Used with permission.

A little dated (1997) but still an excellent resource ...

Recommended Books for Screenwriters

Compiled by Nadine M. White of Bookworm Productions Inc., 10399 Adel Road, Oakton, Virginia 22124


These books and reviews were compiled from the writers' comments on the
SCRNWRIT list and some aol.com message boards. Information provided is as
current as humanly possible.  Prices are quoted in US dollars, and, as
always, are subject to change without notice.  e-mail comments for suggested
additions to: msbkworm@aol.com.

Categories of books are:

 * Books on Film and Hollywood
 * Books on Screenwriting
 * Books on Writing Comedy
 * Books on Formatting the Screenplay
 * For Young Writers
 * Turning Professional
 * In Print But Not Reviewed


******************************

BOOKS ON FILM AND HOLLYWOOD:

******************************

The books in this section are recommended reads on any and all areas of
activity that pertain to film and Hollywood and the adventures of those that
cross it's borders.  To enjoy, to ponder, to relax, to study. -- Nadine

*********************
"ADVENTURES IN THE SCREEN TRADE,"  by William Goldman, Warner Books, New
York, 1983.  $15.99  ISBN:  0446391174

A must for anyone in the business.  - Wryturguy

*********************
THE AGENCY: WILLIAM MORRIS AND THE HIDDEN HISTORY OF SHOW BUSINESS, by Frank
Rose, Harper Collins Publishers Inc., 10 East 53rd Street, New York, 
New York 10022, 1995.  $30.00  ISBN: 0887307493

It won't matter what I say about this book, you will want to read it anyway.
 Not another history like it anywhere.  -- Nadine White

*********************
AKIRA KUROSAWA AND INTERTEXTUAL CINEMA  by James Goodwin, Johns Hopkins
University Press,  2715 North Charles Street, Baltimore, Maryland 
21218-4319.  1994.  $14.95

Goodwin draws on contemporary theoretical and critical approaches to explore
Kurosawa's use of a variety of texts in his creation of an intercultural
cinema.  He examines major films as well as lesser known works and looks at
the capacity of Kurosawa's themes and techniques to restructure perceptions
of Japanese and Western culture.  I found this to be an interesting look at
the work of one of my favorite film creators. - Nadine White  

*********************
BREAKING THE FRAME:  FILM LANGUAGE AND THE EXPERIENCE OF LIMITS by Inez
Hodges, Midland Books, Indiana University Press, Bloomington, Indiana, 1991.
 $14.95  ISBN: 0253206219

Looks at the different approaches to cinematic art that are offered by
cognitive psychology, feminist theory, aesthetics and psychoanalysis.  The
focus is on films that tend to challenge accepted norms, break out of
conventional frameworks, and upset the expectations of the audience.  The
alternative viewpoint is worth examining. -- Nadine White

*********************
DOUBLE VISION - MY LIFE IN FILM:  by Andrzej Wajda.

As well as a fascinating insight to the development of modern Poland, it 
also is a witty and informative book on film-making and screenwriting from 
the perspective of one of Europe's finest.  --  Jac Fraser             

*********************
EBERT'S LITTLE MOVIE GLOSSARY:  A COMPENDIUM OF MOVIE CLICHES, STEREOTYPES,
OBLIGATORY SCENES, HACKNEYED FORMULAS, SHOPWORN CONVENTIONS, AND OUTDATED
ARCHETYPES  by Roger Ebert, Andrews and McMeel , 4900 Main Street, Kansas
City, Missouri 64112, 1994.  $12.95  ISBN:  0836280717

Get it for the next family gathering that you have to attend.  Then sneak
away from all the dull relatives, find a private corner and enjoy yourself
for a change.   -- A.E. Thompson

Someone gave me this book for Christmas.  At first I thought it was just a
goofy gift book, but it is priceless.  Should be on every screenwriter's
desk.  -- Douglas Brodoff

Is the whole book full of these things?!?  If so, I must have it! -- Eric
Troup
*********************
THE END:  NARRATION AND CLOSURE IN THE CINEMA by Richard Neupert, Wayne 
State University Press, Detroit, Michigan, 48201, 1995.  $19.95  
ISBN:  0814325254

This turned out to be a must read for this writer.  The focus is on the
difference between "endings" and "conclusions" in films.  The point is a
critical one for achieving the catharsis that marks the completion of a
journey in film, rather than just an endpoint for the filmmaker.  "Closure
may be regarded as a modification of structure that makes stasis, or the
absence of further continuation, the most probable succeeding event," said
Barbara Herrnstein Smith in her book, Poetic Closure.  The discussion here
centers on the ways to determine if a problem is sufficiently solved that
continuation will occur on the newly attained level of resolution.   This
determines if a work closes, or simply ends.  Gave me a new way to look at 
my overall work and sharpen the focus.  I had more of an exact notion of 
what I needed to examine.  -- Nadine White

*********************
FEAR AND LOATHING IN LAS VEGAS, by Hunter Thompson, Random House, New York,
1989.  $10.00  ISBN: 0679724192

Has nothing to do with screenwriting or writing process, but every time I
read it inspired and enlightened as to the endless possibilities of the
written word. -- Wryturguy

*********************
FILM DIRECTING: SHOT BY SHOT - VISUALIZING FROM CONCEPT TO SCREEN:  by 
Steven D. Katz, published by Michael Wiese Productions, 3960 Laurel Canyon 
Blvd., Suite 331, Studio City, California 91604, with Focal Press, 
80 Montvale Ave, Stoneham, Massachusetts, 02180, 1991, ISBN:  0941188108

Pretty great insights along with standard film school fare.  great shot by
shot analysis of some familiar films.  --  Tim August

*********************
FILM FLAM:  ESSAYS ON HOLLYWOOD:  by Larry McMurty

This fun little opus is written by, Larry McMurty, who's credits include,
Texasville, Lonesome Dove, The Last Picture Show, Terms of Endearment, and
many,  many more.  The wit alone makes this a worthy read.  
--  Jerry Hammond

*********************
THE FILM WRITERS GUIDE:  edited by Susan Avallone, Lone Eagle Press, 2337
Roscomare Road, Suite Nine, Los Angeles, California 90077-1851.

