By Syd Field

ISBN-10: 0307570053

ISBN-13: 9780307570055

All writing is rewriting. yet what do you modify, and the way do you alter it? All screenplays have difficulties. They occurred to Die not easy: With a Vengeance and damaged Arrow-and didn't get mounted, leaving the flicks fallacious. They approximately shelved Platoon-until Oliver Stone rewrote the 1st ten pages and created a vintage. They take place to each screenwriter. yet strong writers see their difficulties as a springboard to creativity. Now bestselling writer Syd box, who works on over 1,000 screenplays a yr, tells you step by step the way to determine and fasten universal screenwriting difficulties, offering the pro secrets and techniques that make videos brilliant-secrets that could make your screenplay one headed for success...or even Cannes. find out how to:

•Understand what makes nice tales work
•Make your screenplay paintings within the first ten pages, utilizing Thelma & Louise and Dances With Wolves as models
•Use a "dream assignment" to permit your inventive self break away overnight
•Make motion construct personality, the way in which Quentin Tarantino does
•Recover in the event you hit the "wall"-and triumph over writer's block forever

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Additional info for The Screenwriter's Problem Solver: How to Recognize, Identify, and Define Screenwriting Problems

Sample text

Presumably, normal people fail to write because they have nothing to say, not because they are genuinely blocked. In this elitist view, meaningful PB is a gift of our gods or our genes and given to (or inflicted upon) only a lucky few creative folk. We would, it seems, be better off not meddling with it—and we couldn’t in any useful way if we wanted to. PB strikes romantics, many of whom are themselves PBers, as a mysterious and irreplaceable burden or gift. Romantics, as will be shown later, often imagine that creativity itself is dependent on the kinds of suffering and madness that begin with PBing.

Traditional schools, where most of us are formed, value most those individuals who can thrive with ambiguity, with incomplete direc- Why Researchers Know So Little 9 tives, and with knowledge usually kept tacit (Langer, 1989; Sternberg, 1985). We expect ‘‘bright’’ students, professors, artists, and others pursuing academic or creative efforts to do their most impressive work in occasional spurts, between painful bouts of PB. Our proud tradition of Social Darwinism, of sink-or-swim attitudes towards managing PB, benefits too few of us.

What could I do? I don’t want to look like a grind. [In response to my question about how much studying he would Why Researchers Know So Little 7 get done after already being in the bar for four hours] Yeah. I thought I would only have one beer and play one game and get back to work. I didn’t. Now, I guess, I have to pull an all-nighter. I hate that. Or maybe I’ll just take the test cold. Maybe law school isn’t right for me anyway. So while PB has benefits in the short run, it typically exacts an even greater price in the long run.

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The Screenwriter's Problem Solver: How to Recognize, Identify, and Define Screenwriting Problems by Syd Field


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