How to Write: A Screenplay

The addition of a section on "pitching" in Mr. Schwartz' Second Edition is the icing on the cake of his excellent guide to screenwriting. Having worked inside the studio system for several decades as a story analyst, development executive, and producer, I've seen many cases where a screenwriter had a good story and/or script but failed to sell it because he/she blew the "pitch." As he did with screenwriting in the First Edition, Mr. Schwartz provides the keys to successful "pitching" in his user-friendly format: keep it simple, clear and entertaining. I will continue to recommend Mr. Schwartz' book to writers, producers and development execs as a very useful tool in developing, and NOW in selling screenplays.

It's not often that you read a book on a plane, finish it, and believe it's a great value. I really, really enjoyed it, and here's why. It offers concrete, in-the-moment information and feedback. All too often a screenwriting book, written in the narrative form, will talk about theme, mission, objective, dialogue, character arc, misdirect, subplots, etc., but they do so by citing examples of movies, or showing a page of the script from some movie. That's dry, and in truth, it's not a 'story' but a lesson. This is a story about lessons told as a story. The lessons arc throughout the story, to the point where it all makes wonderful sense. Another thing in the book that is very valuable, and that's the short, almost brusque narrative that needs to be written. It's a struggle as to how to tell the story using just a minimal amount of words. This book does that wonderfully. Yes, there are a number of important screenwriting books out there and this is one that any screenwriter -- novice or advanced -- would do well to have.

"How to Write: A Screenplay" is a dynamo, converting the generally tiresome discussions about screenwriting into a concise demonstration manual. The first part of the book sets forth useful creative development tools, such as the Log Line, the Synopsis, Character Profiles, etc. Quickly, author informs the new writer of the work required to build an infrastructure for a cinematic story. No formulas, no magic tricks. The foundation work simply must be done. A range example and advice supports the writer in his/her fledgling efforts. The larger, second half of the book is devoted to a "demo" screenplay, as it were, called "Screenwriting for the Hell of It," which demonstrates many of the current tools, principles, and devices of good screenwriting. Writing technologies are conveyed by lively character dialog, exposition, and story momentum (like a script should have). The script's story, based liberally and comically on Dante's "Inferno," concocts a modern "Virgil" who befriends and mentors a frustrated, helpless writer "Danny," the protagonist. As his guide, Virgil takes him through the different levels of screenwriting hell, explaining the writing faults that condemned the victims. When they first arrive, "thousands of people" scream on a "Nether Beach" and hop around on toe-scorching sand. Danny asks, "Sinners?" No, Virgil's acid reply, "Bad screenwriters." So with great fun, the author charms new writers into internalizing the notions of good screenplay writing. No small feat! As an UCLA Extension Instructor, I am excited and relieved to have the resource of such an incisive teaching aide for my film & TV courses. Elaine Chekich

The genius of this book is that it combines the two most important facets of screenwriting basics - easy to understand instructions and an example script to reference - in one fantastic primer. Far and away the best screenwriting book I've encountered, it's thourough, witty, and easy reading.