It's most useful for getting from the movie to the writer's name and 
possible agent--a listing, really, with some interesting front and back 
matter.  For example:

Robin Swicord:  ...."This is all by way of saying that you go into these
story meetings with men who have never had to project themselves into the
female one time--except maybe to understand their girlfriends' point of view
when they're quarreling.  ...."I have no problem putting myself in that
character [Mel Gibson in Lethal Weapon] and being him....we [females] are
trained to do that. But if you have the same thing of a girl doing all that,
there's a great
distance that a male executive has to cross before he can understand that he
is Geena Davis or Jodie Foster." --  Mysti Rubert

*********************
HIGH CONCEPT: MOVIES AND MARKETING IN HOLLYWOOD, by Justin Wyatt, University
of Texas Press, P.O. Box 7819, Austin, Texas 78713-7819, 1994.  $11.95  
ISBN: 0292791910

The essence of high concept, [Wyatt] explains, is a striking, easily
reducible narrative which also offers a high degree of marketability.
 Typically, high concept films combined several elements:   a narrative that
could be summarized in a single phrase; an image or song that the potential
audience associated with the film; a "total look" style of cinematography
characteristic of television and magazine advertisements and music videos;
pre-sold stars or subject matter; character typing rather than character
exposition; and merchandising tie-ins.  Vilified by critics as the proof of
Hollywood's creative bankruptcy and the growing dominance of the industry's
marketing apparatus, high concept was in fact, according to Wyatt, the
product of specific historical, institutional, and economic forces......
-- from a summary by Steve Mintz, posted to list H-FILM, reposted to the
SCRWRIT list.

Wyatt used to be a market research analyst in the film industry.  His is a
thought provoking book for very solid reasons.  -- Nadine White

*********************
HOLLYWOOD DAYS, HOLLYWOOD NIGHTS:  THE DIARY OF A MAD SCREENWRITER:   by Ben
Stein, Bantam Books, New York, 1988.

Ben Stein's diary is a vivid snapshot of all that is fascinating and 
frightening about trying to become a mainstream Hollywood screenwriter.  It
answers such questions as "do I need a rich spouse," "is it what you write
 or who you know" and "is there any hope for nerds in this industry."  The
answers may surprise you. --  Mysti Rubert

*********************
MAKING MOVIES: by Sidney Lumet , Alfred Knopf, publishers, New York, 1995.
 $23.00  ISBN: 0679437096 

He talks about making movies by department.   Fascinating and inspiring.  --
Mysti Rubert

Lumet discusses every aspect of directing film - from divine inspiration to
marketing.    This is a wonderful look at the process through the eyes of 
one of the business's most talented individuals.
 -- Nadine White

*********************
MOVIE MADE AMERICA: A CULTURAL HISTORY OF AMERICAN MOVIES, by Robert Sklar,
revised edition, Vintage Books, Random House, New York, 1994.  $20.00  ISBN:
0679-755497

This is another nice read. The book looks at the impact of film on American
society and the transformations in attitudes such as pleasure and sexuality
that have taken place in American culture because of the existence of film.
 Great read with good illustrations and interesting commentaries.  -- A. E.
Thompson

*********************
A POUND OF FLESH, by Art Linson, Avon Books,  1350 Avenue of the Americas,
New York, New York, 10019, 1995. $9.00  ISBN:  0380724014

A book on the business to take you behind the scenes in your copious spare
time.  Both funny and enlightening.  -- Nadine White

*********************
SCREENWRITERS ON SCREENWRITING:  Edited by Joel Engel, Hyperion Press, 114
Fifth Avenue, New York, New York 10011, 1995 (not to be confused with an
earlier series with a similar name).  $12.95  
ISBN: 0786880570 

It's great to read the opinions by these writers:  Bruce Joel Rubin, Ernest
Lehman, Amy Holden Jones, Nicholas Meyer, Ted Tally, Horton Foote, Caroline
Thompson, Michael Mann, Charles Fuller, Robert Towne, Richard LaGravenese,
Andrew Bergman and Scott Frank.  
-- Mysti Rubert 

*********************
SCRIPT GIRLS: WOMEN SCREENWRITERS IN HOLLYWOOD by Lizzie Franke, British 
Film Institute, BFI Publishing, 21 Stephen Street, London W1P 1PL,  
available in the US at bigger bookstores for $18.95.   1994.  
ISBN:  0851704786

Women have been writing for the screen since the earliest days of the
industry.  This book traces the history of women in the screenwriting
profession from Gene Gautier's 1911 version of "Ben Hur" to Callie Khouri's
"Thelma and Louise."  Includes interviews with women working today.  I found
this a fascinating read and one of the few books available on the subject
anywhere. -- Nadine White  

*********************
SCULPTING IN TIME:  by Andrei Tarkovsky

The title alone is one of the best metaphors I've ever savored.  --Steve
Deeble

I agree with your choices there, Steve.  I'm a big fan of Tarkovsky's book.
-- Jac Fraser 

*********************
SELECTED LETTERS OF RAYMOND CHANDLER:  edited by Frank MacShane (who also
wrote a bio of Chandler).   Columbia University Press, 1981.  ISBN:
 0231050801.   

A look at what happens between the book and the screen.

