SCREENWRITING BOOKS
As writers, we're always looking for knowledge. It's fundamental to keep learning and thinking about the better ways to tell our story.
Here are our thoughts about some of the screenwriting books out there, and whether they're worth the read or not. And rest assured, because we have not been compensated by any of the authors.
SAVE THE CAT
Easily, the most famous book about screenwriting in existence. Known for its tight beat sheets and to provide the 'secret formula' to writing a spec screenplay.
IS IT WORTH IT?
Yes, if you are just starting in the world of screenwriting. Its approach to structure can be eye-opening and some of Snyders 'laws of screenwriting' can be very useful.
It has to be taken with a grain of salt, though, and it's not recommended to stick to beat sheets like they're rules. No script must hit a specific plot point at a specific page to be a good script.
SCREENPLAY
For us, this is the most insightful book about screenwriting you'll ever find. Syd Field provides the key elements that make a screenplay great, and the most important plot points that most successful screenplays hit.
It never falls in the beat sheet category, as Field gives way enough room for the writer to be creative and for the different stories to grow as they need.
IS IT WORTH IT?
Simply, yes. The way Syd Field writes about outlining, characters or dialogue is fascinating. His approach to structure is particularly great. The book is concise yet incredibly insightful.
ADVENTURES IN THE SCREEN TRADE
A successful screenwriter like very few, William Goldman had a tall pile of stories to tell. The writer behind films as iconic as Butch Cassidy and the Sundance Kid or All The President's Men delivers some intriguing and insightful experiences of a screenwriter in Hollywood.
IS IT WORTH IT?
Yes. Every aspiring screenwriting needs to know what they're up to before getting into the business. And hearing it from a consolidated screenwriter like Goldman is pure gold. This is not a How To book as much as it is a memoir, but it's definitely worth the read.
THE HIDDEN TOOLS OF COMEDY
Comedy is often regarded as a mysterious matter. It's no easy task to figure why something is funny or if it even is. Steve Kaplan explains very naturally the roots of what makes something funny and, more importantly, what makes it comedic.
IS IT WORTH IT?
Are you a comedy writer or do you aspire to be one? Are you intrigued by why is it that you can't stop laughing at that Friends episode or that scene in There's Something About Mary? Then, this book is definitely for you. It explains with very practical examples what makes something comedic and provides very useful tools to get more laughs out of your scenes. Once you're done reading, you'll definitely go turn that funny script into a hilarious one.
WRITING FOR EMOTIONAL IMPACT
Karl Iglesias understands the roots of every single screenwriting 'rule' ever made: Create emotion. He explores what generates a feeling in the audience. He understands why and, more importantly, gives his approach as to how to do it.
IS IT WORTH IT?
Yes. Emotion is the most important element in screenwriting. Karl takes the reader through all the elements of a screenplay, and teaches how each and every one creates an emotional impact in the audience. He provides lots of insightful notes on how to create more impactful characters, dialogue or themes, and he gives advise on how to create tension, anticipation, suspense, thrill or joy.
CONQUERING HOLLYWOOD
We've all heard how fundamental it is in Hollywood to 'network'. We've all gotten advice like 'just go and talk to people'. And that can be useful to some extend. But, when it comes to screenwriting as a career, it's very important to have a strategy. And Gary Goldstein, producer of Pretty Woman, understands that.
If you want to break through and get your scripts produced, this book is a must. Goldstein provides step-by-step strategies to build your career. Covering from networking to legal business in screenwriting, this is the greatest book out there on how to get a career on screenwriting.
IS IT WORTH IT?
