Writing Short Films: Structure and Content for Screenwriters

A short film runs less than 45 minutes. Short films may be transformed into Hollywood success. This book tells how to have a completed script to initiate the venture into short film. The reader is given an idea of the labor involved to produce this art form. The book uses "Life Lessons" written by Richard Price and directed by Martin Scorsese, part of THE NEW YORK TRILOGY, to illustrate points she wants to make about writing a script. She also makes reference to other short films readily available to a reader. The steps involved are that a hero, with desires, acts, encounters conflicts, and moves to the climax and resolution in the course of the film. Film is visual. Film has fluidity of movement. Show don't tell is a maxim of film-making. Significant films have universality. Most short films are character pieces. The audience must willingly suspend disbelief. It may be necessary to do research. Basically there are five types of genre, comedy, farce, drama, tragedy, and melodrama. In the best films plot is character. A character biography is a description. This includes physical appearance, sociology, and psychology. The backstory is not the same thing. A story tells a sequential action. Plot emphasizes causal relationships. Story and plot usually comprise part of a total narrative. Drama is structured action. A good plot evolves naturally. The writer should not be afraid to change the plan as he moves ahead with the project. It is useful to think of the film's story in broad blocks. The opening should be visual, convey important information, and be interesting. Voice over narration is more common in short film than in features. It is a means of exposition. Other means are dialogue and written presentation through signs or cards. The main expostion has a direct relationship to the climax and an indirect relationship to the theme. Screen stories open near a point of decision or crisis. Many films introduce the protagonist immediately. The problem with the middle is to keep the story alive. The worst enemy of suspense is predictability. One of the strongest surprises occurring in film is the reversal. Reversals work best when there is a connection to emotion. In film, fiction, and theater story revelation is most often character revelation. The point of greatest intensity is called the climax. Writing a scene is the fun part of screen writing. Writing a great scene takes a lot of practice. Scenes have to perform functions of advancing the flow of events, advancing the audience's understanding of the main characters, and providing expository information of the overall story. Film characters move through space and time. Every good scene has one main point. Where a scene takes place affects the mood. Before writing clarify who, where, what characters want, need, and what are their attitudes in the scenes. What characters need is relevant to the subtext. Physical action is considered the best revelat

As Head of Film and Media Production at a British college I had been on the look-out for a long time for a book that would really excite aspiring screenwriters - and now I've found it. Anyone hoping to make their breakthrough short film should read this book cover to cover and see how successful filmmaking is dependent on strong scriptwriting. Linda Cowgill has a tremendous ability to illustrate the need for both structure and originality when writing for what is, in truth, a very difficult format to get right. The book covers the entire writers journey from 'starting out' to producing a lean, focused, innovative screenplay. Through observing the impact it has had on new writers I would say that this book is in a league of its own.

I have used Linda Cowgill's book, Writing Short Films, for a three-hundred level course, which I have taught at the University of Arizona, for over four years. It continues to be an excellent basic text for my students even though I have read many of the other books on the market. Linda defines all the important tools of a writer and their uses within the craft. She uses many short films in the book to exemplify her points directly and easily. The short films are excellent references and are accessible for showing--which is a perfect visual teaching tool. Even though the title is for short scriptwriting, she talks about full length films in comparison and, of course, all of these elements and tools are equally important for the full length form. It remains my favorite reference book for my own writing of screenplays and recommend it as the best of the screenwriting books on the market.

This is a terrific how-to. It's a great guide for going from a concept to a story and script, a well-developed story. It goes into the importance of content for the short, with excellent strategies for structuring a good story around your idea. It details not only the difference in structure of shorts vs. features, but examines the structure of scenes as well. It is not a formula book. It doesn't lock you in with the only types of stories that work. It's a book with strategies for approaching and developing your idea. It gives you the tools to take your notion and run with it. And it's full of examples you can find in the video stores. This book is great, you'll love it.

This is an excellent book on writing the short film script. It presents a lot of information clearly, simplifying the script-writing process. Perfect for beginners, it's helpful for veterans as well. The basis of great filmmaking and story-telling is clearly presented. The author outlines the concepts of story, character, action, theme, etc. so they are understandable and memorable. She gives you information you can work with. She clearly explains the differences in structure between shorts and features; and she gives specific story/plot strategies particular to making a great film. Even better, she used short film examples you can find on tape at most video stores. THIS IS THE ONLY BOOK THAT DOES THIS. I can't stress enough how helpful I found this part of the book. (She even includes a list of distributors for hard-to-find films.) This is the best book I've read on making a great short film.