Being a university press, I don't believe the book was ever released in
paperback, but I could be wrong.   -- Ron Peer

*********************
STANISLAVSKY DIRECTS:   by Nikolai M. Gorchakov, Limelight Editions, 
New York 1985

Because writers are ultimately toiling for actors to deliver their lines,
here's a timeless book, not only for directors, but for screenwriters
as well.  About understanding and directing actors, Stanley Kubrik singled 
it out as the book he learned from the most. No argument there.  
--  George Lois

*********************
THINKING IN PICTURES:  THE MAKING OF MATEWAN, by John Sayles 

ON DIRECTING FILM by David Mamet 

Sayles and Mamet books both excellent. - Jac Fraser 


*********************
A SONG IN THE DARK:   by Richard Barrios, Oxford University Press, 200
Madison Avenue, New York, New York, 10016, 1995.   $21.95  ISBN:  0195088115

This guy writes with verve, and in incredible detail, about the birth of
musical films.  He is the definitive source on this topic, has done research
which corrects material printed in other established works on the subject.
 -- Mysti Rubert

******************************

BOOKS ON SCREENWRITING:

******************************

This section contains books devoted to screenwriting in all its many aspects.
 Some are textbooks, some help a writer break the rules creatively, and some
give information on where to put that screenplay when you are finished with
it.  -- Nadine

*********************
ALTERNATIVE SCRIPTWRITING:  by Ken Dancyger & Jeff Rush, Focal Press,
Butterworth Heinemann, 80 Montvale Ave, Stoneham, Massachusetts, 02180.
 1991.  

It has great ideas for going beyond the "rules".  It discussed structure
(restorative 3-act plays), counter-structure, genre, working against genre,
character (primary & secondary), tone and subtext. It uses MANY movies for
examples and even compares popular movies with fictitious ones to illustrate
topics. It's great for breaking out of derivative screenplays.   - PJ44

Found it a great source of ways to get a new viewpoint while I am writing 
and not get bogged down. - Nadine White  

*********************
THE ART OF DRAMAT!C WR!T!ING by Lajos Egri, Touchstone Books, Simon and
Schuster, 1230 Avenue of the Americas, New York, New York, 10020, 1960.
 $10.95  ISBN: 0671213326.

He also wrote The Art of Creative Writing -- Nadine

I like it because he talks clearly about the hardest  part of screenwriting,
structuring a story so that it  has tension, drama and vivid interest.  --
Mysti Rubert

"I'm reading Mr. Egri's "The Art of Dramatic Writing"  I recommend this book
to anyone working in this folder  [On Story Movement].  Lajos is very clear
and makes what could be difficult concepts easy to understand.  There aren't
too many current books out there that I haven't read.  They all seem like
primers in comparison.  -- Room2Rest

*********************
THE ARTIST'S WAY: by Julia Cameron, with Mark Bryan, Jeremy P. Tarcher Books,
Putnam, New York, 1992. $13.95  ISBN: 0874776945

[This book] is, IMHO, genius. , It's very step-by-step, which is excellent
for me, as I have difficulty getting motivated at times. --  BushTetra

Yes! Yes! Yes! I think this is a wonderful book and recommend it to any
artist (or shadow artist) who is ready to recover from their blocks.  --
 Brian Fitzhugh

Okay, two screaming thumbs up.    I think I'll go shopping. -- Jennise Hall

I adore The Artist's Way. -- Patricia Burroughs

*********************
CREATING UNFORGETTABLE CHARACTERS, by Linda Seger, Owl Books, Henry Holt &
Company, 115 West 18th Street, New York, New York, 10011, 1990.  $12.95
 ISBN: 0805011714

Like Making A Good Script Great, but with the focus more on character than 
on structure and story.  A good reference, but could have been better.  It
seemed "thin."  -- Richard Carter Jr.

*********************
THE DRAMATIST'S TOOLKIT, by Jeffrey Sweet, Heinemann,  Div. of Reed Elsevier
Inc., 361 Hanover Street, Portsmouth, New Hampshire 03801-3912, 1993.  
$12.95 ISBN: 0435086294  

It's primarily oriented toward playwriting, but he has quite a bit of 
insight into screen and TV writing as well.  Changed the way I work 
completely.  --  CVPlaywrit

*********************
IF YOU WANT TO WRITE: A BOOK ABOUT ART, INDEPENDENCE, AND SPIRIT, by Brenda
Ueland, Graywolf Press, 2402 University Avenue, Suite 203, Saint Paul,
Minnesota,  55114, 1987.  $8.95  ISBN:  0915308940

"But we must try to find our True Conscience, our True Self, the very Center,
for this is the only first-rate, choice-making center.  Here lies all
originality, talent, honour, truthfulness, courage, and cheerfulness."  --
Barbara Ueland

I started reading a book last night called "If You Want To Write," by Brenda
Ueland.  In light of my recent posts, the following passage made me smile:
 "Families are great murderers of the creative impulse, especially
husbands....The only good teachers for you are those friends who love you,
who think you are interesting or wonderfully funny. And if you have no such
friend -- and you want to write -- you must imagine one."  So there you are,
my friends [of the list]!   A lot of good stuff about creativity and
originality.      I'd recommend it. -- DiAnne Olson Wosepka

I second that. I just started the book last week and I love it. Maybe we
should add this title to the list reading list. -- Amanda Quimby

Consider it done. -- Nadine White

*********************
LEW HUNTER'S SCREENWRITING 434 by Lew Hunter, Perigee Books, Putnam, New
York, 1993.  $13.95  ISBN:  039951838X

I found Hunter's tips on writing habits pretty helpful.  I tried cranking 
out 5 pages per day and polishing them at night.  It worked well.  His 
re-writing regimen is also fast and efficient.  I think it was one generic 
re-write, then one for dialogue, one for action, one fore "touches," and one 
focused pass for each character.  -- Jeff Beres

[Also recommended by Charles Deemer -- Nadine]

*********************
MAKING A GOOD SCRIPT GREAT, by Linda Seger, Samuel French Trade, 7623 Sunset
Blvd.  Hollywood, California 90046, 1987.   $11.95   ISBN:  0573606900

Indispensable for any screenwriter still honing his/her craft (i.e., most
unsold screenwriters) -- and a good refresher for those more experienced to
help them remember stuff they have forgotten or have let become sloppy.
Recommended.  -- Richard Carter Jr.

