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If you want to know, you have to read screenwriting books. So it’s no surprise that screenwriters have strong opinions about the best screenwriting books.
Let’s look at how screenwriting books can help us do more than write screenplays. Screenwriting books can also help us SELL screenplays. Screenwriting Books Are Languages The best books on screenwriting are languages spoken by creatives and decision-makers. Even though most screenwriting books make many of the same points, each screenwriting book uses a slightly different language. Decision-makers tend to have a favorite screenwriting book or two – and that means that they can only talk about screenplays (intelligently) in the languages used by those screenwriting books. Screenwriting Books Help You Sell If you want to sell a screenplay (at some point), you’ll need to convince someone to buy it.
It will help you tremendously if you know the different screenwriting books so that you can speak the different screenwriting languages. That way, you’ll be prepared when a decision-maker says:. “We need a ‘ save the cat’ moment here.”. “I wish this was better orchestrated.”. “Can you make him a little more ‘ flawed-but-amazing’?” Instead of, you’ll understand exactly what they mean.
Then, you can use the screenwriting terms that the decision-maker prefers. That makes you much more likely to sell your script (or get hired). That said, and with the caveat that what follows is my opinion, here are the ten screenwriting books referenced more often by agents, managers, executives, stars, and directors.
Top 10 Screenwriting Books “The single most important fact, perhaps, of the entire movie industry: NOBODY KNOWS ANYTHING. Not one person knows for a certainty what’s going to work.” ― William Goldman, “ Orchestration demands well-defined and uncompromising characters in opposition, moving from one pole toward another through conflict.” —Lajos Egri, “When we look at films, we usually see only the action. Yet it is the decision to act that helps us understand how the character’s mind works.” — Linda Seger, “You always want to tell the story in cuts. Which is to say, through a juxtaposition of images that are basically uninflected.” — David Mamet, “The ‘Save the Cat’ scene is where we meet the hero and the hero does something – like saving a cat – that defines who he is and makes us, the audience, like him.” ― Blake Snyder, “What’s the best way to open your screenplay? KNOW YOUR ENDING!” ― Syd Field, “If the character raises her cup of coffee to her lips, that’s not important enough to describe unless there’s poison in the cup.” — David Trottier, “When inspiration sparks the desire to write, the artist immediately asks: Is this idea so fascinating, so rich in possibility, that I want to spend months, perhaps years, of my life in pursuit of its fulfillment? Is this concept so exciting that I will get up each morning with the hunger to write? Will this inspiration compel me to sacrifice all of life’s other pleasures in my quest to perfect its telling?
If the answer is no, find another idea. Talent and time are a writer’s only assets. Why give your life to an idea that’s not worth your life?” ― Robert McKee, “The main character must be the kind of flawed-but-amazing character a movie star wants to play.” — Robert Ben Garant & Thomas Lennon, “It is a very strong rule in drama, and in life, that people remain true to their basic natures. They change, and their change is essential for drama, but typically they only change a little, taking a single step towards integrating a forgotten or rejected quality into their natures.” ― Christopher Vogler, Question for you: What books are missing from this list? Although there’s definitely some personal preference involved, you’ve hit on all the absolute musts I know of.
Beyond that, I’m always on the lookout for great new tools, and excluding the ones on my shelf I haven’t gotten to yet, here’s some with great tools that I consider stand-outs. Wired for Story (Lisa Cron). I’m biased, since I’m an engineer & scientist at heart, but there’s some great epiphany’s here, with solid scientific evidence to back it up. The Little Blue Books (William C.
There are alot of these, and I hate reading all of them because they’re so good they’re too slow to read – I have to stop every other sentence to write down notes. Great tools in abundance. ScriptShadow Secrets. Carson Reeves gets a lot of crap (some of it may be deserved), but even his detractors would be wise to read this – there’s some great tools in it. Dean Balsamo The Martell Books are great. Like you say, they’re a bit of slow go because they’re so jam packed and like you I’m taking notes.
