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Alternative Scriptwriting: Writing Beyond the Rules / Edition 2

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Overview

In a field where novelty often equals commercial success, scriptwriters often strive to create screenplays that are innovative and exceptional. Going beyond the conventional three-act structure and exploring more inventive approaches, Alternative Scriptwriting, second edition, challenges readers to take creative risks with genre, tone, character and structure. Examples and case studies demonstrate what works, what doesn't and why, and exercises encourage writers to explore new ways of viewing their work and test the limits of their skills.

Ken Dancyger has taught screenwriting for twenty years and is head of undergraduate studies for the Department of Film and Television at New York University. He has written numerous dramas and documentaries for radio and television. Jeff Rush is a professor in the Department of Radio, TV and Film at Temple University. He has written numerous screenplays.

In a field where novelty often equals commercial success, scriptwriters often strive to create screenplays that are innovative and exceptional. Going beyond the conventional three-act structure and exploring more inventive approaches, Alternative Scriptwriting, second edition, challenges readers to take creative risks with genre, tone, character and structure. Examples and case studies demonstrate what works, what doesn't and why, and exercises encourage writers to explore new ways of viewing their work and test the limits of their skills.

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Editorial Reviews

Booknews
Explores mainstream, personal, and experimental narrative forms, looking at American and international films. Links scriptwriting to other forms of storytelling, and discusses issues including the three- act structure, working with and against genre, character identification, and the implications of screenplay form. Includes exercises. This second edition contains new examples and case studies, and new chapters on non-American screenplays and personal scriptwriting. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780240802183
  • Publisher: Taylor & Francis
  • Publication date: 7/15/1995
  • Edition description: Older Edition
  • Edition number: 2
  • Pages: 300
  • Product dimensions: 6.05 (w) x 9.23 (h) x 0.67 (d)

Meet the Author

Ken Dancyger is the author of numerous books on screenwriting, editing, and production. He conducts screenwriting forums and workshops in North America, Europe, and Asia. A past chair of Undergraduate studies in the Department of Film and Television at NYU, he is currently Professor of Film and Television at the Tisch School of the Arts at New York University.
Jeff Rush is an associate professor at Temple University's Department of Film & Media Arts. He has served as director of the MFA program and as Department Chair in Film & Media Arts. He received an MFA in Screenwriting and Directing from the American Film Institute and an MFA in Fiction Writing from the University of Iowa's Writer's Workshop. In addition to teaching, Jeff has worked as a freelance screenwriter and has published numerous articles and books.
Jeff Rush is an associate professor at Temple University's Department of Film & Media Arts. He has served as director of the MFA program and as Department Chair in Film & Media Arts. He received an MFA in Screenwriting and Directing from the American Film Institute and an MFA in Fiction Writing from the University of Iowa's Writer's Workshop. In addition to teaching, Jeff has worked as a freelance screenwriter and has published numerous articles and books.
Ken Dancyger is the author of numerous books on screenwriting, editing, and production. He conducts screenwriting forums and workshops in North America, Europe, and Asia. A past chair of Undergraduate studies in the Department of Film and Television at NYU, he is currently Professor of Film and Television at the Tisch School of the Arts at New York University.

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Table of Contents

Beyond the rules; Structure; Critique of restorative three-act form; Counter-structure; Working against genre reframing the active/passive character distinction; Stretching the limits of character identification; Main and secondary characters; Subtext, action and character; The subtitles and implications of screenplay form; Character, history and politics; Tone - the inescapability of irony; Dramatic voice/narrative voice; Writing; Rewriting; Personal scriptwriting.

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