[Also recommended by Charles Deemer]

*********************
POETICS,  by Aristotle, Prometheus Books, 59 John Glenn Drive, Buffalo, New
York 14228-2197, 1992.  $5.95  ISBN:  0879757760

Hard to slog through sometimes, but worth the trouble if only to remind us
how old the art of storytelling is, and how little human nature changes over
time.  -- Mysti Rubert

*********************
SCREENPLAY:  THE FOUNDATIONS OF SCREENWRITING, by Syd Field, revised edition,
Bantam Doubleday Dell, 1540 Broadway, New York, New York 10036,  1994.
 $11.95  ISBN:  0440576474
The baseline, though I think it's been showing its age for a number of years.
 You get the Field paradigm in most of the other books -- so this might not
be as necessary a reference as it once was.  -- Richard Carter Jr.

*********************
THE SCREENWRITER'S WORKBOOK, by Syd Field, Bantam Doubleday Dell, 1540
Broadway, New York, New York 10036,  1984.  $10.95  ISBN:  0440582253

A much more useful book than SCREENPLAY - especially if you've written at
least a rough draft script first (i.e., you the writer have *some* 
first-hand knowledge of what Field is talking about), but is still a better 
book for rank beginners than SCREENPLAY, IMHO.  It expands the paradigm to 
include structure elements in the second act.  Recommended.  
-- Richard Carter Jr.




*********************
SCREENWRITING:  THE ART, CRAFT AND BUSINESS OF FILM AND TELEVISION WRITING 
by Richard Walter, Plume Books, Penguin USA, 375 Hudson Street, New York, 
New York, 10014, 1988.  $12.95  
ISBN:  0452263476   

He steers more clear of formula than many, and the voice of the book is full
of the excitement for writing and storytelling, which I found very inspiring
early on.  -- Mysti Rubert

*********************
SCREENWRITING TRICKS OF THE TRADE, by William Froug, Silman James Press,
publisher, distributed by Samuel French Trade, 7623 Sunset Blvd.  Hollywood,
California 90046, 1993.   $10.95  
ISBN:  1879505134

If you are one of the fortunate ones who are privileged to have taken
screenwriting classes under "Bill" Froug at UCLA, USC, University of
Hawaii or Danmarks Radio, then you know that he has been mentor to many
students that have had exemplary careers as screenwriters. This volume, 
first published in 1993, does not belie its name.
Jeffrey Boam, student and eventual collaborator, says "This is not a "how to
" book about screenwriting. It is a book of wisdom and good sound advice
about the process of screenwriting."  On every page there are gems to be
devoured and burned into memory.
Bill's advice, not limited to pithy sayings, includes observations on the
best method for garnering story elements, for approaching the
development of character, and preparing for a pitch. He shares his
knowledge in a very powerful way.  For example, on the handling of
exposition:  "The people who insist upon telling you everything about
themselves up front are the most boring people of all. "  It is a suggestion
about characterization that has stuck in my mind and
given me pause when I feel the need to elaborate on backstory. 
This book is one that is honed through years of teaching experience
and brings that harvest of insight and guidance to the thoughtful reader. --
 Gloria Stern 

*********************
THE SECRETS OF ACTION SCREENWRITING by William C. Martell, Rogue
Publications, 6440 Bellingham Avenue #155, N. Hollywood, California 91606.
 1994  $9.95 Direct Mail Only.

This book is a great read, a great synopses of all the major factors to
consider when doing action movies or even just action scenes.  A wealth of
choice ideas.  Worth every penny. --  Nadine White

******************** 
SELLING A SCREENPLAY:  THE SCREENWRITER'S GUIDE TO HOLLYWOOD, by Syd Field,
Bantam Doubleday Dell, 1540 Broadway, New York, New York 10036,  1989.
 $11.95  ISBN:  0440502446

A nice introduction to the world of Hollywood.  Not required reading. --
 Richard Carter Jr.

********************
STEAL THIS PLOT by June and William Noble, available from Paul S. Eriksson,
publisher, Middlebury, Vermont 05753.  Cost is $12.95 plus $2.00 S&H last
time I checked.  Direct mail is fastest for getting this one as this has to
be a very small press.  1985  ISBN:  0839778813

This is one of four books on writing by Noble and all are interesting.  The
others are SHUT UP! HE EXPLAINED (1987  ISBN:  08397-77787)
SHOW DON'T TELL (1991 ISBN:  0839777671) and MAKE THAT SCENE  (1988  ISBN:
 0839757093).  All are $12.95 each  with some additional S&H if you want to
order them together.  

A great reference set and good for brainstorming.  Good for looking at
archetypes and motivation. -- Nadine White

*********************
20 MASTER PLOTS AND HOW TO BUILD THEM by Ronald B. Tobias, available through
Writer's Digest Books, 1507 Dana Avenue, Cincinnati, Ohio 45207.  1993.
  $16.95 plus S&H

This book has twenty fundamental plots that occur throughout fiction and 
fact in every country and in every culture.  There are analyses and examples
noting pitfalls, benefits, and how to adapt to suit your own work.  
-- Nadine White

*********************
THE THIRTY-SIX DRAMATIC SITUATIONS by Georges Polti, available from The
Writer, 120 Boylston St., Boston, Mass 02116-4615.  Reprinted 1993.  Cost is
$8.95 plus $1.75 S&H  Direct Mail Only
ISBN:  0871161095

I ran into this little gem in my first screenwriter's class and ran to buy 
it (along with Alternative Screenwriting).  Found I had to mail order.  
Traces the first known appearance in print of these dramatic situations, 
and uses in ancient and modern literature.  Great for inspiration.  
-- Nadine White

*********************
THE WRITER'S JOURNEY. by Chris Vogel, Michael Wiese Productions, 4354 Laurel
Canyon Blvd., Suite 234, Studio City, California 91604, 1992.  $22.95  ISBN:
0941188132

An excellent alternative to the Field paradigm.   Very recommended 
especially for (but not limited to) those writing action/adventure, 
myth/fairy tales, and other high concept forms. A must buy! 
--  Richard Carter Jr.

