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
Ken Dancyger is a Professor of Film and Television at Tisch School of the Arts at New York University as well as the author of numerous books on screenwriting, editing, and production. Jeff Rush is an Associate professor at Temple University's Department of Film & Media Arts as well as author of numerous articles on screenwriting and narrative theory.
INTRODUCTION Beyond the Rules STRUCTURE Structure Critique or Restorative. Three-Act Form Counter Structure More Thoughts on Three Acts: 15 Years Later Narrative and Anti-Narrative: The case of the two Stevens: The Work of Steven Spielberg and Steven Soderbergh Multiple Thread Long Form Televisoin Serial Scripts GENRE Why Genre? (New chapter) Working with Genre I Working with Genre II: The Melodrama and the Thriller 11.Working Against Genre 12. The Flexibility of Genre )New chapter) 13. Genres of Voice 14. The Non-Linear Film 15. The Fable: A case study of Darkness: The Wizard of Oz and Pan's Labyrinth (New chapter) CHARACTER 16. Reframing the Active/Passive Character Distinction 17. Stretching the Limits of Character Identification 18. Main and Secondary Characters 19. Subtext, Action and Character 20. The Primacy of Character over Action: The Non-American Screenplay. FORM, TONE AND THEORY 21. The Subtleties and Implications of Screenplay Form 22. Agency and the Other 23. Character, History and Politics 24. Tone: The Inescapability of Irony 25. Dramatic Voice, Narrative Voice 26. Digital Features 27. Writing the Narrative Voice 28. Rewriting 29. Adaptations from Contemporary Literature CONCLUSION 30. Personal Screenwriting: The Edge 31. Personal Screenwriting" Beyond the Edge.