I’ve read a number of screenwriting books over the years but to me these are unique. They have fan-like enthusiasm and an industry veteran’s understanding of the important elements you need to address. He’s not writing in a vacuum, he cites Blake for instance, but his focus is really on the nuts and bolts of the elements like: the first 10 pages, different story structure approaches, developing dialog, finding your voice within the screenplay structureand much more. The only problem with for me is, while I’m learning so much I”m also realizing how little I actually know. But that’s life.
Mamet’s book is often been recommended to me as a must-have, but having read it, I must disagree. Maybe it’s because I’m not “just” a writer nor “just” a director, but a writer, director, and actor, but I found most of Mamet’s advice here (if you can even call it that) to be ill-informed, ill-advised and at times downright dangerous.
Not only is it flagrantly dismissive of the intricacies of directing (this would explain why everything Mamet has directed falls flat), preferring to see it as a point-the-camera-at-the-actors kind of enterprise, his dismissal, or complete ignorance of, the actor’s needs is even more acutely evident. A single example: he suggests that actors should be directed to reject the concept of the characters arc.
They simply need to focus on the scene, he says. Not only is this wrong, it borders on insane. Without understanding where the character is within the arc of the story, there can be no honest representation of the of that character in that moment by the actor. And it is the director’s job to keep the actor fully aware of that situation. Arguably, in the setting of a live performance, the arc takes care of itself. Being organic and linear, the director needs to do less here.
But on screen, with scenes shot out of order and much of the action taking place with the character absent, the guidance of the director is essential. Without it, all is lost. Unfortunately, this sort of missing-of-the-point is just what you’d expect from a gifted playwrite who is a lousy director attempting to elucidate how to be a great director. Rob Caudy I am glad to finally find someone who also find Mamet’s book to be.let’s saysomewhat elitist. I know some great professors that are fantastic one-on-one but when in a room full of eager students, they tend to intellectualize subjects that deserve a simpler approach. In other words, it’s a way of saying “Look how smart I am.
Aren’t you impressed?” The fact that the book is, in essence, a transcript of a university lecture, makes me think a similar thing was going on here. I haven’t read it in awhile, and maybe today I might get a better feeling about it, but when I read it for the first time I left with the impression that the guy was a jackass. However, it did have some valuable advice. But I think I could have made some notes and taken away a page or two of those things. I feel the same way for Aristotle’s “Poetics.” Sure, it’s great, and I’ll be vilified for saying this, but it certainly is not a necessary read in a contemporary context. Well, perhaps it is, but the content is covered more appropriately in most screenwriting books.
HOWEVER, I have recommended Aristotle to many friends and students. Probably because I sometimes feel the need to prove how educated I am.:/.
Susanna This list is a great start. I would also suggest Linda Aronson’s book as well, in addition to two others: Jeff Kitchen’s Writing a Great Movie and Dara Marks’s Inside Story: The Power of the Transformational Arc.
Kitchen is a trained playwright and offers an important discussion of dilemma and an “Enneagram” to delineate character types. He also includes Polti’s 36 plot situations. I found that my students benefitted most from Marks’s work, as it’s one of the most in-depth studies of a protagonist’s inner journey, step by step, that is rooted in the thematic observation of his/her fatal flaw. It’s one of the few texts that ties that inner journey to the external events inherent in act structure in a thematic way (without needing to be myth-based). It’s a shift away from the upside-down checkmark (usually derived from Freitag’s pyramid) — her paradigm is a wave, a more organic story approach. It offers one of the best discussions of what really happens at the end of Act 2 internally that makes the protagonist able to accomplish the external objective and earn the climax of Act 3. Overall, it’s the best discussion of metamorphosis and character arc that I’ve come across.
