The List: Recommended Screenwriting Books

Because I write screenplays and TV scripts, I am often asked for book recommendations.  Everyone has their favorites, I have mine.  Writers ask other writers for their suggestions because we're all afraid we might be missing out on a great read; one that will give us that golden nugget of information that sparks something inside of us and makes the difference between an outstanding script and an average one.

My list of screenwriting books is a bibliography of works that are basic books all writers of any skill and experience level can benefit from reading.  I also maintain a separate list of TV writing books that focus on the completely different style, and business, of script writing unique to television.  If you want to know how to write movies or how to write a TV show, you'll find the best reference material on these two lists.

Additionally, since quite a few of the screenwriters I know also write in other styles, I have a reference list of novel writing books and a list of journalism reference books.

Each one of these books has helped elevate my writing.  Some of them are invaluable for the insights on the screenwriting business.  Others will be useful for formatting questions or other mechanics of writing scripts.

TWS

#BrutallyHonest Feedback

If you follow me on Twitter, you may already know about my random nights of #brutallyhonest feedback. What is this? On a night when I have little desire to do my own work, I will tweet that I'm open to reading scripts and giving feedback. What's the catch?

Yeah, there's a catch. Of course. I have criteria:

• 30 min. TV comedy pilots only.

Yes, that's right. No features. No outlines. No treatments. No napkin notes or index cards. No specs. And the kicker is that I usually get everyone their feedback that same night. Not always, but usually. No waiting for a week with ulcers developing and festering. No gnashing of teeth or desperate tweets for days on end. It's fast and it's free.

But, it's brutal.

I make it a point to live up to the hype. I don't care who you are, you're getting feedback. You're going to hear things that no one else will tell you. This is not for the weak. Not for the young. Not for the shithead who would scribble out a rough draft and send it off to a prod. co. like he's the Second Coming. If you think your writing is all that, then keep your crap and don't waste my time. I'm going to tell you exactly where and why you lost me, what your biggest problems are, and where you let down your reader. I will point out your cheap shots, your weakest areas and your grammar screw ups that make you look stupid. By time I'm done with you, I am quite sure you'll feel like shit. At the very minimum, you'll be embarrassed that you sent me the pile of kindling you called a script. 

Better me than that fat executive you almost sent the piece of shit to. 

I don't have a regular schedule for #brutallyhonest feedback. You'll have to watch for the hashtag. Make sure you read the criteria. It does say comedy, right? You have to make me laugh. That's about all I get out of this.

TWS

Scripts I want to read

It occurred to me a few days ago that, while I read a ton of scripts, I may not be reading the scripts that will best teach me how to get noticed in Hollywood. Sure, reading classics and works of the greatest screenwriters out there today are great ways to improve at the craft of writing screenplays, but these scripts were written by some at the height of their careers. What about reading those scripts that got an unknown noticed? What was it about those early works that caught a reader's eye and sent the script up the chain to be purchased and developed?

I took the question to one of my best Twitter partners-in-crime, @tracinell, who started getting the feelers out there to our online screenwriting community. It's been an interesting few days. Two scripts came up immediately, Juno by Diablo Cody, and Little Miss Sunshine by Michael Arndt. Beyond those two, I then pulled up the analysis of spec sales in 2009 by Scott Myers from Go Into the Story. For 2009, Scott had listed 67 sold scripts. I looked up each of the screenwriters listed to see how many of those were first time sales for the writer. The time-consuming task between the list and IMDbPro was an eye-opener. Here are my rough observations:

• By my loose criteria, maybe 11 of these scripts were from first time, unconnected writers. 
• Many of the scripts purchased were written by teams. While one may be a newcomer, the other was generally well connected which eliminated them from my list. 
• That's about 17% of sales.
• Many of the sold scripts were topping that year's Black List.
• Once someone sold ONE script, several others followed quickly. This is important. Have an arsenal of material. When you're hot, you're hot.
• Finding those first scripts to read isn't an easy task. Even back from 2009 sales, many of those films are still in development or in production making those scripts scarce.

I'll get to later years' analyses, but for now I'm letting 2009 sink it. Not the greatest news for unconnected writers but it's also encouraging: It does happen. Now it's just a matter of working on the craft to up those odds.

TWS

Best Books about Screenwriting and TV Writing

Whether you are a beginning screenwriter or have been honing your skills during the past decade, you are most likely always ready to read the best books on screenwriting. Sometimes, it's for inspiration, other times for motivation to stick to the craft despite the years of tenacious efforts seeking the first break into the business.

