- Paperback: 288 pages
- Publisher: Michael Wiese Productions (21 Dec 2004)
- Language English
- ISBN-10: 0941188949
- ISBN-13: 978-0941188944
- Product Dimensions: 22.6 x 15.2 x 2.3 cm
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,675,995 in Books (See Top 100 in Books)
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Synopsis
How do you tell the difference between mediocre ideas and great ones? Christina Hamlett shows you how to put them to the test prior to a full-fledged commitment of time, energy, and paper. She offers invaluable advice on the business of writing, detailing the pros and cons of tackling your first script on your own, teaming up with a writing partner, or engaging the services of a seasoned professional. Offers a user-friendly primer on the ethics and legalities of the script-selling business and reveals the tandem responsibility inherent in delivering a solid story and a professional promise. It is filled with interviews, story-starters, anecdotes and Hollywood insider advice to get those creative juices flowing and the cameras rolling. It contains a foreword by John E. Johnson, Executive Director of the American Screenwriters Association. It includes all you need to know to start your screenwriting career with confidence.
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Paperback
One of the most common faults I've seen in numerous unproduced screenplays over the years is that the stories they tell simply aren't well enough developed to sustain a full-length feature. Sometimes the subject matter doesn't lend itself to a cinematic retelling or more often there just isn't enough story to fill a 90-minute film, leading to huge sections of plodding narrative padding to try to fill the gaps.
Christina Hamlett's book, 'Could It Be A Movie?' aims to help prospective screenwriters get to grips with exactly this problem. She is an award-winning American playwright and author who also runs a professional script reading service and therefore has seen a huge range of unproduced scripts. It is this experience of knowing what can go wrong in the telling of a story that Christina brings to bear in this book.
She begins where all good screenplays start - ideas. Of course there are good ideas for a film and then there are ideas that really shouldn't ever make it as far as getting onto paper, let alone a cinema screen. Knowing the difference is vital.
The book very thoroughly takes the reader through the process of sifting an initial idea, taking it apart and reworking it. One of the aspects of the book I liked was that at regular intervals it sets little homework exercises. You are asked questions about a wide selection of recent box-office hits and cinema classics, 'Casablanca' and 'Gone with the Wind' both feature but so do 'Seabiscuit', 'X-Men' and 'The Matrix Reloaded'. In thinking about these films from a story construction point of view you are being made to ask the same questions about them that you should be asking about your own work.
It also deals very neatly with the realities of script revision. That reality is that if a producer has bought the rights to your script and asks for changes they expect them to be done. If you don't they'll very quickly find another writer who will be only happy to make them instead. But, as the author is at pains to point out, producers, script editors and agents aren't trying to ruin your masterpiece by asking for changes they're actually trying to improve it. All too often, she says, inexperienced writers get blinkered with regard to their own work and refuse to see the faults that lie within it. The fact that you'll be asked to make alterations to any script you write throughout your professional life is something that is all too often glossed over in books on screenwriting and Christina Hamlett should be applauded for including it in hers.
I liked this book. It gives good, sensible advice on the screenwriting business. One minor quibble I have is that with this being a book written with the American market in mind there is one tip she gives that doesn't apply in Britain. The author says that a good way to try to get a job writing for 'The West Wing' would be to write an episode and send it to the producers. That might well apply in American television but every British television producer and script editor I've ever heard talk on the subject of unsolicited script submissions says that they much prefer to see an original piece of your own writing.
Apart from that small point this book has much going for it. Not least of which is list of useful Internet resources throughout the book that, frankly, are worth the cover price by themselves.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
26 reviews
7 of 7 people found the following review helpful
MARIE JONES, BOOKIDEAS.COM BOOK REVIEWER SAYS...
18 Jan 2005
Format:Paperback
Each year, thousands upon thousands of screenplays reach the desks of harried and overworked Hollywood agents, managers and producers. Perhaps only 10% of these screenplays, if that many, will ever get more than one read-through. Fewer still will be purchased, and fewer than that will ever make it to the big screen. Still, the screenplays keep arriving...