It’s concrete enough that student writers can apply the principles — and organic enough it transfers to other story forms easily. I used this text for several semesters and it helped solved a lot of problems for writers up front. So often the inner journey isn’t apparent until after several drafts — the principles here save a lot of time and rewrites. Highest recommendation. Pertinax With 3921 books on the topic, this might be a bit silly to ask What do you think of Karl Iglesias’ book “Writing for Emotional Impact”?
I stumbled across it’s inside cover while tromping around Scriptmag.com so to speak and it snagged my attention. Before I go searching underneath the sofa cushions for the change to pick up a copy. How useful would you consider his advice?
Or perhaps has anyone here in this room read the title and found it helpful in their screenwriting? Thanks in advance! I’ve read most of these. Craft is great but, I have found, you can’t write art to craft. Every good writing is art IMHO.
But craft alone won’t get you there. But craft, if you ingest it and steep yourself in it begins to seep out subconsciously tempering your art, helping you hone it on instinct, keeping it true to yourself and also in line with popular wisdom. I love the books I’ve studied. Someone who, for me, is the absolute best is John Truby, he hasn’t written a book but his courses are bar none, the best, in my opinion.
So rich and packed with knowledge and wisdom and deep analysis. “Story” is great as well. Good luck you writers! Adam Watch and deconstruct movies and genres. Watching movies is a skill. Work on developing that.
Read scripts. Maybe choose one nuts and bolts type book. The Wordplayer website has a few articles in particular that would probably be far more useful than any screenwriting book. The MAMET book contains an approach to creating structure, the application of the principle of throughline, which stems from Stanislavski and is valuable to a thinking writer. Keep your tools simple and only use enough technique to free your unconscious. If you’re intimately familiar with some great films that speak to you, and you know them beat for beat, you’ve internalized structure. You don’t need to save anyone’s cat.
Out of all of the professional writers I know, that’s a joke. Maybe just for wannabe’s who want to believe good writing isn’t complicated and apparently film executives who don’t really know anything about story. Colin Holmes Seems to me a few folks are missing the point. These aren’t necessarily the best books on writing for the screen, but the ones writers need to know because they’re the most familiar to the folks on the other side of the desk. This list is more about understanding the studio/producer/director’s frame of reference rather than the best how-to-write-it books. I’ve had a couple of producers and readers mention books on this list, but almost universally screenwriting pros seem to want to dismiss Save the Cat, just as directors tend to argue Mamet. Marcus Pidek Hi, Stephanie!
Thanks for the list. I read more than half and own 4 of them. If the Goldman book has the line, Which lie did I tell?”, then I remember it as a great background book to the business of show business. I found Egri’s book dry and since it was meant for plays (I know, a story is a story, no matter what format) I left it. I have probably 4 books from Seger. I can’t fault her but I always get the feeling that she almost hit the nail on the head but I’m missing something. I didn’t read Mamet, I might.
I am going through CINEMATIC STORYTELLING – THE 100 MOST POWERFUL FILM CONVENTIONS EVERY FILMMAKER MUST KNOW by JENNIFER VAN SIJLL. I’m looking for ideas to help me storyboard a 20 minute short I wrote for a local director. He was happily surprised I gave five characters arcs without losing steam in the story. I think it’s better.
Anyway, I have all 3 Save The Cats and met Blake when he came through Toronto. The guy’s a prince and he left us too soon. His books were an eye opener and worth pondering. I do try to save a “cat” in every story I write. Once, it was actually a cat! I read some of Field’s stuff and it grated on me. He talks a good game but I didn’t feel well guided.
Yes, the BIBLE has come in handy. I don’t know McKee’s methods and his book costs too much to satisfy my curiosity. I know he inspired thousands but good speakers do that.
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I have Movies For Profit. You can’t knock success.
I didn’t read Vogler’s Journey, it always looked dry. BUT, I have Voytilla’s MYTH AND THE MOVIES. He wrote it with Vogler’s blessing as a followup to JOURNEY and as the third man in line from Campbell’s line of thought. I liked it and highlighted the crap out of some of the pages. Now let me put a few out there for your consideration. First of all the ideal screenwriting book, I think, is written by a commercially successful screenwriter.
