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Incredibly good, incredibly exhaustive

Customer Rating:

Russin and Downs have written a masterful book! Incredibly, considering the number of good books on the subject there already are, the authors have not only covered all the normal details of screenwriting craft, they have gone above and beyond. For example, in chapter 6, they cover the historical approaches to screenplay structure. They discuss Aristotle (of course!) then go on to Polti's famous 36 dramatic situations then Egri's work; Campbell's `Hero's Journey' comes next and finally the venerable three act structure and its modern interpretation using page numbers a la Syd Field and others. A few computer programs like Brutus are discussed. Most important, they make sense of it all by giving their fantastic concluding opinions in a concluding section title "Form vs. Formula." Here's a snippet from that section that smacked me upside the head: "It's interesting to note that few Hollywood screenwriting gurus have ever sold a movie (and Aristotle never wrote a play). This is because the ability to structure a story and the ability to analyze the structure of a story are two totally different talents. They come from different parts of the brain. Plato pointed out in his Apology that writers are unable to give an exact account of their process. The same is true with top-notch screenwriters: Unlike the story computer Brutus or screenwriting gurus, good writers seldome have an analytical understanding of what they do or how they do it. Instead, they have a practical understanding of dramatic techniques, the basics of several storytelling methods (like Aristotle, Campbell, and the others), and the ability to use a technique or follow a formula if it works, or to abandon all formulas if they don't." The book is filled with such clear and commonsensical information that that fact alone is worth the price of the book. Another example comes quite early in the opening chapters where they point out that the screenwriter is not writing for an audience but for a reader. This is sometimes forgotten, I believe, in many writers' minds. At the end of every single chapter, there are very interesting exercises (1. Describe a leaf floating on a lake. Describe only the leaf, but from your description we should know details about the lake.) that serve to sharpen the writer's sensibilities and skills. Quite honestly, I am so in love with this book, I have two! Highest recommendation.

Of the more than 30 fiction writing books I have, this is one of the few I come back to over and over - Get it!

Customer Rating:

This book is for those who cannot afford film school. Once you start reading it you'll pretty soon start feeling as if you were surrounded by the walls of a fine film school. The writers are produced screenwriters who had a formal education in the UCLA. It shows. The book is thorough. It has sth for everyone: -How to impress a reader (the gate-keepers in film production) -What is the professional format of a screenplay. -The need to write using theme and meaning without falling in the temptation of preaching or educating. -What comes first: the story or the character? -A summary of the most important approaches to story structure. -The fuel of every story: power and conflict. -The atom... molecule and body of story: From beats and scenes to entire sequences. -The fine method of using scene cards. And much more: genres... narrative... dialogue... rewriting... marketing... the pitch... writing for television... playwriting for screenwriters. You might not be able to afford film school... with this book who needs to? The teachers will be in your living room... kitchen... bedroom... car... Why 4 stars? It is lacking in one subject, an extremely vital subject. An old controversy: What do you write first? The end of your story or the beginning? I believe to build a successful screenplay you need to write your story backwards not forward. The school that defends writing a story starting from the end is in extreme need to be rescued from the debris that were left by the advent of film gurus and structure fanatics. If you are interested in that read John Howard Lawson... I have found there is another extremely important thing missing in this book. That is the analysis of Point of View. The fact is that much of your story's success is determined by the points of view you use to tell it. Different point of view convey different emotions in the audience. Still, the authors don't mention much about this subject. One more thing, the authors say that screenwriting is about entertainment and not art, and that you shouldn't use subjects that challenge the audience. And if you wish to do so, then you better go and write a play and not a picture. Of course, there is much more that can be said about that. There has been many directors and writers who did use movies to do more than just entertain. They had firm beliefs and they showed them in their films. Want some examples from classic cinema? Chaplin and Eisenstein. I'm not getting into their stories, but they are good examples that movies sometimes do reflect more personal and challenging ideas than just pure "entertainment". There is in the back cover a review from a "top" screenwriting teacher, saying that "Writing the Picture" is the best book on screenwriting. That's a lot to say, and if you consider the missing elements I just mentioned (the value of climax, the importance of point of view and the idea that sometimes movies can do more than just "entertain") then the book doesn't live up to be "the best screenwriting book" around. MMM... on second thoughts, now I'm starting to believe this book could be 3 stars... This really has been a difficult book to review because there are some pretty good things over here. On the other hand, there are key elements missing. Still, there are many screenwriting books that are far from being as well written as this one is. Oh! What a difficult book to review! Just get the f#~# book and look elsewhere for the missing elements. ----Time has passed and I have to add to this review the following: The book is just great. It might not have everything... It is close. I'm saying this because I'm constantly coming back to this book as an essential guide. Whenever I have a question about scene cards, I read this book again. Whenever I have a question about genres, I read this book again. Whenever I have a question about format, description, dialogue, character, world, sequences, readers, etc. I read this book again! So, despite the aspects I didn't like about this book I have realized it has become one of the most important books I have to study screenwriting.