Christina Hamlett's book "Could It Be A Movie?" helps make things a little easier for aspiring writers by providing informative interviews, insider stories, hands-on exercises and industry insight that can help writers determine if their idea has the legs to make it as a marketable script. By starting with the concept itself, the author, a highly respected script coverage consultant, shows the reader how to first decide whether the concept should be a movie, a book, a stage play, or maybe even just a magazine article. Once the idea is shaped and expanded into something that could be called a "movie," then the real work begins of turning it into a saleable commodity that Hollywood Greenlighters will want to get their hands on.
The material in this comprehensive how-to guide covers everything from turning a concept into a three-act story with the proper structure, thinking from the audience's viewpoint, deciding if the concept should be a short script or a full-blown spec, coming to terms with the necessity of rewriting (and rewriting and rewriting!), creating believable dialogue, and keeping the writing tight and the action moving the story forward at all times. Also, in the section titled WINNING THEM OVER, Hamlett covers the basics of approaching agents, producers and even independent markets, as well as the vast and growing body of screenwriting contests. She also discusses adapting material from other mediums, Writer's Guild minimums, protecting your work before you send it "out there," and working with professional script consultants to sharpen your work to perfection.
This is one of the few screenwriting books that really covers all the basics, yet also delves deeply into some of the more serious topics that may come up for writers, such as honing and perfecting your craft before you begin marketing, and understanding the technical aspects of good storytelling. I really enjoyed the interviews with industry insiders such as Peggy Patrick of Shapiro-Lichtman and screenwriter John Collee; the screenplay samples showing dialog and action do's and don'ts; and the exercises in each chapter that provide the reader with an opportunity for some real hands-on, interactive learning as they read along. Reading "Could It Be A Movie?" is almost like taking a screenwriting class and will appeal to those readers who actually like to "test drive" what they are reading.
It is hard enough to come up with a good idea, even harder still to turn it into 120 pages or less of pure, marketable dynamite. But with books like this to serve as wonderful and inspiring how-to guides, any writer can make that big box-office dream get one step closer to reality. The information in this book is worth the cost of one hundred expensive weekend seminars (and you won't even have to pay for parking!), and should take plenty of the fear, mystery and confusion out of writing a great script. I highly recommend it to all aspiring writers, and even to those who have never written so much as a poem, but think they might just have that one really big idea that could be a great movie, if only they can get it out of their head and onto the page.
Hey, it could happen!
Christina Hamlett's book "Could It Be A Movie?" helps make things a little easier for aspiring writers by providing informative interviews, insider stories, hands-on exercises and industry insight that can help writers determine if their idea has the legs to make it as a marketable script. By starting with the concept itself, the author, a highly respected script coverage consultant, shows the reader how to first decide whether the concept should be a movie, a book, a stage play, or maybe even just a magazine article. Once the idea is shaped and expanded into something that could be called a "movie," then the real work begins of turning it into a saleable commodity that Hollywood Greenlighters will want to get their hands on.
The material in this comprehensive how-to guide covers everything from turning a concept into a three-act story with the proper structure, thinking from the audience's viewpoint, deciding if the concept should be a short script or a full-blown spec, coming to terms with the necessity of rewriting (and rewriting and rewriting!), creating believable dialogue, and keeping the writing tight and the action moving the story forward at all times. Also, in the section titled WINNING THEM OVER, Hamlett covers the basics of approaching agents, producers and even independent markets, as well as the vast and growing body of screenwriting contests. She also discusses adapting material from other mediums, Writer's Guild minimums, protecting your work before you send it "out there," and working with professional script consultants to sharpen your work to perfection.
This is one of the few screenwriting books that really covers all the basics, yet also delves deeply into some of the more serious topics that may come up for writers, such as honing and perfecting your craft before you begin marketing, and understanding the technical aspects of good storytelling. I really enjoyed the interviews with industry insiders such as Peggy Patrick of Shapiro-Lichtman and screenwriter John Collee; the screenplay samples showing dialog and action do's and don'ts; and the exercises in each chapter that provide the reader with an opportunity for some real hands-on, interactive learning as they read along. Reading "Could It Be A Movie?" is almost like taking a screenwriting class and will appeal to those readers who actually like to "test drive" what they are reading.