So at the top of the list, writers should consider Bill Martell’s SECRETS OF ACTION SCREENWRITING. His book was out of print and I saw copies for up to $1,000 on ebay. I paid $100 for mine. Since then he revamped it and released it as a kindle. After I read it, my screenwriting professor said, “You can write action.”.
That surprised me. I’m reading an old bio on George Lucas – interviews edited by Sally Kline. Picked up for light reading, I found myself high lighting some of his comments on writing and filming solutions. I was interested to learn how STAR WARS evolved.
Now, let me give you seven books to see if you think any are worth your time. I highlighted the crap out of six of them. THE MORAL PREMISE by STAN WILLIAMS. THE SCREENWRITER WITHIN by D.B.GILLES. POWER SCREENWRITING by WALKER.
SCREENWRITING IS STORYTELLING by KATE WRIGHT. THE INNER GAME OF SCREENWRITING by SANDY FRANK. I found Frank’s ideas to be memorable and unique. A little paperback called SCREENPLAY BY DISNEY by JASON SURRELL.
Great advice, among other things, on the interconnections of characters and lead characters and subplots to the main plot. Finally, I haven’t started it yet but I got an old bio on James Cameron by Christopher Heard. Between Jim and George, they made a hell of an impact on the business and the world. Such greats should be required reading for anyone who is attracted to show business.
Whoops, looks like I wrote a book instead of a letter. Sorry, got carried away. Marcus Pidek. Zeroed Out Wow.
I think you’ve read more screenwriting books than I’ve actually seen in existence. Lol I’ve only read two to completion — Linda Seger’s and one that I can’t remember — plus David Trottier’s, which I skimmed parts of, and that was more than enough for me. Reading screenplays is where I truly learned (and a couple of classes). Then again, I haven’t done anything huge but I just love to write, so it doesn’t really matter much to me.
Anyway I’m torn on Martell. I used to be part of a message board that he frequented and he was always a very nice guy, but I couldn’t help but think sure, he sells screenplays, but they’re also pretty crappy movies. Would I trust the writing advice of the guy who wrote Sharknado (which Martell didn’t write, but still)? Hmm maybe, I guess. Lol Instead of spending $100 on his book — or even $10, for that matter — I would have spent that on a couple of lobster dinners while reading screenplays that you can find online by action writers for free and figuring it out myself.
Karen I found both William Goldman’s books fantastic, his dry wit and insight wonderful but that’s me. Others recommend Lew Hunters 434, but I didn’t enjoy it at all as for me it lacked character development and arc, but he did recommend Poetics and that was very helpful. I don’t think therefore there’s a definitive list but rather books available and you find the one that works for you. Some of the best books that helped me as a screenwriter haven’t always been about screenwriting Virginia Woolf’s “A Room with a View”, Helen Keller’s “The World I Live In”, Paulo Coelho’s “The Alchemist” and Kurt Vonnegut’s “Breakfast of Champions” because the writers have such unique voices and are brilliant story tellers that encourage me to find my voice, express it and keep going no matter what.
Screenwriting theories change all the time based on genre and the box office returns, if a new screenwriting book were to be published today I doubt very much that it would encourage screenwriting in the style of movies made in the seventies with inner conflict and arcs, but rather superhero’s in capes. I would also recommend Brian Kopplemen’s six second screenwriting classes you can follow him on Twitter, they’re encouraging and for anyone who needs an understanding voice. The thing to remember is when the student is ready the teacher will appear, and to open minded when comes to who the teacher will be. Roberto Carlos Story – Robert Mckee and Writing For Emotional Impact of Karl Iglesias are the best books out there about dialogue. The first one is very important because the writer need to understand that most of the time you need to open the gap between expectation and result in every line of dialogue. Especially in confrontations. And Writing for Emotional Impact gives you the tools to write engaging lines of dialogue.