Great, informative, detailed--It's like taking a class at home.

Customer Rating:

If you can't get yourself into a screenwriting class, buy this book and study it for yourself. This book covers so many aspects of screenwriting. From story, to character, to rewriting and marketing. I especially liked the description of the scene card method and the sequence examples. They call it "Mapping the Journey." It is so vitally important before you start writing a script. This method is a great one: decide the overall sequences that tell your story, then use cards to write out each scene that goes within those major sequences. They also have a great list of questions to ask yourself about your characters, and they encourage you to get into the psychology of your characters. Both what the characters know about themselves and what they don't. Whether you're just getting started or a pro who needs to brush up on techniques, this book has what you need. Kudos to Russin and Downs for writing such a great book! Cheryl McKay Screenwriter: "The Ultimate Gift"

Perfect At All Stages

Customer Rating:

If everyone in Hollywood has written a screenplay, then at least half of them have also written a book about screenplays. The world is surely not suffering from a lack of screenwriting books, each of which proclaims to have the answers. As a result, when one finds a book that actually DOES have the answers, it's something to celebrate. There are too many good things to say about what Russin and Downs have done, and certainly no way to say them all here. The chapters on Character, Theme and Dialogue are particularly rewarding. Their scene-card method will help you more effectively outline and assemble your script. The writing exercises will jump-start your creativty. But one of the best aspects of the text is that Russin and Downs approach screenwriting not only from a savvy as-seen-from-the-trenches Hollywood angle, but also acknowledge its theatrical roots (i.e. the stage). The end result is a solid combination of practical modern advice blended with tried-and-true wisdom concerning the dramatic arts. Yet perhaps what I love most about the book, and what keeps me coming back to it when so many other screenwriting books have been exiled to a life of collecting dust, is the way the principles, maxims and advice contained therein are applicable at virtually every stage of a (screen)writer's development. This isn't just a book for beginners, or a book for pros, or a book for all of us in between. After the initial read, you'll find yourself going back to it time after time, taking a quick flip through the index or table of contents and gleaning some new bit of wisdom to help you tackle that script that's got you tearing your hair out. The chapter on Genre is a great example of this. So much so that whenever I, personally, am about to begin a new script, I'll consult the section on that genre (or genres) and refresh myself on its core elements and themes. In closing, I can't say enough about Russin and Downs' work. Whether you're a beginner in search of "that one book" to help you on your way, or a seasoned pro wanting an insightful--and witty--refresher course on what makes a good script great, "Screenplay: Writing the Picture" will be your guide from when the ideas fade in until the words "fade out."

Great Advice for Neophytes

Customer Rating:

I am a new screenwriter and having never studied the art, I wanted to find a book that would help me get started. This book is the total solution. The writers provide examples using films nearly everyone has seen to illustrate their points. The book is easy to read and all subjects are covered thoroughly, from how to start the idea process, to the correct structure of a screenplay, to how to sell it once it is written. I would recommend this book to any and all new writers.