Screenwriting For Dummies (For Dummies (Career/Education))

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ScreenwritingFORDUMmIES‰2NDEDITIONby Laura SchellhardtAdjunct Professor, Northwestern UniversityForeword by John Logan

Screenwriting For Dummies , 2nd EditionPublished byWiley Publishing, Inc.111 River St.Hoboken, NJ 07030-5774www.wiley.comCopyright 2008 by Wiley Publishing, Inc., Indianapolis, IndianaPublished by Wiley Publishing, Inc., Indianapolis, IndianaPublished simultaneously in CanadaNo part of this publication may be reproduced, stored in a retrieval system, or transmitted in any formor by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except aspermitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the priorwritten permission of the Publisher, or authorization through payment of the appropriate per-copy fee tothe Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600.Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing,Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions.Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for theRest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related tradedress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the UnitedStates and other countries, and may not be used without written permission. All other trademarks are theproperty of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendormentioned in this book.LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THECONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUTLIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THEUNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OROTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF ACOMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THEAUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATIONOR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE.FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVECHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ.For general information on our other products and services, please contact our Customer CareDepartment within the U.S. at 800-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002.For technical support, please visit www.wiley.com/techsupport.Wiley also publishes its books in a variety of electronic formats. Some content that appears in print maynot be available in electronic books.Library of Congress Control Number is available from the publisher.ISBN: 978-0-470-34540-5Manufactured in the United States of America10 9 8 7 6 5 4 3 2 1

ScreenwritingFORDUMmIES‰2NDEDITIONby Laura SchellhardtAdjunct Professor, Northwestern UniversityForeword by John Logan

Screenwriting For Dummies , 2nd EditionPublished byWiley Publishing, Inc.111 River St.Hoboken, NJ 07030-5774www.wiley.comCopyright 2008 by Wiley Publishing, Inc., Indianapolis, IndianaPublished by Wiley Publishing, Inc., Indianapolis, IndianaPublished simultaneously in CanadaNo part of this publication may be reproduced, stored in a retrieval system, or transmitted in any formor by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except aspermitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the priorwritten permission of the Publisher, or authorization through payment of the appropriate per-copy fee tothe Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600.Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing,Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions.Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for theRest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related tradedress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the UnitedStates and other countries, and may not be used without written permission. All other trademarks are theproperty of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendormentioned in this book.LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THECONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUTLIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THEUNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OROTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF ACOMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THEAUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATIONOR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE.FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVECHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ.For general information on our other products and services, please contact our Customer CareDepartment within the U.S. at 800-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002.For technical support, please visit www.wiley.com/techsupport.Wiley also publishes its books in a variety of electronic formats. Some content that appears in print maynot be available in electronic books.Library of Congress Control Number is available from the publisher.ISBN: 978-0-470-34540-5Manufactured in the United States of America10 9 8 7 6 5 4 3 2 1

About the AuthorLaura Schellhardt holds an MFA in Literary Arts from BrownUniversity and degrees in Theatre and Creative Writing fromNorthwestern University in Chicago. Her scripts have been produced in New York (SPF, The Hangar, The Exchange Theatre), Seattle(Seattle Repertory Theatre, ACT), Chicago (Northlight Theatre,Serendipity Theatre, New Leaf Theatre, Citadel Theatre), WashingtonDC (The Kennedy Center, Woolly Mammoth), Providence (TrinityRepertory Company, Brown University), Minneapolis (TheatreLimina), North Carolina (Center for Performing Arts), andProvincetown, Massachusetts (Provincetown Repertory Theatre,Provincetown Theatre Company).Original works include The K of D, The Chair, CourtingVampires, Shapeshifter, The Apothecary’s Girl, Inheritance,and Je Ne Sais Quoi. Adaptations include The PhantomTollbooth, The Mysteries of Harris Burdick, The Outfit(Jeff Award Nominee), and Creole Folktales.Laura is a recipient of the Theatre Communications Group 2007–8Playwriting Residency, The Jerome Fellowship, the New Play Awardfrom ACT in Seattle, and a Dramatist Guild Playwriting Fellowship.She has participated in the SoHo Rep. Writer/Director Lab and theO’Neill National Playwright’s Festival. Laura has assisted in thedevelopment of new work at The Goodman, Steppenwolf Theatre,Northlight Theatre, and Trinity Repertory Company. She has studied writing with the likes of Paula Vogel, Maria Irene Fornes, ErinCressida Wilson and has taught alongside Oscar-nominated JohnLogan of Aviator and Sweeney Todd fame.Laura currently heads the playwriting program at NorthwesternUniversity in Evanston, Illinois and teaches workshops across thecountry.

DedicationTo John Logan — for a beginningAuthor’s AcknowledgmentsThe fearless Schellhardt crew: Mary Kate, Eliza, and Stephen — foryour love, your example, and your laughter.Mom — for your much exploited editorial services and for yoursupport, postmarked and otherwise.Dad — for your much exploited advice and for your support, postmarked and otherwise.Laura Bancroft Powell — for your stories and your name.Natasha Graf — for the original opportunity.Reed Finlay — for the encouragement, literary and otherwise.The extended support committee for the inspiration and the will:John Logan, Paula Vogel, Mary Poole, Rosie Forrest, JosephEpstein, Mr. Meyer, Anna Marie Baskin, Uncle Mark, and AndyGrotelueschen.

