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Chapter & Content Description

PART 1   TOOLS OF THE SCREENWRITING TRADE

         CHAPTER 1:  ASSEMBLING THE WRITER'S TOOLBOX
                     What to do when you first get the idea to write 
                     a screenplay.

         CHAPTER 2:  PUPPIES & PAPER: STEP #1
                     Understanding and writing a Story Treatment.
                     A step-by-step guide to getting those first words
                     on paper, an example of a treatment, and a checklist.

         CHAPTER 3:  EASY AS A-B-C: STEP #2
                     How to find a producer who might be interested
                     in producing your work.

         CHAPTER 4:  GAMES PEOPLE PLAY (A Self-Journal)
                     A self-quiz to compare how you write now to the
                     way you write after you've studied this book.

         CHAPTER 5:  ROUGH MOVIE DRAFT
                     The step between your treatment and polished script that
                     allows you to "see" your movie from beginning to
                     end and to write it in thirty days or less.

         CHAPTER 6:  CREATING THE SCREENPLAY
                     Everything you need to know in order to write a
                     screenplay that will be read and taken
                     seriously by those in a position to buy it.

         CHAPTER 7:  COLLABORATIVE ART, THE
                     There's an entire film crew waiting for
                     directions from you so that they can take your
                     script from paper to film.
   
PART II CREW SPEAK:  THE LANGUAGE OF FILM 

         CHAPTER 8:  THE FORMAT, THE LANGUAGE, THE PROFESSION
                     A script is nothing but a set of production notes
                     to a film crew.  You must learn their language.

         CHAPTER 9:  37 MISTAKES MOST NEW WRITERS MAKE--AND HOW TO
                     AVOID THEM

         CHAPTER 10: SLUG LINES
                     How to proof yourself so that you'll never write
                     an incorrect one again.

         CHAPTER 11: SLUG LINES WITHIN A SCENE: INTERIOR
                     How to move from one room to another.

         CHAPTER 12: SLUG LINES WITHIN A SCENE: EXTERIOR
                     How to move from one location to another.

         CHAPTER 13: INSIDE/OUTSIDE, OUTSIDE/INSIDE
                     If a character is inside looking out, and the audience sees
                     both inside and outside at the same time, how do you
                     describe it on a script page?

         CHAPTER 14: NIGHT AND DAY/WHICH IS THE ONE?
                     The Lighting Technician needs certain information from
                     you.  To include more than that exposes you as a novice.

         CHAPTER 15: TRAINS, PLANES, AUTOMOBILES--AND SLUG LINES
                     What the Transportation Coordinator and the
                     Transportation Captain need from the Writer.

         CHAPTER 16: OPENING NARRATIVES
                     The entire film crew reads this important 
                     paragraph which always appears under a Slug   
                     Line.

         CHAPTER 17: CAPS: NARRATIVE
                     When and why capping is appropriate.

         CHAPTER 18: ONLY FOR THE GUTSY: CAPPING CAMERA DIRECTION
                     Like the most delicate spice, use any camera 
                     direction very, very sparingly.

         CHAPTER 19: CAPS: DIALOGUE
                     When it's appropriate and why.

         CHAPTER 20: MORE ABOUT DIRECTING THE DIRECTOR
                     The difference between telling the story in a 
                     visual manner and flat-out directing
                     the Director.

         CHAPTER 21: SETTING THE SCENE
                     Another take on when to tell a little and when
                     to tell a lot--and how to tell the difference.

         CHAPTER 22: MYSTERIOUS STRANGERS & UNSEEN CHARACTERS
                     A shadow is lurking ... you don't want the 
                     audience to know who it is.  How do you write
                     that on a script page without ruining the 
                     surprise?

         CHAPTER 23: MYSTERIOUS MUTTERINGS & OTHER BACKGROUND
                     CONVERSATIONS
                     How to write obscure background conversations.

         CHAPTER 24: AD-LIBBED DIALOGUE THAT THE WRITER DOESN'T WRITE
                     What you should know about The Loop Group.

         CHAPTER 25: AH! THE SIGHT OF YOUR SOUND
                     How to write sound into your script properly.

         CHAPTER 26: PASSAGE OF THE WRITES
                     Another fine line between writing too much and
                     writing too little.

         CHAPTER 27: HIDDEN DIRECTION
                     How to move from one onscreen moment to another
                     without using camera direction.  Tricky, but
                     possible!

         CHAPTER 28: IT ALL DEPENDS ON YOUR POV
                     Explanation of a point-of-view shot and how
                     it's used.  Easy-to-follow examples.

         CHAPTER 29: BACK ON SCENE
                     What is meant by the term and how to use it
                     correctly.

         CHAPTER 30: THE ABBREV. VERSION
                     Why it's wise not to use abbreviations.  Another
                     Insider Tip.

         CHAPTER 31: USING AND ABUSING QUOTATION MARKS
                     There's a right way and a wrong way to use them
                     in a screenplay.

         CHAPTER 32: REPETITIOUS WORDS REPEATED
                     It's easy to use the same words over and over,
                     but it certainly bores your reader.  How to 
                     overcome this irritating habit.

