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For more than twenty years, Writing Screenplays That Sell has been hailed as the most complete guide available on the art, craft, and business of writing for movies and television. Now fully revised and updated to reflect the latest trends and scripts, Hollywood story expert and script consultant Michael Hauge walks readers through every step of writing and selling successful screenplays. If you read only one book on the screenwriter's craft, this must be the one.
- Sales Rank: #223076 in eBooks
- Published on: 2013-04-30
- Released on: 2013-04-30
- Format: Kindle eBook
Review
“No one is better than Michael Hauge at finding what is most authentic in every moment of a story.” (Will Smith (Men in Black; Ali; The Pursuit of Happyness; Hitch; I Am Legend; Hancock))
“Michael Hauge is a story master, and this book is an absolute must have for anyone serious about telling great stories for the screen.” (DeVon Franklin, Vice-President of Production, Columbia Pictures)
“There are five essential books that every person who wants to write screenplays should read. One of them is Writing Screenplays That Sell, and the other four don’t matter.” (Terry Rossio, Co-writer: Pirates of the Caribbean 1, 2, 3 & 4; Shrek; Aladdin; The Mask of Zorro; Déjà Vu)
“The most practical and best single book on the subject.” (Hollywood Scriptwriter)
“The craftsman’s blueprint for anyone who is serious about writing or developing good screenplays.” (Roger Birnbaum, Chairman, Spyglass Entertainment; former President of Production, Twentieth Century Fox)
“If you’re serious about becoming a screenwriter, start by reading this book.” (Robert Mark Kamen, screenwriter, The Karate Kid and The Power of One)
““…When I pick up the phone for help, Michael Hauge is the call I make.” (Shane Black, Screenwriter: Lethal Weapon 1 & 2; The Last Boy Scout; The Long Kiss Goodnight; Writer/Director: Kiss Kiss Bang Bang)
“What Michael Hauge does seems quite simple but is in fact quite rare. He takes your ideas and makes them better.” (Christopher Murphey, screenwriter: The Karate Kid (2010); The Unsaid; Body of Proof)
From the Back Cover
For more than twenty years, Writing Screenplays That Sell has been hailed as the most complete guide available on the art, craft, and business of writing for movies and television. Now fully revised and updated to reflect the latest trends and scripts, Hollywood story expert and script consultant Michael Hauge walks readers through every step of writing and selling successful screenplays. If you read only one book on the screenwriter's craft, this must be the one.
About the Author
Michael Hauge is a story consultant, author, and lecturer who has consulted on projects for every major Hollywood studio, including films starring Will Smith, Julia Roberts, Jennifer Lopez, Kirsten Dunst, Robert Downey Jr., and Morgan Freeman. He is the author of Selling Your Story in 60 Seconds and has presented his lectures and workshops to more than 50,000 writers and filmmakers around the world.
Most helpful customer reviews
17 of 17 people found the following review helpful.
A 'must read' for anyone hoping to understand story structure
By Elizabeth Cooper
I was fortunate enough to attend Michael Hauge's workshop on story structure at the Romantic Times conference this year (2011). My head spun when I walked away from that seminar. I was so impressed by Michael's clarity and succinctness -- and of course, by the story principles he offered -- that I couldn't wait to put them into practice. I picked up his book immediately at the conference, and devoured it on the plane.
Even though I don't write screenplays, I used Michael's approach to developing characters and outlining the story's structure to sketch the main points of my new novel. I'm amazed by the results. I can now "see" the story in my head like never before. It's taken on a clarity I hadn't expected, and I'm excited to start writing it to see what develops.
Michael's ability to provide a straightforward blueprint for crafting a great story is admirable. It's already changed the way I plan, structure, and think about my work. Highly recommended.
13 of 13 people found the following review helpful.
In my pantheon
By Amazon Customer
Michael Hauge has joined my personal pantheon of people who can tell you a lot about doing it right. The others are Syd Field, Robert McKee, John Truby, and Paul Chitlik among moderns and Lajos Esri in the older group. This won't help you if you write for fun or art houses, but if you want to sell your screenplays he lays out a lot of basic ingredients in a very clear way. Once it's written, move on to "Selling Your Story in 60 Seconds."
12 of 13 people found the following review helpful.
Okay but with an odd opinion on theme and character arc.
By A. S. Templeton
Generally good, with in-depth discussion and examples of character development barely covered by some authors in this category.
But in Chapter 4, Theme and Character Arc, Hauge seems to go astray: he avers that the Hero must always recognize his similarity and relatedness to the Nemesis before the theme can emerge, at which point character growth can begin. While this "necessity" may work for some classes of story, it has become a cliché in many recent movies, i.e. the Hero creates his own Nemesis, or in the case of Batman, the Hero is created *by* the Nemesis. The Incredibles has a pretense that takes this Mr. Incredible-Syndrome mutuality at face value--which could have been handled by the classical notion of mere irony. Perhaps political correctness demands that evil must always be the good guy's fault...
Real life is more complicated than this, and many if not most good movies work fine without such an artifice: in Die Hard, McClain and Gruber have little in common, and the former wastes no time in pondering how much he resembles the latter, nor does the action or subtext even suggest any underlying relatedness. Instead, Gruber's a greedy criminal (masquerading as a terrorist), and McClain treats him as any good superhumanly-tough and determined cop would. Basically there are just evil people, and good stories don't need to dig deep to explain them. One does not invariably need a Hero-Nemesis equivalency, connectivity or antecedents to make a compelling story: Gruber is merely a huge, drawn out obstacle to McClain's motivations: reconciling with his estranged wife and being (a bit) less of a jerk.
In LotR, Frodo Baggins did not create Sauron, nor make that Dark Lord desirous of dominating Middle-Earth, but he bravely steps up when it's obvious that only he can put an end to the threat; thus ends act I. In both book and movie, the ring-connection between Frodo and Sauron is indeed established, but it serves merely as another challenge and threat to the success of Frodo's mission. Gollum's erstwhile similarity to *all* hobbits is interesting, but incidental and not essential to establishing the story's theme (done long before Frodo ever meets Gollum), or to Frodo overcoming this secondary villain--which he never does BTW: Gollum destroys himself--setting Frodo free--and to the very end he never stops being a secondary nemesis and primary reflection of Frodo.
That said, the book's okay for putting a polish on one's understanding of some aspects screenwriting method. I'm just glad I read Brian McDonald's Invisible Ink before this one, otherwise I might have taken this seemingly spurious "rule" of thematic development seriously.
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