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Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. Series: Aspiring filmmaker's library. Explore how to develop characters that an audience can identify with. How to create a narrative structure that fits a short time frame but still engages the audience.
How to write dialogue that's concise and memorable. How to develop story ideas from concept through final draft. All this and much more is covered in a unique conversational style that reads more like a novel than a "how-to" book.
The book wraps up with a discussion of the role of the screenplay in the production process and with some helpful and entertaining sample scripts.
This is the only guide you'll ever need to make your short film a reality! Read more Show all links. Allow this favorite library to be seen by others Keep this favorite library private. Save Cancel. Find a copy in the library Finding libraries that hold this item Short screenplay. Provides both beginning and experienced screenwriters with all the guidance they need to write compelling, filmable short screenplays.
This book helps you explore how to develop characters that an audience can identify with. Reviews Editorial reviews. Now Gurksis moves into narrative. Setup is where everything is introduced, including setting, tone, theme, your protagonist, and a general direction for the plot to follow. The inciting incident, the moment upon which the rest of the story hinges, comes at the end of setup and introduces the rising action. This section of the script includes all the minor triumphs and setbacks your character will face, increasing in intensity as the story moves towards its climax, the highest dramatic point in the action.
After the climax comes the resolution, where any unanswered questions are resolved and equilibrium is restored. Every scene in all three sections of your script should be directly linked to each other through cause and effect, and any scene that does not serve such a purpose should probably be removed.
Any line of dialogue should achieve one or more of six goals: move the plot forward, reveal character, provide information about the story, establish tone, convey theme, or add to the backdrop of the story. The author also goes into more detail about how to achieve useful and natural dialogue, tips that will definitely help me write more effective dialogue in the future. Chapter five is all about development.
This is where Gurskis demystifies what some people may call the process, or as I like to call it, the scary part. He provides a number of tools for the screenwriter to fully develop the world and characters that the screenplay will exist in, and to develop the script itself.
For the last two chapters, Gurskis switches gears a little. For chapter six, instead of talking about merely writing, he talks about your screenplay in the context of producing an actual film.
This chapter is especially useful for those writers who want to shoot or direct their own scripts. He tells us about many of the possible places you could lose a lot of money and quick screenwriting fixes, such as not using two locations where one could do. After that, he includes several pages of reference material, including glossaries and examples of work. Overall, I found this book extremely useful. First of all, it is written specifically for crafting shorts, which is much more relevant to me right now, given the constraints of my production classes, as well as my budget both in and out of film school.
It helps, too, that Gurskis explains some of the major differences in writing for each of those. I think it greatly demystified the writing process, especially in his chapter on development. I really appreciated that Gurskis pointed out the prodution realities, too, and encouraged us to remember things like budget and time constraints in order to reign in some of our imaginative excess and to simplify locations and casting.
I found his end of chapter summaries and his extensive collection of jargon glossaries and script and development paperwork examples to be extremely useful. Its lessons will continue to be of use and influence as I write my own shorts and if I move into features later on, and its reference section and chapter summaries will provide a great resource if I need a quick reminder or refresher as I work.
May 04, Bahareh Mahooti rated it it was ok Shelves: screenwriting. Feb 09, Chris Miller rated it liked it Shelves: , gvc-class , lit. This is a good introductory text on the topic. It is also useful as a reference or handbook. It is kind of plodding but has a great deal of good information.
Feb 12, Guilherme Feitosa rated it it was ok Shelves: film. Swell notes and wrong ones at the same time. Don't believe everything you read here Swell notes and wrong ones at the same time. Don't believe everything you read here Jul 11, DW rated it really liked it Shelves: good-to-know. What I really liked about this book was its explanation of the difference between theater dialog focused , film image focused , and TV fills space between commercials.
I had been wondering about that. There is also specific advice about writing a short film like a table showing the length of a film vs. The first half of the book I think woul What I really liked about this book was its explanation of the difference between theater dialog focused , film image focused , and TV fills space between commercials. The first half of the book I think would be very useful if I ever go back to my screenplay or write more.
The second part of the book, on production, I had mostly read before in another book. Basically, anything you find interesting in a blockbuster film crowds, scenes in a car, specific weather, specific times of day, special effects, stunts Still great advice, I had just seen it before.
Overall, super useful and a good read for this armchair filmmaker ; Oct 22, Cassie rated it liked it. Chapter five is all about development. And before you can shoot it, you need to write it. Just a moment while we sign you in to your Goodreads account. Dan Gurskis has more than twenty years of writing and producing experience in film and television.
Some features of WorldCat will not be available. Jhoan Daniel rated it it was amazing Feb 04, Narrative — Character vs. He provides a number of tools for the screenwriter to fully develop the world and characters that the screenplay will exist in, and to develop the script itself. Society — Character vs. But screenppay you can screen your short film, you need to shoot it.
Onek rated it it was ok Sep 21, The four main types of characters are:.
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