Publisher’s AcknowledgmentsWe’re proud of this book; please send us your comments through our Dummies online registrationform located at www.dummies.com/register/.Some of the people who helped bring this book to market include the following:Acquisitions, Editorial, andMedia DevelopmentProject Editor: Kelly Ewing(Previous Edition: Tim Gallan)Acquisitions Editor: Michael LewisCopy Editor: Kelly Ewing(Previous Edition: Chrissy Guthrie)Composition ServicesProject Coordinator: Katie KeyLayout and Graphics: Reuben W. Davis,Alissa D. Ellet, Melissa K. Jester,Laura Pence, Tobin Wilkerson, ChristineWilliamsProofreaders: Caitie Kelly, Toni SettleIndexer: Potomac Indexing, LLCEditorial Program Coordinator:Erin Calligan MooneyGeneral Reviewer: Bryan Michael StollerSenior Editorial Manager: Jennifer EhrlichEditorial Supervisor and Reprint Editor:Carmen KrikorianEditorial Assistants: Joe Niesen, David LuttonCover Photos: Grant FaintCartoons: Rich Tennant(www.the5thwave.com)Publishing and Editorial for Consumer DummiesDiane Graves Steele, Vice President and Publisher, Consumer DummiesJoyce Pepple, Acquisitions Director, Consumer DummiesKristin A. Cocks, Product Development Director, Consumer DummiesMichael Spring, Vice President and Publisher, TravelKelly Regan, Editorial Director, TravelPublishing for Technology DummiesAndy Cummings, Vice President and Publisher, Dummies Technology/General UserComposition ServicesGerry Fahey, Vice President of Production ServicesDebbie Stailey, Director of Composition Services

Contents at a GlanceForeword.xviIntroduction .1Part I: So You Want to Write for Pictures .5Chapter 1: Introducing the Art of Screenwriting .7Chapter 2: Preparing to Think Visually .15Chapter 3: Diving In to the Screenwriter’s Mind .23Chapter 4: Approaching Screenwriting as a Craft .37Part II: Breaking Down the Elements of a Story .53Chapter 5: Unpacking Your Idea .55Chapter 6: Plot Part I: Beginnings .75Chapter 7: Plot Part II: Middles.85Chapter 8: Plot Part III: Endings.103Chapter 9: Character Building .121Chapter 10: Say What? Constructing Dynamic Dialogue.139Chapter 11: The Nontraditional Film .163Chapter 12: Maintaining an Audience’s Trust.171Part III: Turning Your Story into a Script .177Chapter 13: Mapping Out Your Screenplay .179Chapter 14: Surviving Writer’s Block .191Chapter 15: Formatting Your Screenplay .201Chapter 16: Putting It Together: Structuring Your First Draft.223Chapter 17: Take Two: Rewriting Your Script .237Chapter 18: Adaptation and Collaboration: Two Alternate Ways to Work.251Part IV: Selling Your Script to Show Business .267Chapter 19: Before You Send It: Premarketing Considerations .269Chapter 20: Getting Your Screenplay Noticed .287Part V: The Part of Tens .309Chapter 21: Ten Screenwriters You Should Know.311Chapter 22: Ten Screenwriting Myths.321Index .329

Table of ContentsForeword .xviIntroduction.1About This Book.1Conventions Used in This Book .1Foolish Assumptions .2How This Book Is Organized.2Part I: So You Want to Write for Pictures.2Part II: Breaking Down the Elements of a Story.3Part III: Turning Your Story into a Script.3Part IV: Selling Your Script to Show Business.3Part V: The Part of Tens.3Icons Used in This Book.3Where to Go from Here.4Part I: So You Want to Write for Pictures .5Chapter 1: Introducing the Art of Screenwriting . . . . . . . . . . . . . . . . . . .7Thinking Visually.7Developing the Writer’s Mind .8Approaching Screenwriting as a Craft.9Finding Your Screenplay’s Story .9Working through the Writing Process .10Formatting Your Screenplay .10Constructing Your First Draft .11Rewriting Your Script.12Adapting Your Screenplay from an Outside Source.12Selling Your Screenplay to Show Business .14Chapter 2: Preparing to Think Visually . . . . . . . . . . . . . . . . . . . . . . . . . .15Exploring Other Mediums .15Fiction .16Stage plays.17Poetry and studio arts .17Screenplays .18The Visual Life of a Screenplay .20From the outside in .21From the inside out .22