         CHAPTER 33: FOUR-LEGGED THESPIANS
                     Why it might be wise to reconsider writing a
                     furry thing into your script: costs, problems,
                     and how to get around them.

         CHAPTER 34: CHILDREN IN FILMS: LITTLE THINGS COST A LOT
                     The costs and problems related to hiring children
                     for your production that Producers consider
                     even as they read your Submission Script.

         CHAPTER 35: FLASHBACKS, MONTAGES, QUICK CUTS, SERIES of
                     SHOTS, INSERT SCENES
                     When to use them, the differences between them,
                     and how they look on the written page.

         CHAPTER 36: CHARACTER NAMES & NAMING CHARACTERS
                     What happens when a character changes names in 
                     the middle of your story?

         CHAPTER 37: O.C., O.S., V.O.
                     The differences between speaking off-camera,
                     off-screen, and voice-over.

         CHAPTER 38: NAME CALLING
                     All dialogue must have a name over it.  You need
                     to know why.

         CHAPTER 39: DIALOGUE (CONT'D)
                     What to do when dialogue is interrupted by
                     narrative or continues onto the following page.

         CHAPTER 40: DOUBLE TALK: TWO CONVERSATIONS AT ONCE
                     How it looks on the page when two characters 
                     onscreen speak at the same time.

         CHAPTER 41: (DIALOGUE DIRECTION)
                     There's a reason for the space which is under the
                     character's name and over their dialogue.

         CHAPTER 42: PHONE CONVERSATIONS
                     What the crew needs you to tell them in order
                     to create a phone scene for you.

         CHAPTER 43: INTERCUTTING PHONE SCENES
                     How to set up the scenes and move from one of
                     them to the other.

         CHAPTER 44: DIALOGUE: TALKING THE TALK
                     Tips that will help you achieve the most 
                     believable dialogue possible.

         CHAPTER 45: TRUE STORY OF DOTS & DASHES
                     Three dots mean one thing on a script page and
                     a dash means something entirely different.

         CHAPTER 46: GET THE PICTURE?
                     Talking to the crew in their own insider 
                     language so that they, too, "get the picture".

         CHAPTER 47: EXPOSING EXPOSITION
                     How to get characters in your script to
                     convey something to an audience that everyone on
                     screen already knows.

         CHAPTER 48: JUST PUT IT ON THE TAB
                     The reason tabs are set the way they are, and
                     why you should care.

         CHAPTER 49: TO CUT OR NOT TO CUT?
                     Should you use CUT TO?  Who says?

         CHAPTER 50: ENDING YOUR SCRIPT PAGE
                     How you end your script page tells your
                     reader whether or not you're a pro, a wanna-be,
                     or a forget-it.

         CHAPTER 51: "CONTINUED"--IT ISN'T OVER 'TIL IT'S OVER
                     Despite what you hear, there's a real reason
                     why the word "continued" is needed in your 
                     script.

         CHAPTER 52: Q: HOW LONG IS A SCREENPLAY?
                     A: ELEVEN INCHES
                     The reason why some people want scripts that
                     run 120 pages--and how to break the rule.

         CHAPTER 53: HE HASN'T FELT SO GOOD SINCE HE EDIT
                     The importance--and the difficulty--of editing
                     your own script.

         CHAPTER 54: PRACTICE SAFE SCRIPTS
                     Important Writers Guild of America information.
  
PART III MARKETING

         CHAPTER 55: TO AGENT OR NOT TO AGENT:THAT IS THE QUESTION
                     Why it may not be in your best interest to look
                     for an agent--until you've made a sale!

         CHAPTER 56: CONSUMMATE QUERY, THE
                     What makes up the perfect query letter?

         CHAPTER 57: A WRITER'S TRACKING DEVICE
                     A system for keeping track of where to send
                     queries, treatments, and other data. Your personal
                     marketing system.

         CHAPTER 58: WHAT'S A RELEASE FORM?
                     Information on its risks and protections.

         CHAPTER 59: ONE PAGE
                     Two examples of a "one page" to send with your
                     signed Release Form to production companies.

         CHAPTER 60: HOW TO OPTION A STORY & ADAPT A BOOK
                     There are many ways to structure a deal so that
                     you can tell someone else's story.

         CHAPTER 61: REJECTION
                     It's a fact in a writer's life, but what does
                     it really mean?

         CHAPTER 62: WRITERS GROUPS
                     They can serve a real purpose, or they can make
                     you feel like swamp gas.

PART IV  FILM FESTIVALS

                     All 250 of 'em!

PART V   JOBS IN THE INDUSTRY

                     Who's Who--Doing What?

PART VI  TELEVISION

                     *For Sale: One Movie-of-the-Week, Like New

                     *Television Concepts

                     *It's All in the Timing

                     *How Many Pages in a Television Script?

                     *TV Formats

PART VII AFFAIRS OF THE HEART

                     *To Market, To Market To Buy--What?

                     *When Did The Madness Begin?

                     *Upside Down, Wrongside Out: Who Really Knows?

CARE OF DREAMS

BARROW, BARROW & JONES

EPILOGUE

INDEX   
  
  


       

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by Esther Luttrell
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by Esther Luttrell
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Esther Luttrell

estherwrites@aol.com

USA