An independent television screenwriter gives practical suggestions on writing and becoming a professional screenwriter. (PD)

Explores how inferential or evocative language functions to determine meaning and focus in screenplays. Demonstrates that, although "shooting scripts" might be read as instructions, "screenplays" can be understood only as a form of writing that communicates its meaning through the connotative nuances of language. Shows how…

Chooses three "scripts" for experimental films by the Toronto filmmaker Mike Hoolboom, who uses texts in his films in diverse and challenging ways. Describes the role of text and voice in these experimental scripts. Notes that these scripts are used in a screenwriting course. (PA)

Examines the classical paradigm in which both temporal and spatial cohesion constitute a popular and desirable characteristic in presentational story-telling. Argues that fragmentation's maneuvers are as effective as a configurating tool and as cohesion because they advance the ideological, psychoanalytic, aesthetic, essentialist, and story…

Instructs writing students on how to verbally present their ideas. Points out that success in screenwriting depends not only on how well scripts are written but also how well screenwriters sell themselves and their scripts. Adds comments for instructors who want to teach pitching as part of a scriptwriting course. (PD)

Suggests American screenwriters experiment with the lighting, colors, perspectives, angles, and positioning of images in works of art to generate narrative. Argues that American screenwriters, unlike European counterparts, unnecessarily adhere to the concept that characterization is essential to generate narrative. (KEH)

Examines similarities and differences between writing short, live-action narrative films and writing feature films. Examines market influence, budget, structure, and story factors. Describes useful procedures for inclusion in a scriptwriting class. (KEH)

Suggests a number of helpful resources, including textbooks, published and unpublished screenplays, contemporary critical writing, screenplay competitions, contact with industry professionals, and software programs for the screenwriter. (PD)

Explains structure and its relevance for both the practice and teaching of screenwriting. (PD)

Reviews the selection of screenwriting texts as well as other material available to the screenwriter teacher and screenwriter. Focuses on writing materials for film and prime time television only. (KEH)

Describes a production-oriented course designed to give students experience in writing for film and knowledge of screenwriting techniques and film planning activities. (PD)

Defines and analyzes the ideological conditions which motivate a writer to conclude a screenplay with an open ending. Questions whether screenwriting instructors in the 1990s should encourage their students to write nonclassical Hollywood cinema endings. (KEH)

Presents a course in film planning (preproduction made up of the following units: (1) evaluating the concept; (2) preparing the script; (3) budgeting; and (4) financing. Includes readings for each unit. (PD)

Argues that contemporary screenwriters have much to learn from journalism and from theater, especially in the move away from the linearity of the high-concept film to a richer, more complex screen story. Examines the writing skills and techniques of journalist and playwrights in developing both foreground and background stories. (KEH)