*********************
WRITING SCREENPLAYS THAT SELL, by Michael Hauge, Harper Perennial, Harper
Collins Publishers Inc., 10 East 53rd Street, New York, New York, 10022,
1991.  $13.00  ISBN:  0062725009

Took the seminar.  Took copious notes.  Liked the seminar.  Read the book.
  Took copious notes.  Liked the book.  -- Nadine White

[Also recommended by Charles Deemer]

*********************
WRITING THE CHARACTER CENTERED SCREENPLAY by Andrew Horton,  University of
California Press, Berkeley, California, 1994.  $13.00  ISBN::  0520084578

WRITING GREAT SCREENPLAYS FOR FILM AND TV by Dona Cooper, ARCO Publishing,
Prentice Hall, New York, 1994. $14.00  
ISBN: 067184783X

In the past year, I have read two books which pushed my screenwriting to a
level beyond the basics of structure (I hope!).  They were WRITING GREAT
SCREENPLAYS FOR FILM AND TV by Dona Cooper and WRITING THE CHARACTER-CENTERED
SCREENPLAY by Andrew Horton.  -- PTF117

*********************
WRITING THE SCREENPLAY:  TV AND FILM  by Alan Armer. 2nd edition, Wadsworth
Publishing Co., Belmont, California 94002, 1993.  $22.95  ISBN:  0534166687

It has been my experience that screenwriting books are a "wheat and chaff"
proposition.  They are rarely a cover-to-cover read where each section or
chapter is indispensable or equally useful to every writer.  The best, like
Alan A. Armer's WRITING THE SCREENPLAY, hold up well as reference works and
to re-reading for reminders and encouragement.  The book is broken down into
manageable sections for quick reference or re-reading.   The sections are
excellent reminders for a screenwriter in the middle of a work or working on
a re-write.  The book also includes inserts and sidebars by the likes of
Chayefsky, Kelly McWhorter, and Frank Pierson, who's thoughtful essay on
character is one of the best things in the book.  -- Dale Jellings

******************************

BOOKS ON WRITING COMEDY:

******************************

Ways to look at comedy, develop it, sustain it, analyze it, and maybe turn 
it into a movie.     -- Nadine

*********************
COMEDY WRITING SECRETS by Melvin Helitzer, Writer's Digest Books, 1507 Dana
Avenue, Cincinnati, Ohio, 45207, 1987.  $16.99  ISBN: 0898795109

Looks at the basics of comedy writing, analyzes humor, discusses the
nightclub comedian, twenty basic comic personas, and scripting for TV.  Lots
to adapt for screenwriting, even with the focus being elsewhere.  
-- Nadine White

*********************
COMEDY WRITING: STEP BY STEP by Gene Perret, Samuel French Trade, 7623 
Sunset Blvd.  Hollywood, California 90046, 1990.  $11.95  ISBN:  0573606056

With the author being the head comedy writer for Bob Hope, the focus here is
on writing jokes a standup comedian would use.  There are some useful
exercises to check your sense of humor; the sketch writing chapter offers
tips on how to sustain complications in a humorous situation; and there is a
section on writing for sitcoms.    
-- Nadine White

*********************
THE COMIC TOOLBOX, by John Vorhaus, Silman James Press, publisher,
distributed by Samuel French Trade, 7623 Sunset Blvd.  Hollywood, California
90046, 1994.   $14.95  ISBN:  1879505215

This is a workbook approach that looks at comedy writing as creative problem
solving.  "Tools"  include Tension and Release, the Law of Comic Opposites,
Clash of Context, the Wildly Inappropriate Response, Running Gags, and the
Doorbell Effect.  Could be used seriously too.  Easy to understand, more 
time needed to apply it well.  -- Nadine White

*********************
COMIC VISIONS: TELEVISION COMEDY AND AMERICAN CULTURE, by David Marc, Media
and Popular Culture Series, Routledge Books, 
29 West 35th Street, New York, New York 10001, 1989.  $15.95  
ISBN:  0044452845

Comic Vision looks at the evolution of television comedy.  There is
historical research with analyses that combine both a cultural and aesthetic
view.  The American sense of what is funny and how that may best be conveyed
has changed a great deal over the last 40 years.  Interesting read. 
-- Nadine White

*********************
SUCCESSFUL SITCOM WRITING by Jurgen Wolff, St. Martin's Press, 175 Fifth
Avenue, New York, New York 10010.  1988.  $17.95

While this is aimed at writing for TV, there are very few books available
that look at the elements of comedy in writing.  Any writer will find useful
information here for working with comedic characters, situations and
alternatives.  

-- Nadine White  

******************************

BOOKS ON FORMATTING THE SCREENPLAY:

******************************

All your worst nightmares resolved in single, easy-to-find volumes.  --
Nadine

*********************
THE COMPLETE GUIDE TO STANDARD SCRIPT FORMATS:  PART I  THE SCREENPLAY  by
H.R. Cole Jr. and J. H. Haag,  CMC Publishing, 11642 Otsego Street, North
Hollywood, California 91601, 1991.  Seventh printing 1994.  $18.95      
ISBN: 0929583000

FORMATTING YOUR SCREENPLAY by Rick Reichman, Booksmiths Inc. Lexington,
Kentucky, 1992.  $14.95     ISBN:  0964159406

THE WRITER'S DIGEST GUIDE TO MANUSCRIPT FORMATS by Dian Dincin Buchman and
Seli Groves, Writer's Digest Publishers, 1507 Dana Avenue, Cincinnati, Ohio,
45207, 1987.   $18.95     ISBN:  0898792932

All of these books have been on the market for some time and may not reflect
some of the format simplifications that have occurred.  All will get you to 
a fairly decent draft in usable format. 
--  Nadine White  

*********************
THE SCREENWRITER'S BIBLE by David Trottier, The Screenwriting Center, 2034 E.
Lincoln Ave. #300, Anaheim, California 92806.
Revised edition 1995.  $17.95  ISBN: 1885655045

Gives you more than the lowdown on formats.  Lots of extra information and
good suggestions for spec scripts, then also takes on the art part of 
writing in a primer for theme and plot development and scene writing.  For a 
single reference, gives you a great deal for the money.  --  Nadine White 

******************************

FOR YOUNG WRITERS:

******************************

This section is for teachers and parents trying to encourage written
expression through dramatics and other forms of story.   Also good if a
writer in block needs a Montessori session.  -- Nadine

*********************
ANY CHILD CAN WRITE, by Harvey Weiner, revised edition, Oxford University
Press, 200 Madison Avenue, New York, New York, 10016, 1990.  $11.95  ISBN:
 0195094158

A home program for parents to encourage their children to write.  Provides
creative techniques such as using a crayon drawing to inspire a written
story, use of ordinary experiences, rhymes, games and riddles, and playing
with dialogue to develop enthusiastic written expression.  One of the
techniques encouraged is that of taking pictures of interesting things and
only then writing a story.  This should help lots of writers who have deal
with that technique with filmmakers.  -- Nadine White

*********************
GAMES FOR WRITING by Peggy Kaye, Noonday Press, Farrar, Strauss and Giroux,
19 Union Square West, New York 10003, 1995.  $13.00  ISBN:  0374524270

Contains more than 50 ways to help children become skilled, confident and
enthusiastic writers.  Some appear to be the perfect way to procrastinate 
and you still end up working on your writing. 
--  Nadine White

*********************
IF YOU WERE A WRITER by Joan Lowery Nixon, Aladdin Books, Simon and Schuster,
Children's Publishing Division, 1230 Avenue of the Americas, New York, New
York, 10020, 1988.  $495  ISBN:  0689719000.

How to explain to your children (or your friends) where you got the idea for
that screenplay you're writing and won't discuss with anyone.  -- Nadine
White

*********************
THINKING LIKE A WRITER  by Lou Willett Stanek, Random House, New York, 1994.
 $5.99   ISBN:  0679-86217X 

To help older writers refresh and re-think what their creativity is about,
and to encourage younger writers to see with a writer's eyes.
--  Nadine White 

*********************

WRITING IS CHILD'S PLAY by Donna Reid Connell, Addison Wesley Publishing
Company, New York, 1994.  $12.95  ISBN: 0201818841

Provides strategies that use a child's natural language development to
encourage the joy of communicating in writing.    Lots of interesting
examples for inspiration.  -- Nadine White

******************************

TURNING PROFESSIONAL:

******************************

Books to help writers through those all important first and second and third
and fourth contracts. -- Nadine

*********************
DEALMAKING IN THE FILM AND TELEVISION INDUSTRY by Mark Litwak, Fast Forward
Productions, Silman-James Press, distributed by Samuel French Trade, 7623
Sunset Blvd.  Hollywood, California 90046, 1994.  $26.95  ISBN:  1879505150

Looks at the strange ins and outs of entertainment law, with practical 
advice for producers, writers, directors and actors.  Nice analyses.  Covers 
options and alternatives for selling scripts in something far more 
understandable than the usual legalese. -- Nadine White

*********************
DO THE WRITE THING:  MAKING THE TRANSITION TO PROFESSIONAL, by Gloria Stern,
Myriad Press, 12535 Chandler Blvd. #3, North Hollywood, California
91607-1934. 1993  $18.95  ISBN:  0964126605

Gloria discusses the myths, perceptions, terminology, pragmatics and
procedures of going from writing for a hobby to being a knowledgeable
professional.  Originally designed to answer the questions of her students,
it is user friendly, clearly and concisely written and a reference I am glad
to have on my "use-it-all-the-time" shelf. -- Nadine White

*********************
KIRSCH'S HANDBOOK OF PUBLISHING LAW, by Jonathan Kirsch, Acrobat Books, P.O.
Box 870, Venice, California 90294, 1995.  $21.95  ISBN: 0918226333

Contains information on working with electronic and multimedia rights, a
library of sample forms, contracts, agents and packaging, co-authoring, and
deal memos.  The author is both a writer and practicing attorney and hence
has a decent understanding of being on both sides of the fence. --  Nadine
White

*********************
THE WRITER'S LAWYER, by Ronald Goldfarb and Gail Ross, Times Books, New York,
1989.  $19.95  ISBN: 0812917448

The book provides essential legal advice for writers and editors in all
media, according to the cover.  Major topics include copyright, libel,
privacy, contracts for books, and other contracts writers normally require.
  While not specifically about screenwriting, it still is a good reference.
-- Nadine White

******************************

IN PRINT, BUT NOT REVIEWED:

******************************

These are books on all the areas of screenwriting and life in Hollywood 
known to be in print as of August 1995, but remained unreviewed by members 
of the list.  If you wish to provide a short (3-5 sentence) review or 
comment, please e-mail msbkworm@aol.com

AMERICAN SCREENWRITERS: THE INSIDERS LOOK AT THE ART, THE CRAFT, AND THE
BUSINESS OF WRITING MOVIES, by Karl Schanzer and Thomas Lee Wright, Avon
Books, 1350 Avenue of the Americas, New York, New York, 10019, 1993. $12.00
 ISBN:  0380767279

THE ART OF ADAPTATION:    TURNING FACT AND FICTION INTO FILM, by Linda Seger,
Owl Books,  Henry Holt & Company, 115 West 18th Street, New York, New York
10011, 1992.  $14.95  ISBN: 0805016260

THE ART OF SCREENWRITING:  STORY, SCRIPT, MARKETS by William Packard, 
Paragon House Books, 90 Fifth Avenue, New York, New York, 10011, 1987.  
$10.95  ISBN: 091372937X

ATTACK OF THE MONSTER MOVIE MAKERS:  INTERVIEWS WITH 20 GENRE GIANTS, by N.C.
Jefferson, McFarland Books, 1994.

CLAUSE BY CLAUSE:  THE SCREENWRITER'S LEGAL GUIDE, by Stephen Breimer, Dell
Books, Bantam Doubleday Dell, 1540 Broadway, New York, New York, 10036, 1995.

THE CRAFT OF THE SCREENWRITER:  INTERVIEWS WITH SIX CELEBRATED SCREENWRITERS,
by Joseph John, Simon and Schuster, 1230 Avenue of the Americas, New York,
New York, 10020, 1981.

