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 Richard Walter on Screenwriting November 8, 2004
Patricia J. Hauldren (Grand Prairie, Tx. United States)
I got to see Richard Walter do a seminar at SMU one weekend for our writer's group. I was enthralled. The man is a creative dynamo. And it shows in his books. He puts in his books succinctly what Mckee tries to say in his tombs. I write fiction, not screenplays, yet I recommend Walter to all writers.
BY FAR THE BEST SCREENWRITING BOOK YOU CAN GET September 18, 2004
JEFF RIVERA (Miami, Florida United States)
This book by far is the best screenwriting book I've read and I've read a lot of them. The tools I learned in this book I've used even in my fiction writing. It deserves all the praise it receives and Professor Walter is a very down to earth, approachable guy. -- Jeff Rivera (Author of Forever My Lady: A Novel) www.JeffRivera.com
I Won't Take Instruction From Anyone Else January 25, 2003
8 out of 8 found this review helpful
This book is so complete that, at this point, I won't even consider taking instruction from any other source on the subject. I own both of Mr. Walter's books and have found them to be both inspirational and invaluable during my journey into the screenwriting craft. I am currently working on a screenplay and have two others outlined and waiting. As a novice of the trade with no formal training, I honestly don't beleive I would have grasped some of THE most important aspects of this craft were it not for Mr. Walter. The following principals, which can be found in this book, as well as his first, "Screenwriting: The Art, Craft and Business of Film and Television Writing", are the reasons why:(In my own words)
(1) Every drop of ink which makes up your screenplay must be properly integrated in order to effectively advance story, plot and character. Simply put, your words should deliciously and tantilizingly seduce your audience from one scene to the next, all the way through to climax and conclusion. If a particular scene or piece of dialog hinders this progression, the audience becomes riders on a proverbial rollercoaster. This rollercoaster promises a great ride and may even get off to a magnificent start but soon begins to stop, start, sputter and chug; the boxcar barely makes it up the big hills, lacks the momentum to properly execute the loops and ultimately poops out to its disaterous end, leaving its "passengers" feeling angry, annoyed and immensely disatisfied. Screenwriters if you want to dazzle your audience take them for the ride of their lives at full throttle and don't you dare interrupt that "ride" with boring settings, dull characters, or uninspired dialog.
(2) Movies utilize TWO SENSES ONLY: Sight and sound. That which cannot be seen or heard must never appear in your screenplay as it cannot be shown on screen. This simple rule should train screenwriters to become more skilled in conveying thoughts and feelings through dialog and action alone.
(3) Movies are for AUDIENCES not WRITERS. Throw in "meaningless prattle" for no reason other than it suits or amuses you personally, and you may as well throw in the towel as this ranks number one on the long list of screenplay (and film) suicide.
(4) To those screenwriters who like to write dialog in keeping with "the way people really talk", Richard Walter reminds us that "the way people really talk is free", but movie-speak costs! Dialog must be crisp, concise, brilliant and poetic yet, somehow, magically come across as natural as one hundred percent cotton. If this principal sounds contradictory, implausible, or downright impossible to you, I sincerely hope you work it out as this principal is the mark of a great screenwriter if not the very definition of screenwriting.
(5) More can (and should) be said with less.
(6) That which is implied is often superior to that which is actually spoken. Strive to craft scenes where, when appropriate, actions speak louder than words.
(7) Respect your audience and give them credit. Don't spell everything out as if for a six year old. Strive to write more subjectively and less leading.
(8) Just WRITE! Do the Hollywood film and television community a favor and don't attempt to "direct" or "act" your screenplay from your trusty word processor. To do so is "not merely unappreciated" but downright "resented".
(9) Conflict and tension are the two most important aspects of a great screenplay. The writer who develops and nutures the ability to use conflict and tension effectively will captivate an audience from the first frame to the end credits no matter what the subject matter, and in doing so hold the key to this craft.
(10) Shock them! Dazzle them! Excite them! Incite them! Frighten them! Sicken them! Touch them! Repulse them! Move them! Anger them! Thrill them! Inspire them! Amaze them! JUST DON"T BORE THEM!!! This, and much more is, in my opinion, Richard Walter. There is a reason he is Professor and Faculty Chairman of the prestigious UCLA Screenwriting Program. Pick up his books and find out why.
More advice than an actual manual February 7, 2001
N. A. Bhatti (Birmingham, United Kingdom)
4 out of 4 found this review helpful
There are many books out there about structure and where to put what plot points where and Richard Walter has made an addition to that field itself with "Screenwriting: The Art, Craft and Business of Film and Television Writing. However, this is more about advice on issues of screenwritings, arguing such points about all screenplays being personal, which I might add he does so very well. He also gives advice on why writers write, agents and working within the industry. And a look into the process of rewriting a scene of a screenplay (very useful). I would describe it as Adventure's in the Screen Trade without the bitterness of Goldman. My only criticism being that it makes you so hungry and ravaneous for more advice. The Bibliography is more useful than what you find at the end of most books. It is a worthy addition to any screenwriter's or movie moguls bookshelf.
 Follow the Suitcases August 2, 2000
Theodora Di Passional (Los Angeles)
5 out of 6 found this review helpful
Married, harried, and crumpled Herb arrives with his suitcases to take up his assigned post at the Book Fair. He runs into an old flame. In no time at all, he's stashed his suitcases in a locker at the trainstation; finds himself in a hotel tryst with this woman from his past; and after sex and cigarettes, returns from a trip to the bathroom to find the bloodied corpse of his illicit lover, and the aforementioned suitcases at the foot of the bed. From there, we follow the suitcases through the twists and turns in the tale Richard Walter, chairman of the screenwriting dept. at UCLA, has constructed to illustrate the elements of solid, artful storytelling.Walter's two books, The Whole Picture, and Screenwriting: The Art, Craft, and Business of Film and Television Writing, are among the most practical and helpful a writer will be fortunate enough to come across. For the neophyte, they may not contain enough information on the exasperatingly nit-picking "industry formatting standards" that get scripts past the scanning eyes of a scriptreader, but he shines a bright, clear light on the single most important bit of information a writer must know if s/he is to come to the end of his/her labors with a good screenplay in hand: write well. In addition to making his points by using this clever device of constructing a story right before the reader's very eyes, he reveals a great deal of sound advice about the movie business and what works in a screenplay. If you don't know how to integrate a compelling theme with characters an audience can care about, dialog that rings in the ear, and action structured to keep the story moving forward, learn how before you quit your day job. When people ask me for advice about what books to read to learn about writing--screenplays or other formats--I always tell them they couldn't get a better start than this book.
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