I have compiled a bibliography of the best screenwriting books I know about and use, and have made the list available on my Web site, AcademicBib.com. There are books on screenwriting and books on TV writing, each with a link to Amazon so you can get some information about the piece, read reviews and see if it's a book that interests you.

AcademicBib.com is a work in progress, so navigating the site is still a bit rough. However, using the links directly to the books on screenwriting and TV writing should make the search easier. Missing a book you're looking for? Let me know! You can post here in a blog comment or email the information to TheWriteScript@Yahoo.com.

Happy reading and, better yet, happy writing!
TWS

Writing, writing & writing

In addition to writing my scripts and my academic work, I'm now teaching myself how to write Web code. I'm starting with the easy-to-learn html and CSS, then I'll later be incorporating PHP and MySQL. It's a different type of writing but there is a certain creativity that comes into play that reminds me that even though the words I'm writing are wrapped up in code, they are no less my words.

What's gratifying about writing Web code is that I can upload new code and see the results, both good and bad, of my labor instantly. Live on the World Wide stage. It has become my new hobby, a way to distract me from my thesis, a way to kill time that feels more productive than video games, a 2-star TV movie, or social media.

My first Web site is quite simple, a compilation of all of graduate core class syllabi reading lists that I used to study for comps. You can check it out: www.AcademicBib.com and while it's still pretty rough, there's a ton of bibliographic information already posted. What's particularly handy are the links on books to Amazon (it helps to see the book reviews to refresh the memory) or to JSTOR for the research articles. I'm currently posting American Government bibliographies and then International Relations will be next. After that, I'll work on Public Policy. We'll see where it goes from there.

I never thought of computer code as actual writing until I started doing it. Now I know it's a creative endeavor on par with creating stories and memorable characters. It requires much of the same planning, a similar mindset and drive to complete the project. It requires outlining, drafting, rewriting, editing and problem-solving. Building a site raises many of the same questions and doubts as writing a script: "Will people one day appreciate my work?"

But I'll leave the philosophical questions for others to ponder while I continue writing.

#Drinks4Doll -- It's a Party!

If you've spent much time at all with the Twitter screenwriting community, you've come across @DerisiveDoll.  If you've followed Doll's posts in the past few months then you know she's about to move 3000 miles across the country to re-start her life in Los Angeles and pursue the dream we all have of breaking into the business as a professional screenwriter.

We want to help get Doll's journey off to a great start by having a huge going away Twitter party so that our #Scriptchat community and #LoglineFriday faithful can spend some time offering support and best wishes to Doll before she hits the road. 

• Date:  Sunday, March 20, 2011 
• Time:  Immediately following U.S. #Scriptchat (6 p.m. Pacific, 8 p.m. Central and 9 p.m. Eastern)
• Virtual Party Location:  Go to Tweetchat.com and enter the hashtag: #Drinks4Doll. 
• Theme: Surf's Up! Relax in your favorite beachwear.

We have games planned and prizes to give away, so don't be late and don't be shy.  Also, if you'd like to help us get Doll outrageously drunk during the party, please considering "buying" her a drink by clicking: #Drinks4Doll and making PayPal donation. If you don't want to condone drinking, then think of it as a few dollars for gas or a latte. It doesn't have to be much and you don't have to donate to attend, just show up at #Drinks4Doll and party with us.

See you next Sunday at #Drinks4Doll and please help us spread the word on Twitter!

Thanks,
@TheWriteScript and @Tracinell

Pilot: getting ready for take-off

Grad school really impedes my writing. Comprehensive exams are finally over. I now have less than a week to make a few changes to the TV pilot and get it submitted to Scriptapalooza before Friday. Looking forward to having that done and getting the script "out there."

With the first week of TV pilots down and a few more coming up this week, it is already apparent that Hollywood needs a new crop of writers with fresh ideas and a different perspective. Frankly, someone's got to be able to present something that is not a formula-driven cop or lawyer procedural. These rehashed story lines are already old...and these are the new shows. Why can't creatives be more creative? Why do some people believe that the only stories of interest take place among cops, reporters, lawyers and doctors? I know these people...they're not nearly as interesting or exciting as TV makes them out to be. But for some reason, we keep perpetuating these myths.

No worries. I will rescue Hollywood and give you something worth watching and characters you want to spend time with. No cops. No lawyers. No doctors. No journalists.

Promise.