FADE IN: THE SCREENWRITING PROCESS by Robert A. Berman, published by Michael
Wiese Productions, 3960 Laurel Canyon Blvd., Suite 331, Studio City,
California 91604, with Focal Press, 80 Montvale Ave, Stoneham, Massachusetts,
02180, 1988. $18.95  
ISBN: 0941188078

FEATURE WRITERS 1980-1992: THEIR CREDITS AND THEIR AGENTS, by Michaelina Lee,
Hollywood Creative Directory Publishers, Santa Monica, California, 1992.

FILMMAKING:  NARRATIVE AND STRUCTURAL TECHNIQUES by Bob Foss, Silman-James
Press, distributed by Samuel French Trade, 7623 Sunset Blvd.  Hollywood,
California 90046, 1992.  $15.95
ISBN:  1879505142

FILM SCRIPTWRITING:  A PRACTICAL MANUAL, by Dwight Swain, with Joye Swain,
second edition,  Focal Press, 80 Montvale Ave, Stoneham, Massachusetts,
02180, 1988. $29.95  ISBN: 0240511905

FROM SCRIPT TO SCREEN: THE COLLABORATIVE ART OF FILMMAKING by Linda Seger 
and Edward Jay Whetmore, Owl Books,  Henry Holt & Company, 115 West 18th 
Street, New York, New York, 1994.  $14.95 ISBN: 0805023038

GETTING YOUR SCRIPT THROUGH THE HOLLYWOOD MAZE by Linda Stuart, Acrobat
Books, P.O. Box 870, Venice, California 90294, 1993.    $14.95  ISBN:
0918226309

A GUIDE TO AMERICAN SCREENWRITERS: THE SOUND ERA 1929-1982,  by Larry
Langman, Garland Publications, New York, 1984.

A HOLLYWOOD EDUCATION by David Freeman,  Carroll and Graf, Publishers Group
West, 260 Fifth Avenue, New York, New York, 10001, 1992.  $10.95  ISBN:
 0881848700

HOW TO MAKE IT IN HOLLYWOOD, by Linda Buzzell, Harper Collins Publishers
Inc., 10 East 53rd Street, New York, New York, 10022, 1992.  $11.00  ISBN:
 0060965967

HOW TO  PITCH AND SELL YOUR TV SCRIPT, by David Silver, Writer's Digest
Books, 1507 Dana Avenue, Cincinnati, Ohio, 45207, 1991.  $17.95  ISBN:
 0898794676

HOW TO SELL YOUR SCREENPLAY by Carl Sautter, New Chapter Press Inc., Old
Pound Road, Pound Ridge, New York, 10576, 1992.   $14.95  ISBN:  0942257243

HOW TO WRITE A MOVIE IN 21 DAYS: THE INNER MOVIE METHOD by Viki King,
Perennial Library, Harper and Row publishers, New York, 1988.  $11.00  ISBN:
0062730665 

THE LOS ANGELES AGENT BOOK by K. Callan, Sweden Press, Box 1612, Studio City,
California 91614, 1994, $15.95  ISBN:  1878355023

THE MOVIE BUSINESS BOOK, edited by Jason E. Squire, Fireside Books, Simon 
and Schuster, 1230 Avenue of the Americas, New York, New York, 10020, 1992.
  $14.00   ISBN:  067175095X

THE NEW SCREENWRITER LOOKS AT THE NEW SCREENWRITER, by William Froug,
Silman-James Press, distributed by Samuel French Trade, 7623 Sunset Blvd.,
Hollywood, California, 90046, 1992.

THE NEW YORK AGENT BOOK by K. Callan, Sweden Press, Box 1612, Studio City,
California 91614, 1993. $15.95  ISBN: 0961733691

NO ONE KNOWS THEIR NAMES:  SCREENWRITERS IN HOLLYWOOD, by Jorja Prover,
Bowling Green State University Popular Press, Bowling Green, Ohio, 1994.

PLAYWRITING FOR THEATER, FILM AND TELEVISION by Laura Shamas, Betterway
Publications, P.O. Box219, Crozet , Virginia, 22932, 1991.  $11.95  ISBN:
 155870213X

SCORCESE ON SCORSESE, Edited by David Thompson and Ian Christie, Faber and
Faber, publishers, Boston, Massachusetts, 1990.  $12.95  ISBN:  0571152430

SCREENWRITER'S HANDBOOK by Constance Nash and Virginia Oakley, Harper
Perennial, Harper Collins, 10 East 53rd Street, New York, New York,  10022,
1993.  $10.00     ISBN:  006463454X

THE SCREENWRITER LOOKS AT THE SCREENWRITER by William Froug, Silman-James
Press, distributed by Samuel French Trade, 7623 Sunset Blvd., Hollywood,
California, 90046, 1991.  $14.95  
ISBN:  1879505010

THE SCRIPT IS FINISHED NOW WHAT DO I DO? by K. Callan, Sweden Press, Box
1612, Studio City, California 91614, 1993. $15.95  
ISBN: 1878355007

SELLING YOUR SCREENPLAY by Cynthia Witcomb, Random House, New York, 1988.
 $11.95  ISBN:  0517570084  [Recommended by Charles Deemer]

SUCCESSFUL SCRIPTWRITING by Jurgen Wolff and Kerry Cox, Writer's Digest
Books, Cincinnati, Ohio, 1988.  $14.95  ISBN:  0898794498
[Again, also check out Kerry's Hollywood Scriptwriter -- Nadine White]

TELEVISION WRITING: FROM CONCEPT TO CONTRACT, by Richard Blum, revised
edition, Focal Press, 80 Montvale Ave, Stoneham, Massachusetts, 02180, 1984.
$24.95   ISBN: 0240517377

THE TOOLS OF SCREENWRITING, by David Howard and Edward Mabley, St. Martin's
Press, 175 Fifth Avenue, New York, New York 10010, 1993.  $13.95  0312119089
  [See Charles Deemer's recommendation]

