How to Write a Script With Dialogue that Doesn't Suck (ScriptBully Book Series)
カートのアイテムが多すぎます
カートに追加できませんでした。
ウィッシュリストに追加できませんでした。
ほしい物リストの削除に失敗しました。
ポッドキャストのフォローに失敗しました
ポッドキャストのフォロー解除に失敗しました
聴き放題対象外タイトルです。Audible会員登録で、非会員価格の30％OFFで購入できます。
How to Write a Script With Dialogue that Doesn't Suck (ScriptBully Book Series)
-
ナレーター：
-
Greg Zarcone
-
著者：
-
Michael Rogan
このコンテンツについて
Want to know how to write a script that people will remember, and can catch the attention of producers and other above-the-line talent? (Don't worry about agents; they don't want to talk to you). Nail your dialogue. Really. Now I know you've heard all the maxims: Film is a Visual Medium; You Can Either Write Dialogue or You Can't. And they both sound very logical. And esteemed writers, such as David Mamet, have been preaching them for years.
But, in my not so humble opinion, they're both total bullcrap. Yes, when learning how to write a movie you want to focus on structure and plot. And you don't want dialogue-heavy scenes where characters sit in coffee shops for three pages. But dialogue is the ONE PART of movie scripts that readers, producers, story editors and development exectuives will absolutely read. The same can't be said for your scene description.
I know, that breaks your heart. (You spent hours working on your lean description of a car chase involving nuns on mopeds). But when skimming, and lots of script readers skim, dialogue is the most efficient/easiest way to do it. So if it's so important how he heck do we get you better at it.
©2013 Michael Rogan (P)2013 Michael Rogan