Most of the greats lines of dialogue use special techniques. Remember also that, most of the time, dialogue is about a third thing. Trialogue, as Mckee say. Characters will talk about China, wine, music, sex, crime (Pulp Fiction).
Zeroed Out Rahul, Personally, I think 99% of screenwriting books are a waste of time, especially Syd Field’s. He never had anything produced, right? I agree with Stephanie about reading screenplays THAT is where you will learn the most. Not just from award-winning ones, but various screenplays that got made. Even if a movie didn’t do well at the box office and even if it got panned, SOMETHING about the writing allowed it to go up the ladder. Unfortunately, what you’ll find is that no matter how many books you read on the subject or how many scripts you read, producers are very fickle.
It’s even worse these days, as we’ve seen a deep decline in sales of original scripts (in part because the studios are award of pirates). Yes, it’s perfectly true that many books on screenwriting are written by people with very thin imdb resumes. Doesn’t matter. They know things you don’t know, things you won’t learn from reading scripts. If you know nothing about the craft, you won’t understand what’s happening in a script. For just one example, if you’ve never been introduced to subtext, you may not realize what’s being accomplished in key dialogue.
The craft is deep and it’s the realm of people who constantly expand their knowledge and experience, not people who say, “I know all that.” And, yes, you’re right, producers can be “fickle.” That reflects industry norms, lore, history, markets, and, above all, fear of shooting a flop. More relevant to you and me, however, it’s no reason to stop studying the craftunless you don’t love it. David Rahul — you seem to be under the impression that if one can read a screenplay, they should be able to write a screenplay. Or as one screenwriter told me, most people think they know how to give notes on a screenplay because they no how to read. You’re also assuming that the good screenwriters didn’t read screenwriting books.
A major flaw in your conclusion about studying the movies that got made is that there are so many different variable that take place that lead to a screenplay getting made, that you can’t use the end as a guide to learning how to write. If a certain A-list star likes a particular script, and they are bankable enough to get the movies made, that doesn’t help you as someone learning to write. If script A is chosen over script B because half of it is set in China and that gets it Chinese financing, picking that movie to study does you know good. What should be studied is the process and not the end result. Just because someone doesn’t have a slew of IMDB credits doesn’t have they haven’t sold dozens of scripts. Many of the best screenwriters are script doctors who are rewriting scripts where their names never appear.
Most movies bought are not made, good and bad ones. Many get tossed aside because a studio chief was fired and the new person gets rid of everything in development. Hector J B In college, our text books were Screen writing bible, Making a good script great and How to write a screenplay in 21 days. As for formatting, they’re all the same, I haven’t found a book that speaks on styles of writing. Like what Hollywood looks for in the way the writer expresses himself. What I see so far in script style is fragmented sentences to express the action as if to bait the reader to continue reading. What’s up with that.
I’m doing it alsonow, but why that way. Also why the so called rule that anyone that hasn’t made it continue to express, “FIRST TIME WRITERS, write 90 pages, but no more then 100.” and if the reason is that people don’t really like to read, and they do not know you, then why are they in the business of making pictures? What too many scripts? Hire readers that are working with production companies and the studios. If they are working and I mean, grips electricians and PA’s they are more willing to read what could be something great instead of a reader that’s not getting paid and might lie about reading the number of scripts given to them. The already working have more incentive to read because they’re already working. I don’t know maybe its like that already.
I’m far away from Hollywood. Eli I have 6 of the ten books listed. But William Martell’s blue books really taught me how to put it together. And because of his books I analyze movies better and now I can pinpoint exactly where the acts begin and end.
You can learn a lot just by watching. I watched the recent movie comedy WALK OF SHAME.and after watching that movie. I say ok I got it. And later went back watched MAN OF STEEL.ok I said I definitely got it.