Table of ContentsChapter 3: Diving In to the Screenwriter’s Mind . . . . . . . . . . . . . . . . . .23Learning from Other Writers .24Reading for dramatic intent .25Recognizing a screenplay’s genre.26Art and Life: What’s the Difference? .27Developing an Artistic Sensibility .28What a writer sees.29What a writer hears.30What a writer remembers and what a writer forgets.31Recognizing a Story When You See One.33Identifying the call to write .33The four important P’s of story .34Finding an opening image.34Chapter 4: Approaching Screenwriting as a Craft . . . . . . . . . . . . . . . .37A Look at the Creative Process .38Imagination: Your Creative Arsenal .39Flexing the imagination .39Putting the imagination to work.41Identifying your writing voice.44Craft: A Vehicle for Your Imagination .46Form .46Technique.46Discipline.50Part II: Breaking Down the Elements of a Story .53Chapter 5: Unpacking Your Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55I Have This Great Idea. Now What?.55Pinpointing your interest in the idea .55Documenting your interest in the idea.57Getting to Know Your Audience .58Matching the story to the audience.59Connecting with your audience.61Knowing What Happened Before Your Story Began:Creating the Backstory .63Elements of the backstory .63Developing a screenplay through backstory .65Identifying the Tone of Your Piece .66Establishing Your Story’s Time Clock.67Deciding When to Start Your Story.69Getting to Know Aristotle: A Dramatist’s Best Friend .70What’s It All About?: Writing a Nutshell Synopsis .72ix

xScreenwriting For Dummies, 2nd EditionChapter 6: Plot Part I: Beginnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75Enhancing Your Opening Images .75Person, place, or thing: What do you want to present first? .76Conflict: What’s wrong with your story? .79Possible ways to begin your story .80Tracking Success: Three Compelling (and Contrasting)Movie Beginnings .81The Untouchables .81American Beauty .82Jaws.83Chapter 7: Plot Part II: Middles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85Deciding What Comes Next .85From Lights to Camera to . . . ACTION!.87Presenting both action and activity.88Revisiting the story’s time clock .89Status: Where’s the Upper Hand?.90What’s Your Problem? Introducing Conflicts and Obstacles.92Exposition: From Clunky to Creative .94Sharing info the characters know .95Sharing info the characters may not know .96Determining What to Write from What You’ve Already Written .97Continuing Success: Tracking Three Successful Movie Middles .99Jaws.100The Untouchables .101American Beauty .101Chapter 8: Plot Part III: Endings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103How Do You Know When You’re Done?.104Tracking the change: What’s different now?.105Crafting your story’s conclusion .109Danger Will Robinson: Threats to an Otherwise Healthy Plot .112Would that really happen? The probable versus the possible.113Scenes where nothing happens: Two final threats to watch for.116Ultimate Success: Tracking Three Movies throughTheir Triumphant Conclusions.117Jaws.117The Untouchables .118American Beauty .119Chapter 9: Character Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121Portrait of a Person: Constructing a Physical World.122Your character’s physical being .122Your character’s physical environment .125

Table of ContentsThe Good, the Bad, and the Ugly: Constructing an Internal World .129Dreams, desires, and passions .130Talents and expertise.130Internal obstacles.131Your character’s argument.132From the Inside Out: Making the Inner World Visible .133Balancing character dialogue with character action.134Crafting concrete character goals.135Providing character opportunities .135Establishing routines that change.136Forcing your characters to choose .136Using a mentor.137Using a narrator.137Crafting secondary characters .138Chapter 10: Say What? Constructing Dynamic Dialogue . . . . . . . . . .139Diction: What’s in a Word? .140Isn’t versus ain’t: Diction’s determining factors.141The highs and the lows of language.145Name That Tune: Crafting Your Character’s Music .148Sound 101: Using poetry as a guide .149Fascinating rhythm: Crafting your script’s pulse .150Listening: The Other Half of Conversation .152Putting It Together: Letting Your Characters Speak .154Setting the scene .155Dialogue do’s and don’ts .156Chapter 11: The Nontraditional Film . . . . . . . . . . . . . . . . . . . . . . . . . . .163Breaking with Tradition — Other Ways to Get the Job Done .164Thinking Out of Time .165Song and Dance: The Movie Musical .167Original musicals.168Musical adaptations.169Chapter 12: Maintaining an Audience’s Trust . . . . . . . . . . . . . . . . . . . .171Screenwriting and Ethics .171Screenwriting and Responsibility .173What are you willing to put your name on? .173Approaching difficult subject matter.174The Immunity Factor .175Part III: Turning Your Story into a Script.177Chapter 13: Mapping Out Your Screenplay . . . . . . . . . . . . . . . . . . . . . .179Conceptualizing Your Concept .180How to Treat Your Treatment.182xi

xiiScreenwriting For Dummies, 2nd EditionBefore you begin.182Putting it on the page.183Exploring the Ins and Outs of an Outline .184One sentence at a time .185One step at a time .187What to Do When the Outline’s Through.188Chapter 14: Surviving Writer’s Block . . . . . . . . . . . . . . . . . . . . . . . . . . .191From Panic to Peace: Switching Mind-Sets .192The top ten reasons for writer’s block .193A survival guide .196Reevaluating Your Routine.197Seeking Outside Help.198Chapter 15: Formatting Your Screenplay . . . . . . . . . . . . . . . . . . . . . . . .201How the Screenplay Looks on the Page .202Setting your typeface and your margins .202Spacing your script correctly .203Making your computer work for you .205Creating a PDF.

DUMmIES ‰ 2ND EDITION by Laura Schellhardt . FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our othe