A lifetime member of the Writer's Guild of America who has had three feature films produced from his screenplays, Akers offers beginning writers the tools they need to get their screenplay noticed.

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    This volume explores the most common male and female archetypes, provides instructions for using them to create original characters and gives examples of how other authors have brought such archetypes to life in novels, films and television.

    This is the new screenwriter′s bible.

    Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot, including: Techniques for crafting strong beginnings, middles, and endsEasy-to-understand plotting diagrams and chartsBrainstorming techniques for original plot ideasThought-provoking exercises at the end of each chapterStory structure models and methods for all genresTips and tools for correcting common plot problemsFilled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, "Write Great Fiction: Plot & Structure" gives you the skills you need to approach plot and structure like an experienced pro.

    Informed by story consultant Lisa Cron's science-based insights into how story structure is built into the architecture of the brain, this guide shows writers how to plumb the nitty-gritty details of their raw idea to organically generate a story scene by scene. Once writers reach the end of Cron's program, they will have both a blueprint that works and plenty of compelling writing suitable for their finished novel--allowing them to write forward with confidence.

    Most writers (and most screenwriting books) rush too quickly through choosing a story idea, to get to the process of outlining and writing it. And it's the biggest reason most projects don't move forward in the marketplace: producers and editors are underwhelmed by the central concept. Multiple Emmy- and Golden Globe-winning screenwriter and producer Erik Bork (HBO's Band of Brothers) explains the seven key ingredients in stories that have a chance of selling and reaching a wide audience - in any genre or medium.

    "They aren't laws. They're an array of choices, things to try, once you've put a name to the particular problem you're facing now."That's what this book is about: identifying those choices (whose viewpoint? stop and explain now, or wait? how can this lead to that?), then learning what narrative problems they are apt to create and how to choose an effective strategy for solving them. The result? Strong, solid stories and novels that move.Inside you'll discover how to:test a story idea (using four simple questions) to see if it worksconvince your reader that not only is something happening, but that something's going to happen and it all matters intenselyhandle viewpoint shifts, flashbacks, and other radical jumps in your storyline weave plots with subplotsget ready for and write your Big Scenesbalance scene and summary narration to produce good pacinghandle the extremes of melodrama by "faking out" your readers--making them watch your right hand while your left hand is doing something sneakyform subtle patterns with mirror characters and echoing incidentschoose the best type of ending--linear or circular, happy or downbeat, or (with caution!) a trick endingWhether your fiction is short or long, subtle or direct, you'll learn to build strong plots that drive compelling, unforgettable stories your readers will love.

    If an editor or agent (or reader) loses interest after a page or two, you've lost him or her completely, even if the middle of your novel is brilliant and the ending phenomenal. Noah Lukeman, an agent in Manhattan, has taken this advice and created a book that examines just what this means, and I have to tell you, it's one of the best I've read. I've written (and seen published) pretty close to a dozen novels in as many years -- some are still to be published and will be out shortly; others are already out of print after four years. But I wish I had read Lukeman's book, The First Five Pages, when I began writing fiction. I'm glad I did now. It has helped, immediately. I'm already embarrassed about some of the goofs I made in my writing -- and I've been revising recent prose with his advice in mind. First off, Lukeman is a literary agent who once was an editor, and his editorial eye is sharp. If every novelist and short story writer in this country had Lukeman as an editor, we'd have a lot more readable prose out there. He writes: Many writers spend the majority of their time devising their plot. What they don't seem to understand is that if their execution -- if their prose -- isn't up to par, their plot may not even be considered.This bears repeating, because in all the books I've read on writing, this is an element that is most often forgotten in the rush to come up with snappy ideas and sharp plot progressions. You can always send a hero on a journey, after all, but if no reader wants to follow him, you've wasted your time. In a tone that can be a bit professorial at times, Lukeman brings what prose is -- and how it reads to others -- into sharp focus. He deals with dialogue, style, and, most importantly, sound. Sound. How does prose sound? It must have rhythm, its own kind of music, in order to draw the reader into the fictive dream. Lukeman's tips and pointers are genuinely helpful, and even important with regard to the sound of the prose itself. Lukeman also brings in on-target exercises for writers of prose and the wonderful advice for novelists to read poetry -- and often. Those first five pages are crucial, for all concerned. But forget the editor and agent and reader. They are important for you, the writer, because they determine the sharpness of your focus, the completeness of your vision, the confidence you, as a writer, need to plunge into a three- or four- or five-hundred-page story. The First Five Pages should be on every writer's shelf. This is the real thing.P#151;Douglas Clegg Douglas Clegg is the author of numerous novels and stories, including The Halloween Man and the collection The Nightmare Chronicles. In addition, Clegg is the author of the world's first publisher-sponsored Internet email novel, Naomi.

    Screenwriting: The Sequence Approach expounds on an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole.The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formatted with sequences explicitly identified), and has been rediscovered and used effectively at such film schools as the University of Southern California, Columbia University and Chapman University. This book exposes a wide audience to the approach for the first time, introducing the concept then providing a sequence analysis of eleven significant feature films made between 1940 and 2000:The Shop Around The Corner / Double Indemnity / Nights of Cabiria / North By Northwest / Lawrence of Arabia / The Graduate / One Flew Over the Cuckoo's Nest / Toy Story / Air Force One / Being John Malkovich / The Fellowship of the Ring

    As the always clear and direct Stein explains here, This is not a book of theory. It is a book of usable solutions--how to fix writing that is flawed, how to improve writing that is good, how to create interesting writing in the first place. With examples from bestsellers as well as from students' drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called triage method of revision, using the techniques of fiction to enliven nonfiction, and more.

    With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse.

    When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much.If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: Body language cues, thoughts, and visceral responses for 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions A breakdown of the biggest emotion-related writing problems and how to overcome them Advice on what should be done beforedrafting to make sure your characters’ emotions will be realistic and consistent Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.

    In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.

    Replete with examples from films, as well as examples from real life, Writing Subtext helps the writer figure out how to find and write subtext.