Both movies are not structured the same but as William Martell wrote.when you watch what happens to the character you can nail the beginning and end of each acts everytime no matter how the movie is structured. Ronbrassfield I’ve read all but two of your book list, Stephanie, plus about five dozen other books on the craft, and about a dozen books on the life and business. I really need to grab Mamet’s title, there, and read it, too; he’s one of the greatest. The first “other” title I thought of which have been mentioned here, and I see has been by some others, is Karl Iglesias’ “Writing for Emotional Impact.” Other first-class screenwriting books are “The Story Solution” by Eric Edson and “The Anatomy of Story” by John Truby; also, “Story Structure Architect” by Victoria Lynn Schmidt and “The 21st Century Screenplay” by Linda Aaronson are very useful to have around for dipping into when dealing with various aspects of screenwriting.
Beginning with the end in mind is a wise idea; therefore, I’d also recommend Drew Yanno’s “The Third Act.” For developing characters, every writer, in my opinion, should have copies of William Indick’s “Psychology for Screenwriters,” “The Writer’s Guide to Character Traits” by Linda N. Edelstein, and another by V. Schmidt, “45 Master Characters.”.
Don Mousted Hi Stephanie, Thanks for all the great information! I’ve read about half the books on your list and am currently umbilically attached to “The Screenwriter’s Bible,” especially for formatting. I’ve also read a lot of others that are somewhat related in that they had to do with script writing for plays, which, in some ways, is much easier than writing screenplays. Not terribly fond of much that David Mamet has to say (except for his scripts) because of his “actors are cattle” attitude. Maybe I shouldn’t be prejudiced! Greetings from London England and it’s good to see a couple of Raindance tutors included in your list: ie: the sadly departed Syd Field, and the enigmatic Christopher Vogler.
I’d like to add two books to your excellent list which I have found most useful: Anatomy of Story by John Truby whose work on genre is most interesting and useful to fellow British screenwriters, and, The Virgin’s Promise by the Canadian philospher, poetess and script consultant Kim Hudson. We here in London have found her non-linear story theories, and how she thinks that movies like FIGHT CLUB are actually feminine stories has changed the ways people like Tom Hooper plan and write stories like the Danish Girl. Hi Stephanie, Great list (and great comments!), all the usual suspects are included ? I agree with Julian, Syd Field is quite outdated, formulaic and prescriptive. However, his misrepresentation of the dramatic 3-act structure is still polluting the debate on story structure and screenwriting This is what has caused over the last decade so many unnecessary “replacement” attempts using 5 acts, 8 sequences, 15 beats or 22 steps. If you’re after a better understanding of classical story structure, I would suggest reading Dramatic Construction by Edward Mabley, which contains the core of the theory used by Frank Daniel at NYU. It’s a much better “back to the roots” option. Unfortunately, it’s currently out of print, but it can be found easily (and legally) on the internet, for example second-hand from third party sellers on Amazon.
David Howard (co-writer of Galaxy Quest) wrote a very good adaptation of Dramatic Construction called The Tools of Screenwriting. Unlike the original which is mostly about theater, it’s more focused on cinema (especially American movies), so contemporary readers might find it more relevant/useful. I also highly recommend reading William Goldman’s screenplays and his books on cinema and screenwriting.
I use Misery a lot because it has a near-perfect structure, which makes it easy to look at the way scenes, sequences and the whole screenplay can be designed using the same structural tools. It’s a very classical screenplay, but it’s a fantastic teaching/learning tool if you’re after solid foundations from which you’re free to improvise. Shameless plug: I’ve written a book myself to try to leave behind prescriptive and outdated theories such as Field’s limiting and logistical view of the 3-act structure. As a screenwriter, I felt the time was right for a paradigm shift, so I went for it! My book is called Screenwriting Unchained and it has reached the #1 bestselling spot in screenwriting on Amazon in the U.S. For the first (and hopefully not the last!) time this week-end.
Looks like many writers find it both useful and refreshing, so I add it here just in case. By the way, I’ll be very happy to send you a review copy (print or ebook) if you’d like to take a look. Who knows, maybe one day it will make your list ? Emmanuel.