It is hard enough to come up with a good idea, even harder still to turn it into 120 pages or less of pure, marketable dynamite. But with books like this to serve as wonderful and inspiring how-to guides, any writer can make that big box-office dream get one step closer to reality. The information in this book is worth the cost of one hundred expensive weekend seminars (and you won't even have to pay for parking!), and should take plenty of the fear, mystery and confusion out of writing a great script. I highly recommend it to all aspiring writers, and even to those who have never written so much as a poem, but think they might just have that one really big idea that could be a great movie, if only they can get it out of their head and onto the page.
Hey, it could happen!
2 of 2 people found the following review helpful
Great Book That Touches On Many Aspects of Writing
2 Feb 2006
Format:Paperback
They come from all over the Seattle area. From the suburbs to downtown, they come to my screenwriting class. The first class I talk about ideas and, usually, one of the first things a student will say to me is: "Well, I have this idea and I think it would make a great movie!"
Then, over the next eight weeks, we take that idea, pick it apart and put it back together again in a form that resembles an actual movie.
In some ways, Christina Hamlett's book does the same thing. It challenges the ideas that you have. It certainly does not go into all the details of format, structure, type fonts and character development - but what she DOES do is touch on a lot of these things. Frankly, there are many other screenwriting books to help you with digging into the details and there are software programs to help with the format. She does provide you with a "FOUR ACT" breakdown that she recommends as opposed to the standard "THREE ACT" that God and everyone should know by now.
But, again, Ms. Hamlett's book challenges the ideas that you have to begin with. Would it be better as a play or a novel? Do you really want to do that adaptation of that book? Are you really keen on writing about that news story you saw the other night on the 11 o'clock news? She asks you the tough questions and forces you to think in different ways.
Once she has you thinking about your core idea and whether or not you want to nurse it along to fruition, she then takes on all the other aspects of Hollywood and selling your script, such as using a consultant, having meetings, entering contests, etc.
This book is extremely thorough but not in a detailed way. I do not mean that as a slight. To detail everything she writes about would mean that the book would be 800+ pages. She touches on something, like should you collaborate with another writer, asks you the questions, gives you some history of what she's dealt with and then moves on. Certainly someone could write an entire book on how to collaborate with another writer (and someone probably has) - but Ms. Hamlett hits the subject and moves on. Giving the reader something else to think about. In some ways this is almost a reference book with interesting stories.
Sprinkled throughout the book are interviews with a Writer, an Agent and a Producer. She also has laid out the book in a way that makes it easy to note where certain rules should apply, checklists to go by and dropping in other comments for your consideration. She doesn't tell you how to create your characters or everything that should go into your characters - but she does ask you to analyze them. She doesn't tell you what ideas are best to write about - but she gives you idea starters to get you kicked into gear.
If there is one consistent complaint that I have with this book, it is a consistent complaint I have for many of the books I have recently read: Lack of an "Internetography."
Ms. Hamlett FILLS the book with websites (at least two dozen) that can help you, the struggling writer. From researching out contests, to finding on-line scripts, to exploring other films, etc. It would be nice to see all these websites placed in one area in the back of the book and cross referenced as to subject matter and location in the book. Why hasn't someone done this yet?
Ms. Hamlett's book is a great book/reference guide for people who are questioning their idea and about to put it down on paper. She asks some tough questions and, using her years of experience, she provides plenty of stories (some very humorous) and examples to back up her opinions. She moves quickly from subject to subject (leaving the intricate details of "how-to" to other books and authors) - but she does do a thorough job of touching on most everything - some of which I haven't seen mentioned before (including thinking about copywriting your material and getting started in independent film).
Then, over the next eight weeks, we take that idea, pick it apart and put it back together again in a form that resembles an actual movie.
In some ways, Christina Hamlett's book does the same thing. It challenges the ideas that you have. It certainly does not go into all the details of format, structure, type fonts and character development - but what she DOES do is touch on a lot of these things. Frankly, there are many other screenwriting books to help you with digging into the details and there are software programs to help with the format. She does provide you with a "FOUR ACT" breakdown that she recommends as opposed to the standard "THREE ACT" that God and everyone should know by now.
