Writing Short Films · Structure and Content for Screenwriters by Cowgill, Linda J. -- Read -- Imperial Library of Trantor

Index

Acknowledgments Introduction THE FUNDAMENTALS Before We Start — The Principles of Drama

The Principles of Drama Practical Application Reaching the Audience — Emotion! Action vs. Dialogue (Words, Words, Words!) The Ending The Disclaimer: Comedy The Difference Between Shorts & Features Exercises 11

Starting Out – What’s It About?

The Characteristics of a Good Short Film Where to Begin? Research, Belief & the World of the Story Turning an Idea Into a Good Film Story Entertainment & Inspiration Exercises

Character & Emotion – Who Does What and Why

Emotion The Foundation of Dramatic Characters Creating the Character Attitudes & Emotions Representing the Character Transformation The Important Characters Exercises

The Three-Part Nature of Film Structure

Structure in General In the Beginning — The Set-Up The Order of the Set-Up The Rising Action — Developing the Conflict The Climax & Resolution Exercises

Plotting – The Twists & Turns

What Is Plot? The Role of Conflict The Principles of Action Exercises

INTERMEDIATE STEPS Fade In: Openings & The Main Exposition

The Problem The Main Exposition The Main Exposition’s Relationship to the Climax & Theme The Problem & the Sub Problem Opening the Movie Exercises

The Middle – Keeping the Story Alive

The Confrontation — Rising Action Suspense Techniques for Suspense Surprise The Pseudo-Solution Exercises

Fade Out: Revelation, Climax & Resolution

Story Revelation — Character Revelation The Climax The Resolution Exercises

THE STRUCTURE OF SCENES Constructing the Scene

Units of Action The Principles of Construction Techniques for Construction Exercises

Dialogue: The Search for the Perfect Line

The Function of Dialogue The Characteristics of Good Dialogue Techniques & Tips Exercises

The Subtext of Meaning

The Role of Subtext The Emotion Beneath the Lines Revealing the Subtext Exercises

KEEPING FOCUSED Keeping Focused: What Does My Protagonist Really Want?

Keeping on Track Conclusion

APPENDICES A Fade In to Fade Out: Proper Screenplay Format

Fade In: Scene Headings The Action Character Names’ Margin Parenthetical Directions & Dialogue Transitions Screenwriting Software

B Referenced Films Available on Video C General Film Index D The Writer’s Reference Shelf E Ray’s Male Heterosexual Dance Hall Bibliography