TOP SECRETS:  SCREENWRITING, by Jurgen Wolff and Kerry Cox, Lone Eagle
Publishing Company, 2337 Roscomare Road, Suite Nine, , Los Angeles,
California, 90077-1851, 1993. $19.95  ISBN: 0943728509
[See Charles Deemer's recommendation -  Kerry also publishes the Hollywood
Scriptwriter Newsletter, another nice piece of work. -- Nadine White]

TV SCRIPTWRITER'S HANDBOOK by Alfred Brenner, Silman-James Press, 
distributed by Samuel French Trade, 7623 Sunset Blvd., Hollywood, California, 
90046, 1992.  $13.95  ISBN:  187950510X

THE UNDERSTRUCTURE OF WRITING FOR FILM AND TELEVISION, by Ben Brady and 
Lance Lee, University of Texas Press, P.O. Box 7819, Austin, Texas, 
78713-7819, 1988.  $12.95  ISBN: 0292785151

VIDEO SCRIPTWRITING, by Barry Hampe, Plume Books, Penguin USA, 375 Hudson
Street, New York, New York, 10014, 1993.  $14.00  
ISBN:  0452268680

WORKING IN FILM:  THE MARKETPLACE IN THE 90s, by Paul Lazarus,
St. Martin's Press, 175 Fifth Avenue, New York, New York 10010, 1993.  
$14.95 ISBN:  0312094183

WRITING FOR FILM AND TELEVISION by Stewart Bronfeld, Touchstone Books, Simon
and Schuster, New York, 1981.  $7.95  
ISBN:  0671628283 

WRITING SCRIPTS FOR TELEVISION, RADIO AND FILM by Edgar Willis and Camille
D'Arienzo, 3rd edition, Harcourt Brace Jovanovich College Publishers,  6277
Sea Harbor Drive, Orlando, California 32887, 1993.  $23.00  
ISBN:  0030750113

WRITING SCRIPTS HOLLYWOOD WILL LOVE by Katherine Atwell Herbert, Allworth
Press, 10 East 23rd Street, New York, New York 10010, 1994.  $12.95  ISBN:
 188055920X

WRITING THE SCRIPT:  A PRACTICAL GUIDE FOR FILMS AND TELEVISION, by Wells
Root, Owl Books,  Henry Holt & Company, 115 West 18th Street, New York, New
York, 1979.  $10.95 
ISBN: 0805002375


******************************


***** RECENT ADDITIONS (JULY, 1997) *****


******************************
The Screenwriter's Bible:  A Complete Guide to Writing, Formatting, and
Selling Your Script, by D. Trottier,  Order from:  Box 520248, Salt Lake
City, UT 84152 (and bookstores everywhere)  $18.95    ISBN: 1-879505-26-6

Remains one of the best and most solid references a screenwriter can buy.  N.
White

*****

WRITING TREATMENTS THAT SELL  by Kenneth Atchity and CHi-Li Wong, Owl Books,
Henry Holt and Company, 115 West 18th Street, New York New York 10011.
 published 1997.  $14.95  ISBN: 0-8050-4283-0.  (Also published in Canada,
through Fitzhenry and Whiteside,  195 Allstate Parkway, Markham, Ontario L3R
4T8 at $20.95)

Has discussions of the differences between treatment, synopsis, coverage,
outline.  Looks at treatments for movies, TV and speaks to adaptations as
well.  First book I have seen that addresses the subject in depth - worth
checking out.  N. White 

****
STORY SENSE:  WRITING STORY AND SCRIPT FOR FEATURE FILM AND TELEVISION, by
Paul Lucey, McGraw HIll Books, New York, $20.00.  1996.  ISBN:  0-07-038996-9

I had one individual on the Net who contacted me not once but twice about
this book.  It took a little time to find. Builds nicely to make important
points.  Lots of good examples.-
N. White
*****
SPEC SCREENPLAY SALES DIRECTORY (Regular Edition) $29.95.
SPEC SCREENPLAY SALES DIRECTORY (Deluxe  Edition) $59.95.

>From bookstores that feature film industry books in the following cities, Los
Angeles, Seattle, Chicago, New York, Vancouver, and Toronto. Also by mail
order from: In Good Company Products, 2118 Wilshire Blvd, #934J, Santa
Monica, CA 90403-5784. 

Include $4.00 shipping and handling and $2.45 tax CA.residents, for the
$29.95 book and $5.00 shipping and handling and 4.95 tax CA. residents for
the $59.95 book. For more info call (310) 828-4946. 

SPEC SCREENPLAY SALES DIRECTORY (Regular Edition) $29.95.
There are two new directories being published for screenwriters and other
industry professionals.  The regular edition of the Spec Screenplay Sales
Directory documents more than 300 spec screenplay sales to Hollywood
including such info as the logline, writer, genre, agent, agency, date of
sale, purchase price, producer, company contact, attorney etc. It lists sales
from 1994 to the present and is cross-referenced four ways...sales by agent,
sales by
agency, sales of a million dollars and up by writer and first-time spec sale
by writer.

SPEC SCREENPLAY SALES DIRECTORY (Deluxe Edition) $59.95.
The Deluxe version of the Spec Screenplay Sales Directory lists more than 700
screenplays and goes from 1990 up until the end of May of this year (1997).
It includes all the info in the regular edition but has more listings and is
cross-referenced eight ways.  It includes four more cross-referenced sections
than the regular edition...sales by screenwriter, sales by buyer, sales by
genre and sales by date. 

These books are helpful to writers in a few different ways:
1. The writer looking for an agent can target a screenplay to agents that
might have sold similar material in the past.
2. The writer can get an idea as to what the industry has bought and is
buying. No sense writing the same script that was bought six months ago.
3. The writer without an agent can find out who at the companies found the
material and maybe get their screenplay to that person.
4. By studying the hundreds of loglines, the writer should be able to write
better query letters with an interesting 2-3 sentence synopsis of the
available screenplay.

Howard Meibach, Publisher

********* 

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SCREENWRIGHT: the craft of screenwriting

8/97