. And when all hell erupts, desire and desperate choices will collide on a killing ground that may trap them both in the crossfire.

Takes a look into the lives and workspaces of screenwriters, who share their best practices in their own writing careers.