Bibliograph

Alternative scriptwriting, successfully breaking the rules, Ken Dancyger and Jeff Rush

Type

Label

Alternative scriptwriting, successfully breaking the rules, Ken Dancyger and Jeff Rush

Language

eng

Bibliography note

Includes bibliographical references and index

Illustrations

illustrations

Index

index present

Literary Form

non fiction

Main title

Alternative scriptwriting

Medium

electronic resource

Nature of contents

dictionariesbibliography

Oclc number

137276286

Responsibility statement

Ken Dancyger and Jeff Rush

Sub title

successfully breaking the rules

Summary

Alternative Scriptwriting 4E is an insightful and inspiring book on screenwriting concerned with challenging you to take creative risks with genre, tone, character, and structure. Concerned with exploring alternative approaches beyond the traditional three-act structure, Alternative Scriptwriting first defines conventional approach, suggests alternatives, then provides case studies. These contemporary examples and case studies demonstrate what works, what doesn't, and why. Because the film industry as well as the public demand greater and greater creativity, one must go beyond the traditional three-act restorative and predictable plot to test your limits and break new creative ground. Rather than teaching writing in a tired formulaic manner, this book elevates the subject and provides inspiration to reach new creative heights. Alternative Scriptwriting 4E covers: * The melodrama and the thriller * Adaptations from contemporary literature * Writing non-fictional narratives for the feature documentary * An in-depth exploration of point-of-view and perspective as expressive of the film writer's voice * Voice-oriented genres--docudrama, the fable and experimental narrative * Non-linear storytelling-the narrative strategies that are necessary to make an open-architecture story work * Considerations for writing for DV that speak to the flexibility and improvisation this medium allows

Table Of Contents

Beyond the Rules; Structure; Critique of Restorative Three-Act Form; Counter Structure; Narrative and Anti-Narrative; Working with Genre 1; Working with Genre 2; Working Against Genre; Reframing the Active/Passive Character Distinction; Stretching the Limits of Character Identification; Main and Secondary Characters; Subtext, Action and Character; The Primacy of Character Over Action; The Subtleties and Implications of Screenplay Form; Character, History and Politics; Tone; Dramatic Voice/Narrative Voice; Digital Features; Writing the Narrative Voice; Rewriting; Adaptations from Contemporary Literature; Personal Scriptwriting: The Edge; Beyond the Edge

Classification