Efnisyfirlit

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• This Book’s Goals
• Note
• Part I Overview
• 1 Goals and Getting Started
• Playing Roles
• Ideation and Originality
• Writing in Outline Form
• Identifying with the Main Character
• Jump-Starting the Imagination
• Concerning the Writing Samples and Critiques in Chapters 13–21
• Enjoying Your Audience’s Reactions
• An Important Reminder
• Starting Your Resource Collections
• Preparing for the Game Called CLOSAT
• Definitions and Examples
• Note
• 2 About the Creative Process
• The Journey of the Self
• Wanting to Tell Stories
• Self-Exposure and Giving Support
• What Is Therapy and What Is Art?
• What Stories Mean
• Theme and Variation
• Just Do It
• Outline and Expansion
• Collaboration
• Note
• Part II The Roots of Invention
• 3 Finding Your Artistic Identity
• Unfinished Business: How Your Life Has Marked You
• Displacement
• Discussion
• Notes
• Going Further
• 4 Autobiography and Influences
• Discussion
• 5 Playing CLOSAT and Pitching Ideas
• Improvising
• Maintaining Focus
• Pitching
• If You Are Working Alone
• Discussion of CLOSAT Scenes
• Discussion of Pitch Guidelines
• General Discussion
• On Working Collaboratively
• Cards You’ll Need to Play CLOSAT
• Note
• 6 Working from Life
• Development
• Discussion
• Point of View (POV)
• Active and Passive
• The Nascent Power of Imagery
• Going Further
• Part III Craft and Concepts of Drama
• 7 Characters, Their Problems and Conflicts
• Profiling Someone’s Agenda
• Dramaturgy
• Notes
• 8 Developing Characters of Your Own
• Discussion
• Round Characters, Flat Characters, and Archetypes
• Point of View (POV) or Narrative Perspective
• Discussion
• 9 Analyzing Drama
• The Dramatic Premise
• Character-Driven versus Plot-Driven Drama
• Genre
• Note
• 10 Understanding Story Structure
• Drama, Destiny, and Point of View
• The Three-Act Structure
• Act I: The Setup
• Act II: Complications
• Act III: Confrontation, Crisis, and Resolution
• Drawing a Dramatic Arc for a Whole Work
• Development
• Little Red Riding Hood
• Notes
• 11 The Tools of Drama
• Toolkit
• Surveying a Story’s Type and Purpose
• Making a Working Hypothesis
• Interrogating a Story and the Story Effectiveness Questionnaire
• Story Effectiveness Questionnaire
• Identifying Structural and Other Weaknesses
• Scene Components
• Dividing a Story by Acts
• Note
• 12 Giving Critical Feedback
• Giving Feedback
• Feedback Elements
• Part IV Writing Assignments
• 13 Tale from Childhood
• On Giving Feedback
• Discussion
• On Memory
• Note
• Going Further
• 14 Family Story
• Discussion
• Embellishment and the Oral Tradition
• Going Further
• 15 A Myth, Legend, or Folktale Retold
• On Legends, Myths, and Folktales
• Interpreting Oral Tales
• Adaptation Problems
• Genres and Their Subversion
• Discussion
• Going Further
• 16 Dream Story
• Discussion
• Act I
• Act II
• Act III
• Act I
• Act II
• Act III
• Note
• Going Further
• 17 Adapting a Short Story for the Screen
• Evaluating a Story for Adaptation to the Screen
• Discussion
• Overview
• Notes
• Going Further
• 18 Ten-Minute, News-Inspired Story
• Time, Scale, and Crisis
• The Myth of Objectivity
• Discussion
• Notes
• Going Further
• 19 Documentary Subject
• Research
• Observe Truth or Intercede to Provoke It?
• Portraying Human Predicaments
• Confrontation
• Going Further
• 20 Thirty-Minute Original Fiction
• Act I
• Act II
• Act III
• On Comedy
• Pacing
• Note
• Pacing
• Going Further
• 21 Feature Film
• Discussion
• On Receiving Criticism and the Layers of the Writing Process
• Why Working in Outline Form Matters
• Notes
• Going Further
• Part V Creating Collaboratively
• 22 Catalyzing Drama
• Assignments
• Discussion
• Notes
• Going Further
• Part VI Developing as a Writer
• 23 Artistic Identity and Career
• Discussion and Retrospective
• On a Career as a Writer
• Your Creative Direction
• Notes
• 24 Story-Editing Your Outline
• Using Scene Cards
• Seeking Structural Options
• Rethinking POV Can Let You Alter the Handling of Time
• The Significance of Transitions
• Letting a Main Character’s Psychic Condition Dictate the Narrative Order
• Point of View and Stream of Consciousness
• Troubleshooting
• Getting the Story Started
• Character Issues
• Point of View
• Sustaining Dramatic Tension
• Excess Baggage
• Stay True to Your Intentions
• Yielding to Dramatic Conventions
• High Art and Low Art
• 25 Expanding to the Finished Product
• Writing for the Screen
• Standard Screenplay Format
• Documentary Film Proposal
• Plays
• Standard Playwriting Format
• Novel or Short Story Format
• Submission
• Going Further
• Theatre
• Prose Fiction
• Index