According to Field, “Everyone desires to write a screenplay.” I understand hes speaking figuratively, however I have no desire to compose a screenplay. I am passionate about the craft of composing, so I read books about a range of forms and categories, and I always discover something from them that I can apply to my own operate in nonfiction, poetry, and fiction.
Studying the craft of writing from a variety of angles will benefit any author. Youll discover something from studying a little poetry if you compose brief stories. You can discover something useful from playwrights if you write poetry. And if youre an author, you can select up some excellent pointers from the craft of screenwriting.
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A book for all writers, however specifically screenwriters.
There are a couple of chapters in this book that pertain exclusively to film writers, but the bulk of the book focuses on storytelling, and its loaded with knowledge that will benefit fiction authors of all forms.
Movie Script by Syd Field is a primary book on screenwriting. I first read it back in college, and the trainer was very clear: anyone who wants to write and sell a screenplay needs to read this book.
A Book for Storytellers
This is essential: theres no right or incorrect way to compose a book. There are best practices that you can follow, which will increase your chances of success, but theres definitely no single procedure that will result in success.
Every story has a start, end, and middle. Every story is formed from the core structure blocks of character, style, plot, and setting.
In my experience, its tough to find great books on storytelling. Many of them are composed by authors who insist on a specific formula or process that they created on their own, and they assert that this is the only method to compose fiction.
Here are a few of my preferred tidbits of knowledge from the book:
Surpassing story structure, Field provides a host of ideas on how to compose, and he is clear in stating that the process hes proposing works well for him and he thinks it will work well for others, however he likewise keeps in mind that each author needs to find their own best procedure, which is a sign of a great writing instructor.
Field speak about psychological and physical action and the need for dispute, battle, and obstacles both externally and within the characters emotional and mental landscapes.
” All drama is dispute. Without conflict, you have no action; without action you have no character; without character, you have no story.” (p 25).
” The occurrences you develop for your characters are the best ways to light up who they are– that is, reveal their true nature, their vital character.” (p. 44).
” With your composing schedule set up, you can get down to work; and one fine day you will sit down to write. Whats the very first thing thats going to take place? Resistance, thats what.” (p. 243).
2 of my favorite chapters, with titles that are self-explanatory, were “Endings and Beginnings” and “Setting Up the Story.” You d anticipate a chapter called “The Scene” to be film-centric in a screenwriting book, however this one is more about story and what a scene need to achieve to move the story forward or expose necessary information about the characters.
Screenplays Are Stories.
Speaking of characters– there are not one or two– however three chapters on character, including “Creation of a Character,” “Building a Character,” and “Story and Character.” Characters are the heart of any story, whether its on the screen or on the page, and these chapter are stuffed with excellent guidance on crafting characters.
Hollywood wont even take a look at your script if it does not follow appropriate kind, and the book supplies an introduction to the form along with recommendations for screenwriting software.
” With your writing schedule set up, you can get down to work; and one great day you will sit down to compose. I already understood that you can do things in recorded stories that cant be done in written narratives– and vice versa. I would highly advise this book to anybody whos interested in storytelling, specifically if they have any interest in writing for film.
One of the most fascinating and practical chapters in the book is called “After Its Written,” which gives the rundown on how to get a script seen and sold, attending to the steps one need to take to work through the Hollywood system, including options that are offered to help first-timers actually offer a script.
A chapter on adjustment is particularly useful and need to most likely be read by any author who at some point intends to see their novel on the cinema.
Any storyteller will obtain knowledge from Screenplay, however some parts are strictly for screenwriters. I would extremely recommend this book to anyone who has an interest in storytelling, particularly if they have any interest in composing for film. Get your copy today!
Important for Screenwriters.
If you write short stories, youll discover something from studying a little poetry. I am enthusiastic about the craft of composing, so I check out books about a variety of categories and types, and I constantly discover something from them that I can apply to my own work in fiction, nonfiction, and poetry.
I found these chapters intriguing since they showed how the narrative of a movie script is written differently from a novel. I currently understood that you can do things in shot stories that cant be done in composed stories– and vice versa.