But, again, Ms. Hamlett's book challenges the ideas that you have to begin with. Would it be better as a play or a novel? Do you really want to do that adaptation of that book? Are you really keen on writing about that news story you saw the other night on the 11 o'clock news? She asks you the tough questions and forces you to think in different ways.
Once she has you thinking about your core idea and whether or not you want to nurse it along to fruition, she then takes on all the other aspects of Hollywood and selling your script, such as using a consultant, having meetings, entering contests, etc.
This book is extremely thorough but not in a detailed way. I do not mean that as a slight. To detail everything she writes about would mean that the book would be 800+ pages. She touches on something, like should you collaborate with another writer, asks you the questions, gives you some history of what she's dealt with and then moves on. Certainly someone could write an entire book on how to collaborate with another writer (and someone probably has) - but Ms. Hamlett hits the subject and moves on. Giving the reader something else to think about. In some ways this is almost a reference book with interesting stories.
Sprinkled throughout the book are interviews with a Writer, an Agent and a Producer. She also has laid out the book in a way that makes it easy to note where certain rules should apply, checklists to go by and dropping in other comments for your consideration. She doesn't tell you how to create your characters or everything that should go into your characters - but she does ask you to analyze them. She doesn't tell you what ideas are best to write about - but she gives you idea starters to get you kicked into gear.
If there is one consistent complaint that I have with this book, it is a consistent complaint I have for many of the books I have recently read: Lack of an "Internetography."
Ms. Hamlett FILLS the book with websites (at least two dozen) that can help you, the struggling writer. From researching out contests, to finding on-line scripts, to exploring other films, etc. It would be nice to see all these websites placed in one area in the back of the book and cross referenced as to subject matter and location in the book. Why hasn't someone done this yet?
Ms. Hamlett's book is a great book/reference guide for people who are questioning their idea and about to put it down on paper. She asks some tough questions and, using her years of experience, she provides plenty of stories (some very humorous) and examples to back up her opinions. She moves quickly from subject to subject (leaving the intricate details of "how-to" to other books and authors) - but she does do a thorough job of touching on most everything - some of which I haven't seen mentioned before (including thinking about copywriting your material and getting started in independent film).
2 of 2 people found the following review helpful
Not just a How to book, but a How to and Enjoy!
29 July 2005
Format:Paperback
As Christina Hamlett makes us aware in the very first pages of Could it be a Movie, technology has made it cheaper and easier for anybody with an idea to write a screenplay and get it made, and because so it is possible that everybody knows somebody who wants to be a screenwriter. But with the glut of "How To..." books on the market, how does one decide which is the best to guide them through the difficult process? Most screenwriting books are competent at laying out the nuts and bolts and technical jargon of screenwriting, but Christina Hamlett's Could it be a Movie takes it one step further, not only laying out the essentials and technical aspects of story and structure, but doing so with prose and eloquence that continues to encourage, nurture and cultivate not only the process of writing the screenplay but of conceiving and exploring ideas. From the very first page to the last, Christina let's us know that writing is a passion, and her passion for writing--and writers--is clear in every encouraging chapter, paragraph and example throughout, all of which are presented in a casual tone that demystifies and eliminates the fear of screenwriting, both the process and the business.
If you are a beginning writer, Could it be a Movie is definitely the first book you should pick up, and then pick up again and again. If you are a veteran of the trade looking for fresh, encouraging insight, Could it be will remind you of hopefully why you started writing in the first place: for simply the passion, joy and excitement of writing. This is more than a "How to..." book, it is a "How to and enjoy Screenwriting," guide, which is the most important aspect of storytelling.
If you are a beginning writer, Could it be a Movie is definitely the first book you should pick up, and then pick up again and again. If you are a veteran of the trade looking for fresh, encouraging insight, Could it be will remind you of hopefully why you started writing in the first place: for simply the passion, joy and excitement of writing. This is more than a "How to..." book, it is a "How to and enjoy Screenwriting," guide, which is the most important aspect of storytelling.
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